![]() "Eli, it's Christmas," the guest responds. At a cozy Christmas party, with the decorated tree and strung lights blinking madly away in the background, one handsome man tells the departing guest, "Happy Halloween, sir." His red Christmas sweater is bursting with holiday cheer. After a brief introduction, the audience is introduced to a world that looks strikingly similar to contemporary society, though something isn't quite right. In Mother/Android, the singularity happens rather suddenly (like practically everything else in the film). SCROLL TO CONTINUE WITH CONTENT Non-Specific Singularity ![]() From HAL 9000 to the digital overlords of The Matrix (which the director has literally watched more than 100 times), cinema has many worst-case scenarios for the fate of the human race. This kind of hypothesis often leads screenwriters to imagine something awful- once computers can exponentially develop on their own without the assistance of humankind, then why would the technology keep people around (at least as anything more than meat slaves)? This theme has been seen frequently over the past half-century of technological innovation, as computers become both smarter and smaller. The film concerns what's often called the ' technological singularity,' or the point in which technology becomes so uncontrollable that there is an intelligence explosion of sorts, where artificial intelligence becomes smarter than humans. It's weirdly ironic, then, that Tomlin's film seems to be a divided subject itself, split between a phenomenal science-fiction picture and a rather bland melodrama without much substance. The bifurcation of the name is between the most human and life-giving subject imaginable (a mother) and the most lifeless, inhuman one science-fiction usually comes up with (an android).
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