The film gave us rain, ziggurats, and androids; the real machine arrived as a blank place to type.The film is a design masterpiece and a lousy weather forecast, and the gap between the two tells you where real AI is heading.Ridley Scott set Blade Runner in a Los Angeles of November 2019 — permanent rain, neon in a dead language. That date has come and gone, so we can grade it.The atmosphere holds up unnervingly well: the surveillance, the synthetic voices in the dark but the machines are another matter.Scott gave us the replicant, a manufactured person, indistinguishable from you until an examiner asks the right questions. Forty years of expectation took that shape, and we braced for the android; what arrived instead types back at you from a blank box and has never had hands.This is not a complaint about the film, one of the most influential design objects of its century.Call that...