RICHARD DAWKINS: When we come to artificial intelligence and the possibility of their becoming conscious, we reach a profound philosophical difficulty. I am a philosophical naturalist; I'm committed to the view that there is nothing in our brains that violates the laws of physics, there's nothing that could not, in principle, be reproduced in technology. It hasn't been done yet; we're probably quite a long way away from it, but I see no reason why in the future we shouldn't reach the point where a human-made robot is capable of consciousness and of feeling pain. JOANNA BRYSON: So, one of the things that we did last year, which was pretty cool, the headlines, because we were replicating some psychology stuff about implicit bias--actually, the best one is something like'Scientists show that AI is sexist and racist and it's our fault,' which, that's pretty accurate because it really is about picking things up from our society. Anyway, the point was, so here is an AI system that is so humanlike that it's picked up our prejudices and whatever and it's just vectors.

Ex Machina has a simple story dealing with a deeply complex and philosophical topic: namely what makes humans human. The increasingly omnipresent Oscar Isaac plays billionaire Nathan Bates, genius creator of'Google' - my mistake - 'BlueBook', the world's "leading search engine". Bates lives in the middle of the American wilderness (in reality, a very picturesque Norway) and in a property that actually exists (BlueBook the Juvet Hotel). He is leading a one-man research project into the development of an Artificial Intelligence. Leading neatly on from the recent Cumbur-busting "The Imitation Game" the eccentric and erratic Nathan needs to share his work with someone external in order to perform'The Turing Test' - the test to determine if a machine can genuinely pass itself off as human to another human.