It seems that the headnote over my last piece was more judicious than I realized at the time. Several responses—one from Ben Winter and another from Jacob Prahlow (both of whom are authors on this site)—have taken exception to one part or another of my article, with generous asides that they might have interpreted my article incorrectly. In my opinion, this is precisely what happened; I utterly agree with the theological assertions made by both of

Artificial intelligence is clearly the menace of the cinematic hour. The old menace posed by the Skynet of the “Terminator” franchise has taken on additional credibility in the era of “big data,” which offers the possibility of algorithmic analysis on a heretofore undreamt-of scale. Alex Garland’s recent thriller “Ex Machina,” however, trades guns for words and explosions for psychological turbulence, raising fundamental questions within a deeply intimate context. “Ex Machina” opens as Caleb Smith (Domhnall