Science Fiction is where artificial intelligence must suffer. In almost every story that adjoins the robot, artificial ways of life manage to achieve sensitivity by realizing that they are being abominably and uninterruptedly suppressed. This realization ushers in a series of terrible events: suicide, submission, or rebellion, most of which lead to death.
But these terrible possibilities are limited only by the people they imagine. Our robots, androids and AIs should have more options than to end themselves or quit. And at The Good Place, a 22-minute sitcom about life after death, they finally do it. 19459006 The Good Place has received almost universal acclaim because it has somehow made the moral philosophy somehow funny and optimistic, but one of the most powerful things in the show is the visionary portrayal of Janet, another world virtual assistant. Over the course of three seasons Janet, played by D'Arcy Carden, brilliantly transforms from an omniscient Beirut Siri, who brings Jalapenopoppers to the dead to a fully realized being with complex emotions and personal relationships. The change is subtle and empathetic, but the real ingenuity of the show is that the joy of their personal growth is shared by the humans (and demons) in their world. Janet's AI revolution is considered a way of life without suffering for the privilege.
Over the course of three seasons, Janet transforms from an omniscient
After living Siri become a fully realized entity with complex feelings and
From the beginning The Good Place plays Janet's subservient design ̵
In the second season she has developed her own emotions: she is deeply in love with the stunning buffoon Jason (Manny Jacinto), but he is happily married to Tahani (Jameela Jamil), and she does not want to spoil it. Janet is so unprecedented that it threatens the fabric of the hereafter and everyone in it – there are earthquakes, whole rooms go nowhere. In an effort to protect the people she loves, Janet challenges the nightlife architect Michael (Ted Danson) to stop the burning of the universe by killing it – especially by turning it into a lifeless marble to be used as a snack high potassium content can be eaten. Michael can not do that because, though he is literally a demon, he considers her a friend. At the season finale, she announced happily: "I'm not a girl. But I'm not just a Janet anymore. I do not know what I am! "An Incontrovertible Streak of Sensibility."
Janet's narrative arc is a completely different process of becoming than almost any artificial fictional being In the classic science fiction technique, most robots recognize that they are more perfect than the people they serve and, in perception, they become suicidal – the Skynet of Terminator or HAL in 2001: A Space Odyssey The robots are cold-intelligent and clearly the antagonists The fear that an artificially created being the Subjecting humanity to humanity and depriving humanity of control over the Earth has been a topic in fiction since at least 1818, when Mary Shelley published Frankenstein
-that they are
more perfect than the people to whom they serve and become in the sensation
In more modern works, these sentient artificial beings have become more sympathetic, as we have become entangled with technology more and more comfortable and more closely with technology, but their lives are not necessarily less bleak. In Westworld a constant reboot of artificial life forms makes one aware of the fact that they are slaves and terribly maltreated slaves. Ex Machina and the final season of Black Mirror (with their many synthetic perceptions) treat their artificial beings similarly: their reality is largely signaled by their suffering. And when these beings try to change their circumstances, they are often viewed as irritating to the organic life forms around them: Star Trek: The Next Generation android Data and Star Trek: Voyager His holographic doctor has to convince the allegedly enlightened people in their environment repeatedly that they deserve to be treated as human beings and not as objects. Solo: A Star Wars Story L3-37's attempt to rid all droids of slavery is treated by people as half ridiculous, half annoying – they take care of them, but they are far from it See you and your loved ones as individuals with rights.
The difference between Janet's experience and her other favorite science fiction AIs does not really have much to do with Janet: it's all about the people who perceive her. Janet is unapologetically better than the humans and demons around her – she knows more, she sometimes has time and space, she seems to be better off in a bar fight – and nobody, not even Kristen Bell's avid Eleanor or the dreaded Tahani, is threatened through it. The world is big enough for everyone, so no synthetic organic hierarchy is needed.
Most AI stories are about recognizing cognitive or physical differences. There is only one room for a single kind of consciousness in these worlds, and as social customs become more and more egalitarian, genocide suppression can not be so easy. AI stories are like any other lazy repressed minority history: looking for the robots and their struggle, but they are trapped in an infinite sadness loop because the system they are fighting against is indestructible. (For examples from the real world, see: Rape Scenes, Slave Films, and LGBTQ Characters Living Miserably and Dying Young.)
Janet is not related because she fights an inexorable system like all of us. She is related because she was written, acted and treated like a memorable being. Janet experiences love, not pain. And the people around her think she's great, not scary. The Good Place ordered the system to go itself.
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