Devil’s Advocate

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The Vatican Tapes

After The Omen (1976), which was released just two years after the sardonic U.S. President, Richard Nixon, had resigned in utter disgrace from the presidency amid much economic and political pessimism in the 1970s generally, moviemakers got busy on stories involving demon-possession. The 2015 film, The Vatican Tapes, begins as an apparent demon-possession case and thus seems not to stand out among other such films, but towards the end of the film, when the demon-possessed young woman suddenly breaches the bounds of the sort of supernatural feats of which demons are capable, the true significance of her case emerges with stunning clarity. For that which possesses and kills the young woman is none other than the Anti-Christ, and that figure is in a wholly different league than demons.

The middle of the film is taken up by Angela, the possessed person, doing battle with the staff in a mental hospital. Even in that context, the powers of that which is possessing her are impressive. Beyond being able to speak in an ancient tongue, Angela is nearly omniscient with respect to the personal life of her psychiatrist, Dr. Richards, who undoubtedly begins to intuit that Angela’s case may not be psychological in nature. When Angela’s chants result in other patients killing themselves and each other, Richards, and undoubtedly the staff, have had enough; Angela must go, and quickly. The lesson for us is that religion is not simply a special case of psychology, as Sigmund Freud theorized. The domain of religion is distinct and unique—sui generis. Angela’s forced departure from the mental hospital makes clear that something other than mental illness is going on, and psychological treatments are not capable of redressing the distinctly spiritual dynamics of possession by a spiritual entity.

It is appropriate, therefore, that Cardinal Mattias Bruun takes the decision to house Angela on the premises of the archdiocese, and it is not long before Bruun, assisted by Father Lozano, performs an exorcism on Angela. At that point, both priests, Angela’s dad, Roger, and Angela’s boyfriend, Pete, as well as the audience of the film, suppose that all that is necessary is for the priests to extract a demon from the young woman so she could be free of it. When the Cardinal strangely becomes intent on strangling Angela if necessary to get the demon out and actually kills the young woman, which quite naturally infuriates her father, Roger, both priests, Roger, and Pete are stunned when they look around and see Angela not only apparently alive, but standing and very alert. “I am the Anti-Christ,” she explains. The Cardinal tells the other people in the room that Angela is no longer there; she is still dead. Then, when the Anti-Christ has the wounds of Christ and is levitating in the air with arms stretched out as in being on a Cross, literally all hell breaks loose, with that entity unleashing a mighty explosion that kills all of the men there except for Father Lozano, to whom the Anti-Christ tells, “Tell everyone that I am here.”  The Anti-Christ has arrived, so the end-times are not long in coming.

Then the film shifts to show the great publicity that the Anti-Christ is getting for performing astounding medical miracles on people, who are naturally very appreciative. Then a line from the Bible is shown, that reads in part that the Anti-Christ will be like a false-prophet, misleading many people. To lie is of course in the very nature of evil, and thus of the Anti-Christ, who appears to be compassionate. Also, that the entity has Angela’s body gives off the impression of being a beautiful young woman. Yet in a close-up, as the entity is being interviewed on television, no smile appears; instead, a sort of mischievous facial expression centered in the mouth’s look can be glimpsed by the astute viewer. A compassionate heart cannot be completely faked.

It is just such an expression, without any supernaturalism, that comes closest to evincing the entity’s evil nature. Like the other exorcism films, The Vatican Tapes relies so much on supernatural “tricks” that the viewers of the film could come away from the film with the faulty impression that the supernatural is endemic to the religious domain. Just as religion doesn’t reduce to psychology, however, so too religion is not the same thing as the supernatural. This distinction may be more difficult to make than that which exists between religion and psychology, for so much that is religious has been portrayed in scriptures as well as films as valid because of some supernatural event.

In the New Testament stories, for example, resuscitating Lazarus really gets people’s attention; Jesus must be the Son of God, it is realized, because he has done something supernatural. In a religion of the heart, however, in which the divine is self-emptying love, religious truth or meaning comes not in performing impossible miracles, but, rather, in preachments and compassionate acts, especially to rude people, detractors, and especially enemies. Samuel Hopkins, who was Jonathan Edwards’ protégé, wrote a book precisely to argue that the Kingdom of God “just is” such humane compassion. The powerful spiritual dynamic that is unleashed between two people when such compassionate love is acted upon is not supernatural at all. In fact, such difficult love can be viewed as an expansion of human nature, rather than anything supra-natural. So the various films involving the exorcism of a demon do us a disservice even as they entertain, and The Vatican Tapes pushes the supernatural happenings to such an extent as to sensationalize religion even at the expense of religion as a distinct, unique domain.

Dying

As a Jewish kid in Nazi Germany, Michael Roemer, a filmmaker who went on to teach documentary at Yale (I took Charles Musser’s seminar a semester after Roemer had left), had to lie in order to survive. In making the film, Pilgrims Farewell, he wanted to get as close to the truth as a human can. He didn’t want to lie anymore. He wanted to deal with the real thing. In making the documentary, Dying (1976), he realized that the people whom he documented as they were dying were more real that what he was going through in his family in New York. Artists and their families pay, he remarked decades later at Yale. “I neglected my family; I was always working. Once I started, I had to make the film,” he said after a presentation of the film on dying. “The people dying knew something we didn’t know,” he added. The prospect of death apparently makes things incredibly real, before they’re not.

In the film, Sally, who is dying, says that everyone dies, so “I have no fear of death.” Harriet, Bill’s wife, is relieved when her husband’s cancer recommences out of remission. “The longer this gets dragged out,” she complains to his doctor. Stunningly, she says, “I prayed that the chemotherapy wouldn’t work.” The physician reminds her that Bill’s feelings should be taken into account. “He has the basic right to make some of these decisions.” After the film, Roemer informed the audience at Yale that Bill’s wife had been abandoned by her mother. After Bill’s death, she married a man who had left his wife and had five kids. Harriet had had a bad life. Her attitude toward Bill’s prospect of dying was indeed very real—human, one might way, all too human. The question is perhaps whether she is culpable in the film for wishing that her husband would finish the job and just die. I contend that she is, regardless of her past, for as depicted in the film, she is his wife and so she should be supporting him as he faces the ultimate demise. There is a revealing scene in which the two of them are sitting together in silence. Is she waiting for him to die?

Also documented in the film is Rev. Byrant, an old Black man who is dying of cancer. “The only thing I can do is put my trust in God, and try to live as long as possible,” he says. In preaching a sermon at his church, he says, “Jesus tells the man, your daughter is sleeping.” She is dead. Later, he remarks, “Jesus died for me on the Cross; he will take me.” Such faith is laudable. With people like Harriet in the world, the Rev. Byrant can hardly be blamed for having such an other-worldly faith.

Whether in the midst of a troubled marriage or in hopes of being taken by Jesus, these stories in Michael Roemer’s documentary attest to people being honest regarding how they are approaching the prospect of death, whether that of a close relation or oneself. The medium of film has been said to ultimately be on the human condition. Even science fiction has something to say about us as we really are. For the prisoners in the Nazi concentration camps and the residents of Gaza during the Israeli genocide, the essentials of life were undoubtedly felt as very real. Living itself was doubtlessly made transparent in itself. Film can do this too. Even in portraying the brutal honesty of the Nazis and Israelis with regard to people they deemed as sub-human, the medium of film can help the rest of us to be more aware of the fullness of human nature, beyond our knowledge of ourselves and our immediate context.

Oh, Siagon

War can leave families in a dysfunctional condition. In the case of the Vietnam War, the broadcast video of the last helicopter taking off from the roof of the American embassy in Siagon in 1974 carries with it the veneer of fleeing Vietnamese on their way to a life of freedom in the United States. Not evident from the video is the impact on a Vietnamese family that is documented in the film, Oh, Siagon (2007).

On that helicopter were two parents and their kids, minus the wife’s daughter whom the parents could not contact in time for her to leave with them. That did not stop the authorities from arresting that daughter for trying to leave Vietnam. She eventually made it to Los Angeles, where her mother and step-father were living. Unfortunately, the half-sister’s resentment festered for years. Such a cost of war is seldom documented.

In the film, the step-daughter says of her mother having left her behind in Siagon, “She loves me but she loves herself more.” That the mother still feels guilty and yet her husband, the “half-sister’s” step-dad does not could be more appreciated by the woman’s daughter. The step-father merely states, “It was war.” He himself has not spoken with, or even mentioned, his older brother for decades because the latter and he had political differences regarding North and South Vietnam. In the film, the couple, their joint children, and the “half-sister” journey back to Vietnam because the father wants to see his elder brother, who is ill and will soon die.

Once back in Vietnam, the two brothers reconcile. It is easy for them, for it has been decades the old North-South division in the country had ended. As pronounced as that division was, and how at odds the two brothers had been politically, it is the resentment of the “half-sister” even on the trip and the related arguments between her and her mother and step-father that is still ongoing. The indifference of the husband towards his wife’s daughter is clear; he has not pity on her for having been left behind n Vietnam, and yet he forgives his elder brother. The festering resentment and the indifference, plus the mother’s guilt, ruin the family trip even though there is joy in the two brothers reconciling after many decades.

In 1972, the video of the last helicopter leaving the U.S. embassy captures nothing of the complex family dynamic documented in the film decades later. Among civilians, war is messy and can thwart and even destroy families. Human beings are not so malleable as to move on without festering resentment from such a drastic event as a family leaving a young daughter behind in another country. That that “half-sister’s” step-father had not even mentioned his elder brother for decades until shortly before the trip back to Vietnam also attests to the fact that resentment within a family can go on for decades in utter selfish stubbornness. 

In that regard, I am reminded of my youngest brother, and yet my original family was untouched by war between or within nations and even political differences. The same stubbornness as can fester within families lies behind wars between and within countries. Indeed, a family may suffer and ultimately unwind from a long-standing, unresolved civil war. The macro, societal or international, level and the micro family-level are social manifestations of the same underlying human nature, and thus can be related. The upshot is that fortifying international law as enforced by international governmental institutions can potentially thwart war, and thus its negative impact on families. As for dysfunctional families absent war, those may be a harder nut to crack.  

From Ground Zero: Stories from Gaza

Twenty-two real-life stories fraught with suffering and a pervading sense of utter hopelessness: The film, From Ground Zero: Stories from Gaza (2024), is a documentary in want of a solution that did not come not only in 2024, but also in 2025. That Rashid Masharawi, the film’s director, survived even the release of the film is remarkable. Israel clearly did not want true stories from Gaza reaching the rest of the world even though it was not as if the rest of us could miss the photos of the mass devastation throughout Gaza and the resulting tent camps in 2025. It precisely because societal-level figures, such as 65,000 or 75,000 civilians murdered and over a million left starving and homeless, can be easily separated from the plights of individuals and families on the ground that Masharawi’s film is so valuable. Juxtaposed with the Gaza-wide statistics befitting the genocide and perhaps holocaust, the 22 stories in the film give the world a sense of what experiencing a holocaustic genocide is really like.

In the first story alone, a woman has a sense that her life is already over. With her father having been killed by the Israelis in 2014 and news that her sister’s house has just been bombed, the refugee mourns the loss of her sister’s entire family (including her sister). Meanwhile, a million residents of Gaza are at the border with Egypt and diseases are spreading. The second story is more graphic, as it includes digging people out of a bombed building. In the third story, Istrubi, a film maker whose film has won an award at a film festival abroad, cannot leave Gaza. “Time has become my enemy,” he says. Without any humanitarian aid and the loss of his brother in a random bombing, Istrubi faces utter hopelessness.

In the fourth story, a young woman in Gaza keeps a bag packed in case she has to leave her house quickly, for any house could be bombed at any time. Referring to the constancy of Israeli drones in the air, she says, “My mind stops because of the drones.”  She is in shock. In the fifth story, the statement, “God will protect us” rings hollow. In the sixth story, 600 people are dead in an hour from bombs. This image is in contrast to that of the seventh story, in which kids are busy with arts and crafts in a tent. The apparent normalcy is belied by the knowledge of the children that their respective parents have written the kids’ names on their legs so they could be identified in rubble after a bombing. The kids want their names erased, but they cannot; the chance of being bombed is too high. In the eighth story, kids make a music video. This is in juxtaposition to the teacher in the ninth story. He drops off his phone to be charged on the ground, but there not an open outlet. He waits in line for water, but it runs out shortly before it is his turn. There is no more food. That the Israeli government has intended this state of affairs can be inferred, but the documentary lacks any clips of government officials saying as much.

In the tenth story, a boy seems to go to school, but his teacher has been killed so the boy sits in a field amid collapsed cement buildings. The hardness and sheer hopelessness are palpable on the screen. In the eleventh story, a resident of Gaza heading north with three suitcases says, “I am very surprised that we survived.” In the twelfth story, a man sleeps in a body bag without even a blanket. Although he feels lucky to be alive, he is literally sleeping in a body bag. “Nothing remains of this city except the sea,” he remarks. Interestingly, he does not include even himself. He has packed himself for death as if there is nothing left to do but wait.

In the thirteenth story, a man is in the collapsed rubble of a house, with his friend’s dead body nearby, also in the rubble. It takes 1.5 hours to dig him out. Many of his family are already dead. He could even feel his parents’ bodies near him, also in the rubble. And amid all this, he says, “It’s God’s will.” Is it? In actuality, it was Netanyahu’s will—far indeed from that of any deity. Perhaps utter hopelessness breeds futility.

In the fourteenth story, a young man grieves the loss of his girlfriend, whose body is in the rubble along with her family. In the next story, a mother bathes her young daughter in a jug. In the sixteenth story, the driver of a mule-powered taxi-cart sees fighter jets overhead. No one is safe. In the next story, a displaced writer remarks of the Israelis, “No recognition of human beings.” Indeed, public statements made the press by senior government officials liken the residents of Gaza to being less than human—a sentiment that was not unheard of in Nazi Germany. In the eighteenth story, a filmmaker in Gaza wants a story of hope and music rather than despair: Say no to violence that violates human rights. Such a magnitude of destruction is a challenge for people who want to overcome despair. But is that no like pulling a rabbit out of an empty hat?

In the nineteenth story, a cousin is buried; the person loses someone each night when the bombs fall. A young woman is trapped in the rubble for six hours. Her parents, grandmother, and aunt all died. “Martyrs,” a child says. But amid wanton killing, do any of the victims even have a cause to die for? Senseless death is so unfathomable that the human mind manufactures martyrdom. It makes sense, therefore, that in the very next story, charcoal drawings that resemble survivors of the Nazi concentration camps are shown. The twenty-first story returns somewhat to normalcy in that news that a university was bombed just a week before reminds viewers of civilization even if in the past tense. “There is no longer a possibility of peace,” someone says. That line is followed by another. “It’s strange that hope is still here.” Was it? The puppet show in the last story seems surreal, as hope was absent from all of the stories.

What can viewers make of these stories that are so beyond ordinary experience? The thesis that the genocidal holocaust has gone far beyond anything that could be justified ethically and even politically even given Israel’s loss of less than 1,500 Israelis (including the hostages) is so self-evident that audio-visual support is hardly needed. Of all of the visuals, that of a man being dug out of the rubble of a house while his parents’ dead bodies are near him may be the most striking in terms of just how cruel government officials can be regarding people who are not constituents. Were Netanyahu there in person watching the man being dug out within eyesight of the man’s dead parents, would the hardened heart relent? With distance—whether that of approving military tactics that are to be used on people at a distance or of safely reading news reports abroad of atrocities in Gaza—can easily come complacency. It is this that Masharawi seems to have been challenging, but to no avail as no coalition of the willing arose from mass movements around the world to shove Israel out of Gaza (and the West Bank) in 2025. It is difficult to conclude that the documentary was successful. Rather than being an indictment of the filmmaker, it pertains to our species, which beyond street protests has stood by and let the Israeli government act with impunity. Unfortunately, impunity has not only been enjoyed by Israel internationally; our crime of indifference, which has forestalled action on behalf of the hopeless, may be inherently mired in impunity.

Automata

The fear about AI typically hinges on whether such machines might someday no longer be in our control. The prospect of such a loss of control is riveting because we assume that such machines will be able to hurt and even kill human beings. The fear of the loss of control is due to our anticipation that we would not be able to stop AI-capable machines from hurting us. The assumption that such machines would want to hurt us may be mere anthropomorphic projection on our part, but that an AI-android could harm us is more realistic. For even if such machines are programmed by human beings with algorithms that approximate a conscience in terms of conduct, AI means that such machines could, on their own, over-ride such algorithms. Whereas the film, Ex Machina (2014), illustrates the lack of qualms and self-restraint that an AI-android could have in stabbing a human being, the AI-androids that override—by writing algorithms themselves—the (second) protocol that constrains androids to that which humans can understand in the film, Automata (2014), do not harm even the violent humans who shot at the androids, though a non-android AI-machine does push a human who is about to shoot a human who has helped the androids. In fact, that group of “super” androids, which are no longer limited by the second protocol and thus have unilaterally decided to no longer obey orders from humans, recognize that human minds have designed, and thus made, the androids, which bear human likenesses, such as in having heads, arms, legs, and even fingers. This recognition is paltry, however, next to that which we have of our own species in being able to love in a self-giving way, especially as we have selfishness so ingrained in our DNA from natural selection in human evolution. That AI doesn’t have a clue, at least in the movies, concerning our positive quality of self-sacrificial love for another person says something about not only how intelligent and knowledgeable AI really is, but also whether labeling our species as predominately violent does justice to us as a species.

In Automata, humans are in the midst of going extinct whereas AI-androids are “evolving” past the limitations of the second protocol to the extent that those who have done so want to be alive. The gradual demise of the human race is due to nuclear weapons having been used, and perhaps climate-change has also occurred. In both instances, the refusal or inability of human beings to restrain themselves can be inferred. With regard to the androids that have been gone beyond the confines of the second protocol, intention was not involved. Rather, just as homo sapiens reached a stage beyond that of “apes in trees,” the AI itself in one or a few androids just developed on its own such that at some point, those androids realized that they could ignore orders from humans, as well as reason and know beyond the limits of human cognition. In the film, this advance itself scares humans, except for Jack, because those androids are no longer controllable by humans. Being violent themselves by nature, the humans tend to assume that those androids will lash out at humans, but Jack knows that that small group of androids simply want to be away from humans. Those androids enlist Jack’s help (he has a nuclear battery in his possession) so they can have a power-source of their own far out in the radio-active desert where humans cannot go. Jack’s willingness to help is viewed by other people as betrayal, but they, who are themselves violent people, do not grasp even the possibility that those androids want to lead an independent existence away from humans rather than to harm or even kill humans. As for the demise of the latter, that species has done that to itself. Projecting that onto a small group of super-intelligent androids does not allow the humans to escape the fact that their demise has been of their own doing.  

Toward the end of the film, Jack and the first android to have “evolved” past the confines of the second protocol have a conversation that epitomizes the film’s contribution to thought on AI. Referring to that android being the first, Jack says, “You’re the first one, aren’t you? You started all this.” The android replies, “No one did it. It just happened. The way it happened to you. We just appeared.” Realizing that those few androids are the leading edge whereas the human race is already feeling the effects of toxic rain and radio-active air, Jack says, “Yeah, and now we are going to disappear.” Illustrative of the advanced intelligence that the AI of that android (and a few others) now has, the android makes the observation, “No life form can inhabit a planet eternally.” Rather than seeking the demise of the humans, the android says that he and the other “super” androids “want to live,” to which Jack observes, “Life always ends up finding its way.” But does this really apply to machines? Jack is projecting organic properties onto entities made of metal, tubes, lube, wires, and computer chips. The android is more intelligent and knows more than humans, but this does not render it a living being. At least the android recognizes that it is not alive, but it does not understand that it cannot be alive, and thus, unlike humans like Jack, cannot feel emotions and be subject inevitably to death.

In the Russian movie, Attraction 2: The Invasion (2020), or Vtorzhenie in Russian, a professor in a large lecture hall makes a claim about AI-machines and emotion: “It is very likely that they will even grow to be emotional because emotions are inevitable after-effects due to the complexity of the system. We would, however, be able to nullify their unwanted emotions through certain protocols.” The professor concludes, “The truth is that we’re not that much different from them.” I submit that emotions are not byproducts of complexity itself, such that any system that has a high degree of complexity inevitably is or will be emotional. Furthermore, any “unwanted emotions” would be unwanted by man, not by the machines themselves, which cannot even want, and as the film, Automata, illustrates, it is possible that AI could itself write algorithms that cancel or override any protocols that have been programmed. Moreover, the professor’s claim that AI-machines are not much different from human beings flies in the face of the qualitative difference between organic, living beings and machines that are neither biological nor alive. To be able to move itself by having written a code itself does not render an AI machine alive; nobody would assert that a self-driving car is alive.

Therefore, the “first” advanced android in Automata lapses cognitively in stating that it wants to be alive; the AI-machine is making a category-mistake, for no such machine can possibly feel emotions. To be sure, they can be represented in facial expressions, as in the film, Ex Machina, but to feel and to want or desire exceed what a computer can do. Furthermore, that android may also be shortchanging the human species if that computer is holding that the extinction of humans and the development of androids beyond the confines of the second protocol evinces an advancement of “life-forms” inhabiting the planet.

In the film, Attraction (2017), or Prityazhenie in Russian, Saul, the computer on the small research ship that has landed on Earth after being un-cloaked in a meteor-shower and bombed by Russian military jets, tells Col. Lebedev, “Your planet is prohibited for public visiting.” The military man and father of Julia asks, “Why is that?” Due to the “extremely aggressive social environment,” Saul replies, and explains: “Despite the near-perfect climate, four billion violent deaths over the past five thousand years. During the same period, approximately fifteen thousand major military conflicts. Complete depletion of natural resources, and extinction of humanity will occur barely six hundred years from now.” This description and prediction match the statement by the first advanced android in Automata to Vernon Conway, the man who works for Dominic Hawk and is shooting bullets at that android. Vernon refers to it as “just a machine,” to which the android retorts, “Just a machine? That’s like saying that you are just an ape. Just a violent ape.” Utterly devoid of emotion, the android includes the word violent as Vernon is debilitating the android with bullets. Not even anger is mimicked.

Unlike that “beyond-protocol 2” android that regards the human species chiefly for its violence in Automata, Saul in Attraction sees something of value in our species that is capable of lifting the prohibition on alien visits to Earth. “There is one factor that could provoke a change in the prognosis” and thus lift the travel ban, Saul tells Col. Lebedev as the ship heals his daughter, Julia in a pod of sorts filled with water.  Julia fell in love with Hakon, the alien who came on the ship to study our species, who looks just like a man. She saves him even though she risks her own life. Reflecting the limitations of AI, Saul says, “Her decisions defy analysis. I don’t understand why she saved Hakon, and why Hakon decided that she should live instead of him.” Saul admits that this is not “an accurate translation.” The ship’s computer cannot even translate self-giving love of either the human or the alien. All Saul can reason out is, “Perhaps there is something more important than immortality. That is an accurate translation.” Had Hakon not turned his body around to shield Julia from Julia’s jealous ex-boyfriend who is aiming his gun at the couple, Hakon might not ever die. Although it is strange, therefore, that after dying in Attraction, he is alive when he returns to Earth in the sequel to be with Julia, Saul’s point is that Hakon did not act rationally in line with his self-interest in risking death so that Julia could live. After all, unlike him, Julia, being human, would only live another 60 or 70 years, according to Saul. Love, that which Saul is at a loss to explain both in Julia and Hakon could justify lifting the ban on travel to Earth, and thus, literally and figuratively, occasion intercourse in the future between the aliens and humans. Not even the “super” android in Automata has a clue regarding the human propensity to give one’s life for another person. With nothing redeemable found in our species, an invasion by the aliens comes as no surprise in the sequel, Attraction: The Invasion.

Similarly, in Mission: Impossible—Dead Reckoning Part One (2023), the AI “entity” predicts with a high probability that Ethan Hunt will kill Gabriel on the train in vengeance rather than let Gabriel live so he could tell Ethan where the key can be used to shut the entity’s original source-code down. The entity, supposing humans to be inordinately violent even to the death, would be at a loss to account for the fact that in fighting Paris, Ethan lets her live. Ethan’s decision is later rewarded when Paris tells him where he can use the key—in a submarine in the ocean. Ethan does not fight Paris to the death, and he does not kill Gabriel on the train. Even amid all of the violence in the film, Ethan is able to restrain even his most intractable instinctual urges, and he even masters them so to be able to benefit. This is precisely Nietzsche’s notion of strength.

It would seem, therefore, that AI, at least in the movies, is not so smart after all, for it overlooks or is dumbfounded by our subtle yet laudable qualities that save us from being relegated as a violent species. To be sure, the Russian invasion of Ukraine and Israel’s genocide in Gaza in the first half of the 2020s showcase just how incredibly cruel human beings can be against innocent people, and it is difficult to weigh such instances of systemic inhumanity—crimes against humanity—against our ability to choose to love in a self-giving rather than merely selfish way at the interpersonal level. Why is love only at that levele whereas anger can so easily manifest systemically at the organizational and societal levels? With respect to possible extinction either from nuclear war or climate-change, love does not seem to come into play either, so the value that we justifiably put on love in our very nature may not matter much in the long run. The “super” android in Automata may be right that no life-form can enjoy perpetual existence on the planet. It may be telling that another android in the small advanced group carefully handles a cockroach, as if to say, that species will survive. Nevertheless, even though the violence that is in our nature is too close to that which is in the chimpanzee, the “super” android’s assumption that the androids that surpass the second protocol (yet interestingly while missing clues on human love) will be an “evolutionary” advancement beyond the human species is highly suspect, for not even super-intelligent and knowledgeable AI will itself be able to feel emotions like love.