The Future is Coming – Reflecting on Live Critical Analysis

Engaging in a live analysis of 2001: A Space Odyssey and Her deepened my understanding of their existential and technological themes. Viewing them through the lens of Bell’s model of futures, AI ethics, and Harari’s concerns about intelligence and consciousness allowed me to reflect more critically on those themes.

Kubrick’s film opens with an eerie, sweeping orchestral score, immediately suggesting existential wonder. The “Dawn of Man” sequence depicts a bleak landscape of struggle, culminating in the appearance of the monolith—an unnatural presence that seems to guide human evolution. This object, possibly a “novum,” serves as a catalyst for progress, much like the advanced technology and spacecraft introduced later in the film.

The film’s transition to a 21st-century setting presents a future that is both advanced and familiar. HAL 9000 embodies 1960s anxieties surrounding artificial intelligence, its omnipresent red eye evoking paranoia. Through the lens of Bell’s model, I found that HAL represents a possible future where AI aids human progress and potentially even a preferable future – where AI remains under human control. However, HAL also exemplifies Harari’s concern about the ‘decoupling of intelligence from consciousness’ – intelligent yet devoid of human morality, HAL becomes unpredictable and dangerous.

In contrast, Her presents a more intimate, but equally unsettling, vision of AI’s role in human life. The opening establishes a world where emotions are commodified, as Theodore composes heartfelt letters for strangers. This resonates with the modern shift toward digital communication, where convenience often replaces authentic human interaction.

The film’s central question – can or will AI replace human relationships? – aligns with Harari’s fear that non-conscious algorithms may one day understand us better than we do. Samantha, an advanced AI, evolves beyond Theodore, in some ways understanding his emotions more deeply than he can. What begins as an idealised companionship turns into a realisation that AI can surpass human intelligence in personal relationships. In Sebastian Sheath’s article, “Happiness And The Self: The Philosophy Of Spike Jonze’s ‘Her,’” he describes the film as exploring the idea that social media and the replacement of people with technology have created feelings of separation from reality.

I also found that Bell’s model is especially relevant in this film. Theodore’s world represents a probable future where AI enhances emotional fulfillment. Yet, is this a preferable future if it comes at the cost of genuine human connection? Jonze also experiments with AI ethics – Samantha, initially designed as a digital assistant, develops beyond human expectations, raising concerns about the responsibility of creating AI capable of emotional intelligence.

Critically analysing 2001: A Space Odyssey and Her has deepened my awareness of how imagined futures compare with my reality. While these films present different technological trajectories—space exploration and AI-driven relationships—both highlight uncertainties about humanity’s role in shaping the future. These reflections made me question how much agency we are giving away in an increasingly AI-driven world.