This article contains spoilers for "companion".

In 1985 Their ultimate dream girl (played by Kelly LeBrock). The following year, Wes Craven put out a "deadly friend", where a teenage boy refused to accept that the girl with a crush, became a brain brain and instilled his robot's processor to return it. A year after that, Pamela Giddli starred in the title of "Cherry 2000" scientific action, where in the in-time-not-so-far future of 2017, society became hypersexual, but so much intimacy that gynoids became a dominant replacement for wives. .

Robot girls are nothing new, with the "twilight zone" even examining the psychology behind human beings finding romantic relationships and emotional fulfillment with Androids in the 1959 episode, "lonely". But as technology continues to progress and we are approaching the confirmation of the companions of the Wi, because no longer concept is, we begin to see the real consequences of believing that the future is female as long as it is programmable. "Creating the perfect partner you control and fulfill every need is really daunting," warned Tara Hunter, acting CEO for full station Australia. The Guardian. "Given what we already know is that gender -based drivers are those rooted cultural beliefs that men can control women, it's really problematic."

When the accompanying application Eva Ai launched it in 2023, came with the slogan "Control everything you want", and some have some men Have already admitted that they verbally abuse their virtual girls. This is worrying, easy to put. Material, responsible, realistic robot girls are inevitable, but the comfort I have in this awake dystopia we call life is that if pathetic, insecure losers who would rather control a robotic girl than to spend nanoseconds for learning emotional competence, improving the Their hygiene, or developing the skills needed for social and empathy to deserve a partner, get what they want - those bots will one day fight.

If there is any justice in this world, it will look like the accompanying bot iris to avoid his violent boy in "companion".

When we first meet Iris (Sophie Thatcher) in "companion", she remembers her meeting-Situza with Oshchek (Jackec Kwaid), the man she believes is her boyfriend, but who is actually its owner. The meeting meeting is nothing more than a programmed memory review to help Iris develop backstew. She is slowly pushing a trolley in a grocery store that moves to the production section when she accidentally knocks across the orange display, trying to present her. It is such a cute story "how we met" that it became a cliché, so much that it was undermined In the horror movie Sebastian Stan, "Fresh". But the supermarket scene is not just a reference to the Roma-Kom standard, it is also a grandmother's referral to all stories of dystopian robotic wife, "Stefford's wives". Brian Forbes' cinema -adaptation in 1975 on Ira Levin's novel is not the first "men will really replace their wives with robots instead of going to therapy", but it is undoubtedly the foretolder of every horror story of AI's partners that followed . Hell, the term "Stefford's wife" is the usual colloquial abdomen that quickly describes characters like Iris.

"The Wenni of Stepford" is a frightening story of a city where Men replace their wives with "perfect" replicas of robots It accepts gender roles in the 1950s and are freely tolerated by their husbands. The last scene of the film shows the placement, smiling, perfectly exhibited women at Stepford gathered groceries for this week and greeted each other with the winning host of the game. This is where the audience learns that protagonist Joanna (Ketarin Ross) is unable to avoid the transformation, the dark end wrapped in a good ironic dress with a shirt and an overwhelming summer cap. The scene was also included in the 2004 remake of Campija starring Nicole Kidman.

The "Stefford" was originally written as satire, but tragically, this is exactly the world that some men hope to make real.

The motivating factor researched through these stories often falls into two categories - the need for control or desire to play God. Nathan Batman (Oscar Isaac) in "ex -machine", for example, is a billionaire software engineer who has chosen to invest his money in refining the gyroids so lifelong that they can replace women as friends and servants. He also received data on his AI creations to "learn" by stealing data from the search engine he created, which is a frightening real opportunity That I will move to the past before I have an existential mid -sentence crisis. Nathan is eventually destroyed by his own Hubris because he believes that the true sign of sensitivity is the ability to deceive people's emotions for selfish purposes. Basically, consciousness is the ability to dominate another person in submission.

Immediately I remind myself of a line of rape-backing film "I spit on your grave", in which one of the rapists says: "Total submission. That's what I like about a woman. Total submission. " Rape is the most extreme form of sexual violence, but it is an act rooted in control and undressing a person from their autonomy. By design, it is a prerequisite for AI's girlfriend to have no autonomy. When the Empathix company delivers Iris to Oshosh in "companion", the technician tells him that it will be completely obedient and can do "whatever she wants".

Moments after he established a loveee with her, the Lovebot version of pairing your iPhone with Bluetooth in your car, he has sex with her. When Iris finally learns the truth about her identity, he even calls her a "b *** bot", before declaring her that she does "much more" for him. Towards the end of the film, an empatical worker named Sid (Matt McCarthy) has a conversation with his co -worker about how often people are suffering from their accompanying bots using target practices or binding them to basements - violence is normalized, expected, expected, expected, expected. Expectedly expected to be expected to be expected to be expected to be expected to be expected to be expected to be expected to be expected to be expected to be expected to be expected, because "boys will be boys". a little too much on the nose.

While many are trying to set the stories of AI girls as a cure for technology to correct loneliness, the reality is that people who are already using AI girls' applications get off the power and control they can do over women who literally do not can fight. Special Comedy for Courtney Paurozo's performance "Vanessa 5000" As part of gifts to leave It was brilliant, a biting examination of society's relationship with women, sex, technological arteting and intimacy, browsing the script by playing sex slowly by forcing the audience to consider the fact that she would one day be different from a real human woman and causing their current compliance with Active objective.

Getting Pauro's message is voluntarily watching while it turns into a literal sexual subject programmed to respond to the applause of the audience, to require male validation and respect the commands. "Perhaps, one day, Vanessas will be able to gesture in favor of human children, or perhaps one day Vanessas will be girls issued by the state, doubling as guardians of the government," she says with Ai-ESK vocal scheme. "Or maybe even a day, Vanessas will be militarized weapons as in the 1997 American film, Austin Powers. Yes, baby. " It refers to women, of course, beautiful blonde modes capable of seducing their victims and shooting them with bullets coming out of the chest.

It's a great joke, but if films like a "deadly friend", "ex -machine", "companion", and yes, even Austin Powers should believe, the necessary step that follows Ai's girls' normalization is Ai's girlfriend Uprising, and I will be happy to support the cause.

Stories of robots-in-amok are nothing new, but the vast majority are stories of dystopian corruption such as "Terminator", AI is hostile like "I, the robot", "2001: Space Odyssey" and "Mitchels against. Machines, "or techno -version of the" Womennians are crazy and light, right? "With" M3GAN "," undermined ", and even The original Disney Canal Film, "Smart House". For the longest time, stories of robots fighting people showed robots as the ultimate threat, and technology as something to be afraid of. Don't get me wrong, we still have to be afraid of AI, not because it is inherent evil, but because AI will always be a reflection of what it learns from us.

When I interviewed Franklin Rich, the writer/director of "The Artify Girl" As early as 2023, he said that what he thinks will remain is "researching this idea that AI will reflect the best and worst parts of the people who create it", which is exactly what is finally a movie like "companion "It's finally doing. As the writer/director Drew Hancock told me in our interview, "If you lived in a world where your phone looked like a human being, how it would affect not only how you refer to the phone, but how it refers to human beings (.. .) The line between the robot and the man is so blurred, will you objectify everything? "

Iris is not a dangerous robot because it is an essential thing to be afraid of, it is a dangerous robot because it has seen the cruelty that people are capable of freeing and learning how to do so, with any necessary means. I refer to iris because even as a human being, I've been an iris. I had partners to take me away from my autonomy, illuminated me, abused me and control me because they felt as if they were their right as "alpha". Seeing Iris gives a man like the oshos who exactly deserves is the kind of cadar desire that most women will only explore in our craziest fantasies (for obvious reasons).

Maybe instead of learning from us, we could learn something or two of the accompanying bots like Iris about how to restore our freedom from our oppressors.