"We know that if memory is destroyed in one part of the brain, it can be sometimes re-created on a different part of the brain. And once we can unravel that amino chain of chemicals that is responsible for memory, I see no reason why we can't unlock it and, essentially, wipe out what's there"
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Straczynski’s producer brain is showing: this is a pitch, not a sermon, and it’s built on the most seductive kind of near-future logic. Start with a true-ish scientific premise (neuroplasticity; distributed storage), add a plausible-sounding mechanism (“that amino chain”), then land the hook: if memory can be copied, it can be deleted. The sentence structure mirrors the argument’s escalation. “We know” claims consensus, “sometimes” offers scientific humility, and “I see no reason” performs the classic techno-optimist move of treating an absence of proof as a green light.
The subtext is less about neurons than about power. “Unlock it” frames memory like a device with a passcode, not a human substrate of identity. “Essentially, wipe out what’s there” is chillingly passive. Who wipes it? Under what authority? The missing subject is the point: once a technology exists, control tends to migrate to institutions that can pay, regulate, or coerce.
Context matters: Straczynski comes out of a TV culture obsessed with mind control, consent, and the ethics of clean slates (a lineage running from The Manchurian Candidate to Eternal Sunshine). As a producer, he’s attuned to the narrative stakes of memory as plot engine and moral fault line. The line flirts with liberation (erase trauma, reset addiction) while quietly admitting the darker corollary: erase witnesses, erase dissent, erase inconvenient selves. It works because it’s calm. No mad-scientist cackle, just a reasonable voice proposing the unthinkable as an engineering problem. That’s how dystopias usually arrive: on time, on budget, and phrased as a feature.
The subtext is less about neurons than about power. “Unlock it” frames memory like a device with a passcode, not a human substrate of identity. “Essentially, wipe out what’s there” is chillingly passive. Who wipes it? Under what authority? The missing subject is the point: once a technology exists, control tends to migrate to institutions that can pay, regulate, or coerce.
Context matters: Straczynski comes out of a TV culture obsessed with mind control, consent, and the ethics of clean slates (a lineage running from The Manchurian Candidate to Eternal Sunshine). As a producer, he’s attuned to the narrative stakes of memory as plot engine and moral fault line. The line flirts with liberation (erase trauma, reset addiction) while quietly admitting the darker corollary: erase witnesses, erase dissent, erase inconvenient selves. It works because it’s calm. No mad-scientist cackle, just a reasonable voice proposing the unthinkable as an engineering problem. That’s how dystopias usually arrive: on time, on budget, and phrased as a feature.
Quote Details
| Topic | Science |
|---|---|
| Source | Help us find the source |
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