Even a cursive view of Alex Garland's "ex -machine" reveals thematic tension between free will and determinism. In the movie, The existence of a sensitive robot named Ava (Alicia Wickander) It presents itself as inevitability, where she is to undergo a Turing test that will determine if she has developed consciousness. Men of science that measure Ava's humanity (or lack of them) find it uniqueness as inevitable or deterministic.

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Specifically, the fact that the robot as Ava can express emotions and imitate human behavior is considered inevitable - a matter of "when", not "if". This look separates every ethical dilemma that comes with artificial intelligence and whether people have the right to play God as they climb sensitivity. Garland uses this foundation to weave a deep film for technology, evolution and full relationship between man and its creation.

When Alex Garland's limited series "Devs" started its trailer at first glance during 2019 in New York Comic, the director spoke in length about the subject of determinism that clearly lasts through the FX show (through TV guide):

"I read more about science than anything else, and started with two things. One got my head around this principle of determinism, which basically says that everything that happens in the world is based on the cause and effect ... which has any implications for us. the past. ”

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Devs revolves around Lily (Sonoja Mizuno), a software engineer working for Amaya, a mega-technology company that casts a pretty wicked shade with its presence. Someone close to Lily dies, which encourages the search for the truth that leads down A hole in rabbits, filled with everything from a deterministic philosophy to quantum calculation. Garland Crafts Cross, Ambitious Science series that asks relevant questions, but is it "devs" any good? Let's dive into it.

"Devs" is not a kind of television that takes mild stabs on the philosophical issues it resolves. Garland pours every ounce of delicate care into the unique essence of the show: it is a convincing, haunting beautiful and often deliberately claustrophobic. Every high eyebrow idea teases during its eight episodes feeds us with a controlled hand, and we need to think together as the central mystery of the show.

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But sometimes, the same control arm begins to suffocate, testing even the most patient among us. Most of the characters are limited to repetition of futile cycles for this - assume - determinism, which drastically reduces the volume (and impact) of their tragedy. When someone's free -will exercise, Devs makes it easily feasible for anyone who owns even ounce courage. After this happened too many times, the conflicts feel a little stale, even though they are never predictable.

Lily is not the only person trapped in this maze, as Amaya's founder and CEO, Forrest (Nick Bidder) is a stable malicious presence throughout the play. Forrest builds a supercomputer that uses deterministic principles to know everythingthat allows him to comb it through the past and the future by using causality as a measure. When we return the layers of Why Technologically as a forest would do what he does, the answer lies in sadness, which coagulates in an open, untreated wound.

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His motivation is simple, but Garland treats the basic, relevant emotions of Forrest as secondary to the scientific basis of the cold, stoic world that builds it. The human drama is present, but it is not a hyper-essential, as our eyes are constantly diverted to philosophical concepts that supercomputer japs ​​of Forrest as part of its purpose.

"Devs" deserves more excitement, with certainty, as there is a lot to run over in this wonderful, cold show for ideas that can take advantage of first of all in the future that is posterile than you would like it to be. Although Garland's story often sinks under its ambition, it is still interesting enough to challenge the audience and their in advance ideas for meditative television.