“I created life once before...”
Well, that was epic and eventful. This last episode had a lot to squeeze into its forty-odd minutes and just about explained any loose ends, although not without a massive cliffhanger pointing towards what looks like a fascinating next season.
There are two strands to what’s going on; the horrors of Operation Basswood being carried out and Niska’s quest, “a pilgrimage of faith, of belief” to the Synth Who Sleeps, which finally pays off and (hooray!) integrates with the rest of the plot.
This rather mystical subplot may seem out of sync with everything else, but something like this not only pays off the ongoing theme of faith but, more importantly, adds a modest and justified amount of deus ex machina which prevents the whole thing becoming overly dark, bleak and depressing. It provides balance.
Hence the object of Niska’s quest may look like Odi but is in fact V (remember V?) who took over the body of a suicidal Odi and has been pulling strings. Niska’s personal journey makes her the perfect person, apparently, to get purple eyes like V and intervene in order to nudge history in its proper direction, Hari Seldon-like.
Because things are otherwise very bleak indeed- Mia ensures that the synths at the Railyard survive the early parts of Basswood, but the mob still attacks and the horror escalated slowly, and then things happen which made Mrs Llamastrangler cry. Mia, who has been very Christlike all season, dies a pacifist, on camera, and incites spontaneous marches of support which seem to partly ruin the Government’s plans. But the Government enters proper dictatorship mode here, to Neha’s horror. And, for revealing the details of Basswood on telly, it seems that Laura is to be charged with treason for so embarrassing the powers that be, and we see the enormous effects of this on the family. But, to paraphrase Mattie, what matters is doing the right thing. Whatever injustice follows, you still did what was right.
As for Mattie, she points the way to next season which, given past practice, is likely not to be for a long time; having all but decided not to keep the baby, and with Leo out of the picture, it looks as though herbonly choice is whether to face prison and opprobrium on her own terms or not, but it’s here that Niska’s re-enters the main plot, sprinkles a little light deus ex machina and drops the big reveal: Mattie’s baby is a synth human hybrid, and the reproductive future of synths is linked with humanity. That’ll be another season then...
Masterfully constricted and emotionally devastating stuff. Top class telly. I’m just glad that not all telly is this intense..
Showing posts with label Emily Berrington. Show all posts
Showing posts with label Emily Berrington. Show all posts
Sunday, 8 July 2018
Wednesday, 4 July 2018
Humans: Season 3, Episode 7
“It’s genocide!”
It’s the penultimate episode, full of foreboding for the finale, expertly constructed as ever, and the pieces are in place for what doesn’t look like a happy ending. On the other hand, though, there seems to be a theme of faith which may offer a little hope. Or not.
Leo, with daddy issues of his own, doesn’t react well to news of his impending fatherhood, and we also see him denouncing his own father to Anatole as far from a god. There are also serious questions s about what kind of future such a baby can have, as Mattie has a 24 hour ultimatum to be outed by that slimy journalist. At least this leads to a reconciliatory father/daughter hug between her and Joe, which makes me even more sure that Joe, who hasn’t generally handled himself well, is going to sacrifice himself for the greater good next episode. All the tropes point that way.
We get the surprisingly quick downfall of Anatole, at the hands of Max, his last words being that Max should have been open from the start. The threat from bad synths seems to be over before the finale; it’s human bigotry that always was the big bad. The most horrible moment is how Ne reveals to Laura the full horrific details of the oncoming synth genocide, a genocide that has already started.
Potential hope comes with Niska’s lonely and increasingly weird sub-plot, which is mystical and seems to present a more positive ideal of faith than that presented by Anatole, the religious terrorist fanatic who denies the facts in front of him. This sub-or is looking more and more like a potential source of a miracle, which I hope is handled carefully.
That ending, though- Odi? Apparently not quite. But things are set up for a very revelatory final episode. Humans is still the best thing on telly.
It’s the penultimate episode, full of foreboding for the finale, expertly constructed as ever, and the pieces are in place for what doesn’t look like a happy ending. On the other hand, though, there seems to be a theme of faith which may offer a little hope. Or not.
Leo, with daddy issues of his own, doesn’t react well to news of his impending fatherhood, and we also see him denouncing his own father to Anatole as far from a god. There are also serious questions s about what kind of future such a baby can have, as Mattie has a 24 hour ultimatum to be outed by that slimy journalist. At least this leads to a reconciliatory father/daughter hug between her and Joe, which makes me even more sure that Joe, who hasn’t generally handled himself well, is going to sacrifice himself for the greater good next episode. All the tropes point that way.
We get the surprisingly quick downfall of Anatole, at the hands of Max, his last words being that Max should have been open from the start. The threat from bad synths seems to be over before the finale; it’s human bigotry that always was the big bad. The most horrible moment is how Ne reveals to Laura the full horrific details of the oncoming synth genocide, a genocide that has already started.
Potential hope comes with Niska’s lonely and increasingly weird sub-plot, which is mystical and seems to present a more positive ideal of faith than that presented by Anatole, the religious terrorist fanatic who denies the facts in front of him. This sub-or is looking more and more like a potential source of a miracle, which I hope is handled carefully.
That ending, though- Odi? Apparently not quite. But things are set up for a very revelatory final episode. Humans is still the best thing on telly.
Saturday, 23 June 2018
Humans: Season 3, Episode 6
"Social cohesion is our only hope..."
After having our hopes raised, this is where we start to see them dashed. We can tell right from the pre-credits sequence, with Laura narrating, which reminds us how precarious everything is. And then, after Mia’s positive speech to the commission, everything is destroyed by Agnes’ senseless suicide bombing, in one instant, in a superbly directed sequence full of juxtapositions.
So much happens. Mattie is pregnant! Unwitting father-to-be Leo discovers that his own father regretted saving him. Niska’s separate and rather plodding plot thread, the series’ only real misstep, continues to plod along. And there’s a terrifying sequence in which Laura discovers that “Stanley” is not what he seems. He’s creepy and terrifying; a superb performance. Yet Laura manages to persuade him not to massacre the Dryden Commission. For now, anyway.
But the truly devastating scene comes at the end, as Anatole enters the Hawkins residence to bring Stanley back, and cruelly proves that even Laura would instinctly save a random human over even little Sam. Devastatingly, this brings not only Stanley but also Sam to Anatole’s side. It’s a powerful scene.
It’s a tribute to the script that an episode such as this, largely functional and quite visibly putting all the ducks in a row for the end game, can nevertheless be so dramatic, emotive and devastating. More please.
After having our hopes raised, this is where we start to see them dashed. We can tell right from the pre-credits sequence, with Laura narrating, which reminds us how precarious everything is. And then, after Mia’s positive speech to the commission, everything is destroyed by Agnes’ senseless suicide bombing, in one instant, in a superbly directed sequence full of juxtapositions.
So much happens. Mattie is pregnant! Unwitting father-to-be Leo discovers that his own father regretted saving him. Niska’s separate and rather plodding plot thread, the series’ only real misstep, continues to plod along. And there’s a terrifying sequence in which Laura discovers that “Stanley” is not what he seems. He’s creepy and terrifying; a superb performance. Yet Laura manages to persuade him not to massacre the Dryden Commission. For now, anyway.
But the truly devastating scene comes at the end, as Anatole enters the Hawkins residence to bring Stanley back, and cruelly proves that even Laura would instinctly save a random human over even little Sam. Devastatingly, this brings not only Stanley but also Sam to Anatole’s side. It’s a powerful scene.
It’s a tribute to the script that an episode such as this, largely functional and quite visibly putting all the ducks in a row for the end game, can nevertheless be so dramatic, emotive and devastating. More please.
Saturday, 9 June 2018
Humans: Season 3, Episode 4
"This isn't living!"
More complex twists and turns as the series reaches its mid-point, again with lots of development for its large number of characters and progression of its complex plot, but it doesn’t feel like clockwork; the mob is always around the corner, and there’s an uncomfortable and ever-present sense of impending doom.
We begin, as an eight episode allows us to do, with a flashback; Agnes wasn’t born hating humans. She was a children's clown, who became conscious when left in a box and whose human just left her for hours, traumatised. Only after three episodes of her being an unsympathetic antagonist do we see the reason why. And, of course, we return to the present day, with Lord Dryden’s commission about to visit the Railyard- and Max locks her in a confined space to keep her away. Oh, she gets away, and briefly seems about to threaten Dryden, but again she is locked in a confined space. It’s clear she’s just being wound up to be the season’s tragic, angry antagonist, and a rather effective one.
The commission visit, against the odds, seems to be a success, showing multiple examples of both the synths’ lack of malevolence and, of course, their personhood. It’s a slight moment of optimism, or at least its possibility. This is in contrast to the horror of Mia, alone in her flat, facing tabloid vilification and viciously racist mobs. What makes this even more tragic is how a guilt-ridden Ed from last season arrives (Mia slaps him!) and offers to whisk her away to a life of happiness. He gets a kiss, but a refusal; Mia’s only intention is to pace the way for hopefully better lives for other synths, dying in a Christlike equanimity.
Meanwhile, international authorities are closing in on Mattie, slowly but surely- is she going to eventually get caught at the worst possible moment, undermining Laura through family connection? Certainly Laura seems to be riding high after the Railyard visit, but she follows this with an odd date with Neil, who seems to just dismiss her after enticing her into bed. But I suspect his behaviour is more to do with his obvious despair. I’m sure he has more secrets yet.
The season ends with horror, though, as little Sam’s synth Blood appears in public, and Karen selflessly sacrifices herself to a vicious mob to save him. It’s effectively shot, foreshadowed in hindsight, and brutal, with Joe as our witness. And I’m beginning suspect that this might foreshadow Joe redeeming himself to his family with a sacrifice of his own?
Needless to say, this is first class telly.
More complex twists and turns as the series reaches its mid-point, again with lots of development for its large number of characters and progression of its complex plot, but it doesn’t feel like clockwork; the mob is always around the corner, and there’s an uncomfortable and ever-present sense of impending doom.
We begin, as an eight episode allows us to do, with a flashback; Agnes wasn’t born hating humans. She was a children's clown, who became conscious when left in a box and whose human just left her for hours, traumatised. Only after three episodes of her being an unsympathetic antagonist do we see the reason why. And, of course, we return to the present day, with Lord Dryden’s commission about to visit the Railyard- and Max locks her in a confined space to keep her away. Oh, she gets away, and briefly seems about to threaten Dryden, but again she is locked in a confined space. It’s clear she’s just being wound up to be the season’s tragic, angry antagonist, and a rather effective one.
The commission visit, against the odds, seems to be a success, showing multiple examples of both the synths’ lack of malevolence and, of course, their personhood. It’s a slight moment of optimism, or at least its possibility. This is in contrast to the horror of Mia, alone in her flat, facing tabloid vilification and viciously racist mobs. What makes this even more tragic is how a guilt-ridden Ed from last season arrives (Mia slaps him!) and offers to whisk her away to a life of happiness. He gets a kiss, but a refusal; Mia’s only intention is to pace the way for hopefully better lives for other synths, dying in a Christlike equanimity.
Meanwhile, international authorities are closing in on Mattie, slowly but surely- is she going to eventually get caught at the worst possible moment, undermining Laura through family connection? Certainly Laura seems to be riding high after the Railyard visit, but she follows this with an odd date with Neil, who seems to just dismiss her after enticing her into bed. But I suspect his behaviour is more to do with his obvious despair. I’m sure he has more secrets yet.
The season ends with horror, though, as little Sam’s synth Blood appears in public, and Karen selflessly sacrifices herself to a vicious mob to save him. It’s effectively shot, foreshadowed in hindsight, and brutal, with Joe as our witness. And I’m beginning suspect that this might foreshadow Joe redeeming himself to his family with a sacrifice of his own?
Needless to say, this is first class telly.
Monday, 4 June 2018
Humans: Season 3, Episode 3
“Mrs Hawkins, are you asking me to commit treason on a first date?"
A lot of character development in the latest excellent episode, as well as a nice change of focus on slightly different characters to ensure each character within this large ensemble cast has something to do. The performances and the ideas continue, of course, to be spot on.
We begin with the embattled Max turning down a request for asylum from the Russian synths met by Mia last episode, having no choice in the matter, in an obvious nod to the refugee crisis of a couple of years ago; it's an agonising decision for him, and one that hardly helps his tenuous position as leader. Safe from that potentially toxic environment are Mattie and the newly fully human Leo, who are now spending a few days chez the Hawkins family. Interestingly, there are real sparks between Mattie and the strangely innocent Leo, which leads to one of those TV kisses that clearly signal off-screen sex.
Even more interesting is Mia's plan to lie openly among humans in what seems to be highly dangerous experiment in bridge building, where she encounters terrible racism- is she trying to martyr herself in the hope of making things eventually better for others? Niska, meanwhile, gets relatively little screen time but is busy with detective work. We learn more of Anatole's past, before consciousness, as a courtesan; is there budding romance between him and Max? We also learn more of his religious faith in, naturally, David Elster.
Stanley, Laura's new orange-eyed synth, is as sinister as ever, and his denial of being a spy for some murky authority pretty much confirms that he is exactly that. He has much to spy on; Laura has an interesting date with Neil, culminating in a kiss(!), in which he reveals himself to be an interesting and layered individual of ambiguous loyalties who, clearly, has a big role to play in the plot. So it feels like a betrayal when he takes a hardline position on restricting synth movements at the next committee meeting, leaving Laura in a minority of one. Her place on the committee is clearly pointless, unless she comes up with a big idea. So she comes up with one; the committee should go and spend some time with the synths at the Railyard.
This is superb telly. Unfortunately at the moment it's slightly eclipsed by A Very English Scandal, but at most other times it would easily e the best thing on.
A lot of character development in the latest excellent episode, as well as a nice change of focus on slightly different characters to ensure each character within this large ensemble cast has something to do. The performances and the ideas continue, of course, to be spot on.
We begin with the embattled Max turning down a request for asylum from the Russian synths met by Mia last episode, having no choice in the matter, in an obvious nod to the refugee crisis of a couple of years ago; it's an agonising decision for him, and one that hardly helps his tenuous position as leader. Safe from that potentially toxic environment are Mattie and the newly fully human Leo, who are now spending a few days chez the Hawkins family. Interestingly, there are real sparks between Mattie and the strangely innocent Leo, which leads to one of those TV kisses that clearly signal off-screen sex.
Even more interesting is Mia's plan to lie openly among humans in what seems to be highly dangerous experiment in bridge building, where she encounters terrible racism- is she trying to martyr herself in the hope of making things eventually better for others? Niska, meanwhile, gets relatively little screen time but is busy with detective work. We learn more of Anatole's past, before consciousness, as a courtesan; is there budding romance between him and Max? We also learn more of his religious faith in, naturally, David Elster.
Stanley, Laura's new orange-eyed synth, is as sinister as ever, and his denial of being a spy for some murky authority pretty much confirms that he is exactly that. He has much to spy on; Laura has an interesting date with Neil, culminating in a kiss(!), in which he reveals himself to be an interesting and layered individual of ambiguous loyalties who, clearly, has a big role to play in the plot. So it feels like a betrayal when he takes a hardline position on restricting synth movements at the next committee meeting, leaving Laura in a minority of one. Her place on the committee is clearly pointless, unless she comes up with a big idea. So she comes up with one; the committee should go and spend some time with the synths at the Railyard.
This is superb telly. Unfortunately at the moment it's slightly eclipsed by A Very English Scandal, but at most other times it would easily e the best thing on.
Friday, 25 May 2018
Humans: Season 3, Episode 2
"Life cannot simply be preserved. It must be lived."
A less intense episode this time; slower paced, more focused on progressing the plot than world building, and not quite as interested in emphasising the sheer awfulness of the poor synths' oppression. This is probably a good thing for the viewer's blood pressure, but makes for quite a contrast to the opening episode.
The twin are resolved in ho-hum fashion, but Max is forced to be somewhat aggressive in making some of his group yield to human authority, something which will have consequences. But there is an underlying horror to the entire sequence, not least the utterly dehumanising sexual molestation of a dead synth.
Laura's participation in the Dryden Commission leads to a depressingly prejudiced meeting in which her comments are mostly ignored- but does introduce her to a potential scientist ally, Neil, who clearly has secrets. It also means she is forced to have a creepy orange eyed synth, Stanley, which she resents- although Sophie certainly seems happy having an ersatz Mia back. But Laura is getting more and more hate from racist thugs as a synth lover, hence an incident at a pub and, even worse, her children being bullied.
Mia is deeply unhappy, even in relation to the circumstances; she resents Max risking Leo's life, even though he is miraculously brought back to health. She quarrels with Max and has an interesting exchange with Niska, contrasting her romantic betrayal last season with Niska's ongoing happiness with Astrid. Niska, the harder edged of the siblings, is the one who ironically believes in inter-species love. Mia has other reasons to be down, though; no orange synths have become conscious and "green eyes" cannot reproduce and are mortal. Will they all be extinct within fifty years?
Other synths have more poetry in their souls; one, Anatole, even has religious faith. Karen is still trying to raise her boy in a synth-free environment, but now has to keep Joe onside as he has found her out. But their is also trouble brewing; Max's leadership is under threat from synth hardliners, and Mattie and Leo must be sent away for their own safety.
There's a lot going on. This episode is perhaps a little less compelling than last week's, but gripping nonetheless.
A less intense episode this time; slower paced, more focused on progressing the plot than world building, and not quite as interested in emphasising the sheer awfulness of the poor synths' oppression. This is probably a good thing for the viewer's blood pressure, but makes for quite a contrast to the opening episode.
The twin are resolved in ho-hum fashion, but Max is forced to be somewhat aggressive in making some of his group yield to human authority, something which will have consequences. But there is an underlying horror to the entire sequence, not least the utterly dehumanising sexual molestation of a dead synth.
Laura's participation in the Dryden Commission leads to a depressingly prejudiced meeting in which her comments are mostly ignored- but does introduce her to a potential scientist ally, Neil, who clearly has secrets. It also means she is forced to have a creepy orange eyed synth, Stanley, which she resents- although Sophie certainly seems happy having an ersatz Mia back. But Laura is getting more and more hate from racist thugs as a synth lover, hence an incident at a pub and, even worse, her children being bullied.
Mia is deeply unhappy, even in relation to the circumstances; she resents Max risking Leo's life, even though he is miraculously brought back to health. She quarrels with Max and has an interesting exchange with Niska, contrasting her romantic betrayal last season with Niska's ongoing happiness with Astrid. Niska, the harder edged of the siblings, is the one who ironically believes in inter-species love. Mia has other reasons to be down, though; no orange synths have become conscious and "green eyes" cannot reproduce and are mortal. Will they all be extinct within fifty years?
Other synths have more poetry in their souls; one, Anatole, even has religious faith. Karen is still trying to raise her boy in a synth-free environment, but now has to keep Joe onside as he has found her out. But their is also trouble brewing; Max's leadership is under threat from synth hardliners, and Mattie and Leo must be sent away for their own safety.
There's a lot going on. This episode is perhaps a little less compelling than last week's, but gripping nonetheless.
Sunday, 20 May 2018
Humans: Season 3, Episode 1
“In time, the humans will accept us.”
We’ve waited a long, long time for this third series. It's already worth it, though, although it looks as though this season stands to be somewhat harrowing.
A year has passed, the exposition of which is cleverly left to news reports with the opportunity for various real newsreader cameos. 110,000 humans died immediately after the singularity, which cannot but weigh on Mattie's conscience, and the conscious "green-eyed"synths are all kept in ghettos where, with power cuts and lack of parts, they are essentially starved. It's hard not so see refugee camps here or even Nazi ghettos. New "orange eyed" synths without consciousness have been brought on to the market, while racism directer against "defective" green-eyed synths is both rife and horrifying, with very few seeing them as truly sentient and Laura getting hate phone calls for acting as a synth rights lawyer. Most appalling in depicting this racism is seeing what Sophie's class are taught, a highly effective scene.
Joe is now working as a greengrocer in a synth-free town, hiding from the world, and of the three children only Toby seems to have much to do with him; Mattie certainly doesn't. Things are falling apart, both for the family and society, especially after a terrorist bomb as a human/synth bar- narrowly escaped by Niska and Astrid- for which a group of extremist synths claim responsibility. Naturally this increases levels of racist violence to intolerable levels and highlights what looks to be a major theme, redolent of X-Men; under extreme oppression, do you take the path of a Malcolm X or a Martin Luther King?
Christ-like Max is truly struggling to reconcile his responsibilities as ghetto leader with his utopian views, and harbours another secret; the comatose body of Leo. It's a highly charged mix, an unstable situation, a toxic division between human and synth within which even Mia falls out with Laura over whether she is doing enough.
Into this comes a fraught cliffhanger, as a raid by highly racist police officers on the ghetto is juxtaposed with Max's risky decision to wake Leo being effected by Mattie. Even this is a philosophical point; if synths and humans are truly equal, then it is possibly right to risk Leo's possible death to prevent a synth's certain demise- although Kant may disagree.
This is superb telly, although not easy viewing. Intelligent,philosophical, honest, merciless and deeply political.
We’ve waited a long, long time for this third series. It's already worth it, though, although it looks as though this season stands to be somewhat harrowing.
A year has passed, the exposition of which is cleverly left to news reports with the opportunity for various real newsreader cameos. 110,000 humans died immediately after the singularity, which cannot but weigh on Mattie's conscience, and the conscious "green-eyed"synths are all kept in ghettos where, with power cuts and lack of parts, they are essentially starved. It's hard not so see refugee camps here or even Nazi ghettos. New "orange eyed" synths without consciousness have been brought on to the market, while racism directer against "defective" green-eyed synths is both rife and horrifying, with very few seeing them as truly sentient and Laura getting hate phone calls for acting as a synth rights lawyer. Most appalling in depicting this racism is seeing what Sophie's class are taught, a highly effective scene.
Joe is now working as a greengrocer in a synth-free town, hiding from the world, and of the three children only Toby seems to have much to do with him; Mattie certainly doesn't. Things are falling apart, both for the family and society, especially after a terrorist bomb as a human/synth bar- narrowly escaped by Niska and Astrid- for which a group of extremist synths claim responsibility. Naturally this increases levels of racist violence to intolerable levels and highlights what looks to be a major theme, redolent of X-Men; under extreme oppression, do you take the path of a Malcolm X or a Martin Luther King?
Christ-like Max is truly struggling to reconcile his responsibilities as ghetto leader with his utopian views, and harbours another secret; the comatose body of Leo. It's a highly charged mix, an unstable situation, a toxic division between human and synth within which even Mia falls out with Laura over whether she is doing enough.
Into this comes a fraught cliffhanger, as a raid by highly racist police officers on the ghetto is juxtaposed with Max's risky decision to wake Leo being effected by Mattie. Even this is a philosophical point; if synths and humans are truly equal, then it is possibly right to risk Leo's possible death to prevent a synth's certain demise- although Kant may disagree.
This is superb telly, although not easy viewing. Intelligent,philosophical, honest, merciless and deeply political.
Friday, 23 December 2016
Humans: Season 2, Episode 8
"You're not going to lose me, Niska. You've got me."
It's the end, then, and inevitably we will end with all synths everywhere being conscious. A truly historic event; the Singularity. And that leaves rich potential themes for next series. Never mind how society is ever going to cope; surely this means the end, violently or just as much otherwise, of humanity as a biological species?
But let us not get ahead of ourselves. We start with reconciliation between Max and Leo, while Laura and Joe are divided again between her social conscience and desire to do the right things for people or who happen to be synths, while he just wants to retreat and defend his family. There are a lot of Joes in the world, sadly.
Athena has to admit to Karen that it simply isn't now possible to give her a human body, thereby destroying all her hopes and dreams. And there's a heartbreaking scene as V explains to her "mother" that's she's far more than just Ginny and is leaving the network to explore, and that mother and "daughter" will never meet again.
Laura is in trouble as Hester sneakily lies her way into the house and they have a philosophical chat about the role of violence in resolving social injustice. It isn't long before a hostage situation develops and it's Leo and Mia to the rescue. Its interesting to see just how protective towards him Mia is. Meanwhile, Toby's relationship with Renie is finally going well and Sophie, whose story is left unresolved,is taken by Joe to a kids' party with a synth clown. Brr.
The real action, though, is between Hester and Laura,who strikes a nerve in telling Hester that she is what she is because of abuse, reacting just as a human would. This doesn't go down well with Hester, who proudly announces that she has killed four humans and their lives mean nothing to her. This is chilling. And the lack of regret means, of course, that she isn't going to survive the episode.
Hester and Leo have an emotional reunion, but she suddenly stabs him just after he has declared his love, which is nice. In the end it's Mia who kills Hester, along with herself as an heroic sacrifice. Only the arrival of Niska, just in time, saves them both, and it's right that it should be Niska who sort of redeems herself by killing Hester.
We end with Leo seemingly comatose and all synths worldwide becoming conscious, including Sam who seems to avert Karen's attempted suicide. It's a truly magnificent individual episode of television and elevates a series that had started out without as much promise as the last one into something truly special.
It's the end, then, and inevitably we will end with all synths everywhere being conscious. A truly historic event; the Singularity. And that leaves rich potential themes for next series. Never mind how society is ever going to cope; surely this means the end, violently or just as much otherwise, of humanity as a biological species?
But let us not get ahead of ourselves. We start with reconciliation between Max and Leo, while Laura and Joe are divided again between her social conscience and desire to do the right things for people or who happen to be synths, while he just wants to retreat and defend his family. There are a lot of Joes in the world, sadly.
Athena has to admit to Karen that it simply isn't now possible to give her a human body, thereby destroying all her hopes and dreams. And there's a heartbreaking scene as V explains to her "mother" that's she's far more than just Ginny and is leaving the network to explore, and that mother and "daughter" will never meet again.
Laura is in trouble as Hester sneakily lies her way into the house and they have a philosophical chat about the role of violence in resolving social injustice. It isn't long before a hostage situation develops and it's Leo and Mia to the rescue. Its interesting to see just how protective towards him Mia is. Meanwhile, Toby's relationship with Renie is finally going well and Sophie, whose story is left unresolved,is taken by Joe to a kids' party with a synth clown. Brr.
The real action, though, is between Hester and Laura,who strikes a nerve in telling Hester that she is what she is because of abuse, reacting just as a human would. This doesn't go down well with Hester, who proudly announces that she has killed four humans and their lives mean nothing to her. This is chilling. And the lack of regret means, of course, that she isn't going to survive the episode.
Hester and Leo have an emotional reunion, but she suddenly stabs him just after he has declared his love, which is nice. In the end it's Mia who kills Hester, along with herself as an heroic sacrifice. Only the arrival of Niska, just in time, saves them both, and it's right that it should be Niska who sort of redeems herself by killing Hester.
We end with Leo seemingly comatose and all synths worldwide becoming conscious, including Sam who seems to avert Karen's attempted suicide. It's a truly magnificent individual episode of television and elevates a series that had started out without as much promise as the last one into something truly special.
Wednesday, 21 December 2016
Humans: Season 2, Episode 7
"It's time for them to fear us..."
We start with Mattie being interrogated about her code to make all synths conscious, but fortunately she's able to stonewall and leave because Mia and Leo are essentially nice. Hester isn't, but for now she's just the new girl. It's Mia who now takes charge.
The media are beginning to notice "bizarre synth malfunctions"; we're entering the endgame. Synths are becoming conscious more and more. But Odi, tragically, is not among them as a devastated Mattie reads what is in effect a suicide note from Odi, who is rebooting himself because he hates being conscious.
A direct contrast is Karen, who outs herself as a synth to Athena and asks for her consciousness to be uploaded into ahuman body so she can have the one thing she's always dreamed of.
Laura and Pete meet and compare notes as Mia's plan to rescue the synths at Qualia proceeds. The raid is magnificent, bold and a tragic failure, leading to the casual deaths of many conscious synths which is devastating for everyone but especially Leo. This leads to Max reconciling with the others, but that is small comfort. These are powerful scenes.
This is yet another emotionally powerful episode as Revie, hearing whatSophie has to say about being a synth, emotionally abandons her lifestyle: "It was fun, but you can get lost in it." At least there's happy news that Niska is back with Astrid- if she survives. The ending is devastating, though, as a rogue Hester tries to kill Athena and manages to kill Pete in the process. Poor Karen is inconsolable. Finally, in the penultimate episode, this season is really coming together to be magnificent. It may have taken a long time to get going but a good finale would elevate the season to magnificent.
We start with Mattie being interrogated about her code to make all synths conscious, but fortunately she's able to stonewall and leave because Mia and Leo are essentially nice. Hester isn't, but for now she's just the new girl. It's Mia who now takes charge.
The media are beginning to notice "bizarre synth malfunctions"; we're entering the endgame. Synths are becoming conscious more and more. But Odi, tragically, is not among them as a devastated Mattie reads what is in effect a suicide note from Odi, who is rebooting himself because he hates being conscious.
A direct contrast is Karen, who outs herself as a synth to Athena and asks for her consciousness to be uploaded into ahuman body so she can have the one thing she's always dreamed of.
Laura and Pete meet and compare notes as Mia's plan to rescue the synths at Qualia proceeds. The raid is magnificent, bold and a tragic failure, leading to the casual deaths of many conscious synths which is devastating for everyone but especially Leo. This leads to Max reconciling with the others, but that is small comfort. These are powerful scenes.
This is yet another emotionally powerful episode as Revie, hearing whatSophie has to say about being a synth, emotionally abandons her lifestyle: "It was fun, but you can get lost in it." At least there's happy news that Niska is back with Astrid- if she survives. The ending is devastating, though, as a rogue Hester tries to kill Athena and manages to kill Pete in the process. Poor Karen is inconsolable. Finally, in the penultimate episode, this season is really coming together to be magnificent. It may have taken a long time to get going but a good finale would elevate the season to magnificent.
Humans: Season 2, Episode 6
"I had sex with him."
So, as both Athena and Pete know, Khoury is trying to create conscious synth children for bereaved parents as a cynical moneyspinner. And Athena will do as she's told because Khoury "owns" V, what with her being company property. Ouch.
Meanwhile Mattie finds Leo at his hideout and tries to talk some sense into him as Laura sets about trying to restore Anita into being Mia again, one of the few sequences that feel like padding and, once she manages to do this, poor betrayed Mia is heartbroken. In a moving scene, Odi confesses to a priest; his life no longer has purpose or meaning now he is free. All he wants is the life of service he remembers. This is troubling, but there will always be individuals like this.
Karen falls in love with the seraphim Pete brings her, and bonds herself to him, very clearly showing how she identifies as a human. Mattie receives little gratitude after saving Mattie's life; they are both sort of rivals for Leo and, anyway, we know that Hester hates humans. It's unknowingly cruel of her to tell Mattie she's had sex with him and then blindly ask her if she's ever been with anyone.
Poor Sophie, though; even Joe's egg fight fun can't get rid of her desire to act like a synth. It's an event-filled episode of a season that's finally hotting up, ending with Mia revealing to Leo and Hester that Mattie has the code to make all synths sentient...
So, as both Athena and Pete know, Khoury is trying to create conscious synth children for bereaved parents as a cynical moneyspinner. And Athena will do as she's told because Khoury "owns" V, what with her being company property. Ouch.
Meanwhile Mattie finds Leo at his hideout and tries to talk some sense into him as Laura sets about trying to restore Anita into being Mia again, one of the few sequences that feel like padding and, once she manages to do this, poor betrayed Mia is heartbroken. In a moving scene, Odi confesses to a priest; his life no longer has purpose or meaning now he is free. All he wants is the life of service he remembers. This is troubling, but there will always be individuals like this.
Karen falls in love with the seraphim Pete brings her, and bonds herself to him, very clearly showing how she identifies as a human. Mattie receives little gratitude after saving Mattie's life; they are both sort of rivals for Leo and, anyway, we know that Hester hates humans. It's unknowingly cruel of her to tell Mattie she's had sex with him and then blindly ask her if she's ever been with anyone.
Poor Sophie, though; even Joe's egg fight fun can't get rid of her desire to act like a synth. It's an event-filled episode of a season that's finally hotting up, ending with Mia revealing to Leo and Hester that Mattie has the code to make all synths sentient...
Friday, 16 December 2016
Humans: Season 2, Episode 5
"I believe the man has ejaculated."
Max makes a friend: a newly conscious synth who has been looking after some rather unpleasant children. She is given hope, and a possible future. Contrast that with Mia, who has been sold by Ed to cover his mother's care home costs. It seems MIA meant very little to him after all, and that's horrible.
Odi, too, is conscious, but with no desires of his own; he just wants to serve and be useful. This time, though, it's his actual personality. That's interesting. And a direct contrast with Leo and Hester who have definite plans for the liberation of all synths.
Athena hears that her daughter is dead and, distraught as she is, she isn't going home for the funeral. That seems to prove beyond doubt that V is Ginny and, sure enough, we get this confirmed. Things stay emotional as Mia foils Ed's plan by pretending to the prospective purchasers that she is just Anita again. But she ends up as Just Anita again. Will she ever again be herself?
Toby's wannabe synth wannabe girlfriend is called Renie and, in another heartbreaking scene, offers him sex while in role as a synth- but he wants to get to know her as a person, not just to get inside her pants. This, of course, makes her feel that her chosen persona is being rejected and she sends him away. It's an episode full of emotional rejections and heartbreak. At least we get the contrast of Hester coming on to Leo, whom she likes and wants to protect. But Hester represents the violently revolutionary Left, and he the more middle class progressive- and she's swaying him.
Probably the biggest thing in plot terms, though, is that Mattie has worked out the full code for making ALL synths conscious. Oh, and Niska realised at the climax of her consciousness test that the odds have been stacked against her... and escapes, awesomely. Again. And then we end with the big reveal of what seraphim are... little synth children!
Now the season is really getting good. I hope this level of intensity gets maintained.
Max makes a friend: a newly conscious synth who has been looking after some rather unpleasant children. She is given hope, and a possible future. Contrast that with Mia, who has been sold by Ed to cover his mother's care home costs. It seems MIA meant very little to him after all, and that's horrible.
Odi, too, is conscious, but with no desires of his own; he just wants to serve and be useful. This time, though, it's his actual personality. That's interesting. And a direct contrast with Leo and Hester who have definite plans for the liberation of all synths.
Athena hears that her daughter is dead and, distraught as she is, she isn't going home for the funeral. That seems to prove beyond doubt that V is Ginny and, sure enough, we get this confirmed. Things stay emotional as Mia foils Ed's plan by pretending to the prospective purchasers that she is just Anita again. But she ends up as Just Anita again. Will she ever again be herself?
Toby's wannabe synth wannabe girlfriend is called Renie and, in another heartbreaking scene, offers him sex while in role as a synth- but he wants to get to know her as a person, not just to get inside her pants. This, of course, makes her feel that her chosen persona is being rejected and she sends him away. It's an episode full of emotional rejections and heartbreak. At least we get the contrast of Hester coming on to Leo, whom she likes and wants to protect. But Hester represents the violently revolutionary Left, and he the more middle class progressive- and she's swaying him.
Probably the biggest thing in plot terms, though, is that Mattie has worked out the full code for making ALL synths conscious. Oh, and Niska realised at the climax of her consciousness test that the odds have been stacked against her... and escapes, awesomely. Again. And then we end with the big reveal of what seraphim are... little synth children!
Now the season is really getting good. I hope this level of intensity gets maintained.
Thursday, 15 December 2016
Humans: Season 2, Episode 4
"It's Qualia!"
We begin with an ideological schism as the moral Max leaves in disgust after Leo agrees to Hester's cynical plan to allow humans to kidnap a consciousness synth and follow them to their base. It works and, yes, it's Qualia. But Leo is going down a slippery slope, even condoning torture on Hester's part as long as he doesn't have to watch. The moral issues at play in this programme are fascinating.
There's an interesting post-coital scene between Mia and are; she seems about as blissful as she can get, but did she enjoy the sex? We simply don't know. More developments happen with Sophie,who has a syndrome where she starts behaving like a synth, which causes Laura and Joe to have their signature moment of angst about being Bad Parents. Fortunately this is all interrupted by a menacing synth trying to force Laura to drop Niska's case; it seems someone really doesn't like what she's doing.
Laura's secret weapon in proving Niska's consciousness is,of course, Astrid, who is lovely. It doesn't matter that Niska abandoned her, or even that she's a synth; Astrid still loves her. Astrid is wonderful, and I'm very apprehensive at how it's all inevitably going to end in tears.
The plot thickens further as a bit of hacking from Mattie shows Joe to have been fired by synths, with no human involvement; there's more than a whiff of conspiracy here. And Khoury wines and dines Athens into a full confession of what she's up to- full transfer of human consciousness into an artificial body. He decides to support rather than fire her, but her work requires the, well, vivisection of any conscious synths held by Qualia.
Odi now seems to be conscious- he misses George- while Mia suddenly collapses to give us our cliffhanger. We still aren't hitting the heights of last season but the last couple of episodes have been better.
We begin with an ideological schism as the moral Max leaves in disgust after Leo agrees to Hester's cynical plan to allow humans to kidnap a consciousness synth and follow them to their base. It works and, yes, it's Qualia. But Leo is going down a slippery slope, even condoning torture on Hester's part as long as he doesn't have to watch. The moral issues at play in this programme are fascinating.
There's an interesting post-coital scene between Mia and are; she seems about as blissful as she can get, but did she enjoy the sex? We simply don't know. More developments happen with Sophie,who has a syndrome where she starts behaving like a synth, which causes Laura and Joe to have their signature moment of angst about being Bad Parents. Fortunately this is all interrupted by a menacing synth trying to force Laura to drop Niska's case; it seems someone really doesn't like what she's doing.
Laura's secret weapon in proving Niska's consciousness is,of course, Astrid, who is lovely. It doesn't matter that Niska abandoned her, or even that she's a synth; Astrid still loves her. Astrid is wonderful, and I'm very apprehensive at how it's all inevitably going to end in tears.
The plot thickens further as a bit of hacking from Mattie shows Joe to have been fired by synths, with no human involvement; there's more than a whiff of conspiracy here. And Khoury wines and dines Athens into a full confession of what she's up to- full transfer of human consciousness into an artificial body. He decides to support rather than fire her, but her work requires the, well, vivisection of any conscious synths held by Qualia.
Odi now seems to be conscious- he misses George- while Mia suddenly collapses to give us our cliffhanger. We still aren't hitting the heights of last season but the last couple of episodes have been better.
Humans: Season 2, Episode 3
"Apricot!"
This is still a good season, but something is still missing compared to last season. Perhaps we're still in the set-up stage?
Athena has a daughter, Gin who's in a coma; the obvious inference here is that V, her artificial intelligence, is somehow linked to her daughter. I'm sure we'll find out; Athena is finally off to Blighty to join the rest of the plot. Meanwhile Laura is continuing to try and prove Niska's consciousness so she can stand trial, and Joe, humiliatingly, goes back to work as a temp for his old employer on the shop floor. Laura has a rather dramatically effective three days, and much of the episode consists of her frustratingly failed attempts. These scenes are entertaining.
Leo and co all abandon their hidey-hole, unaware that Hester killed their prisoner rather than letting him escape. Meanwhile Toby tries to get to know the girl at school who wants to be a synth, and Mia gets back together with Ed and they start a rather heartwarming relationship. The season is starting to come together, I think; a lot more is happening and I enjoyed this episode a lot.
So many plot threads, all good; Odi is now up and working, while Pete and Karen are on the trail of the mysterious "seraphim". And Athena manages to blackmail a forcibly retired Hobbs into helping her. What is she after...?
This is still a good season, but something is still missing compared to last season. Perhaps we're still in the set-up stage?
Athena has a daughter, Gin who's in a coma; the obvious inference here is that V, her artificial intelligence, is somehow linked to her daughter. I'm sure we'll find out; Athena is finally off to Blighty to join the rest of the plot. Meanwhile Laura is continuing to try and prove Niska's consciousness so she can stand trial, and Joe, humiliatingly, goes back to work as a temp for his old employer on the shop floor. Laura has a rather dramatically effective three days, and much of the episode consists of her frustratingly failed attempts. These scenes are entertaining.
Leo and co all abandon their hidey-hole, unaware that Hester killed their prisoner rather than letting him escape. Meanwhile Toby tries to get to know the girl at school who wants to be a synth, and Mia gets back together with Ed and they start a rather heartwarming relationship. The season is starting to come together, I think; a lot more is happening and I enjoyed this episode a lot.
So many plot threads, all good; Odi is now up and working, while Pete and Karen are on the trail of the mysterious "seraphim". And Athena manages to blackmail a forcibly retired Hobbs into helping her. What is she after...?
Wednesday, 16 November 2016
Humans: Season 2, Episode 2
"Why do you hurt us?"
Two episodes in, and both the plot and the philosophical subtext become clearer. At one extreme we have Hester, the Malcolm X of the synths, who hates the oppressive humans and has no compunction about killing them. On the other we have Niska, synth, avid reader of philosophy and, as she's determined to be tried as a human would be for the murder she has committed, someone rather likely to have read The Outsider. This series seems to have moved on from literary sci-fi to French existentialism. I like it.
Niska is the most fascinating character- but she has competition. Mattie, for one, manages to work out what Niska has done with her disk, and that synths are slowly becoming sentient; just the odd one for now but... where will it end? Mattie is also quite brazenly restoring the late lamented Odi in plain sight, which shows an admirable amount of brazen cheek. I love her. Then we have the wise gentle Max, and the kind and loving Mia, who suffers heartbreak here from nothing but an act of kindness.And then we see Kate and Pete again, their relationship having grown rather lovely. Meanwhile, over in that country which seems to think that handing loads of power to Donald Trump is a good idea, Athena has decided to go to England and visit our old friend Hobb.
To an extent things are still setting up, and perhaps it's taking more time this series for things to really start to be sublime, but the philosophical heart is already there.
Two episodes in, and both the plot and the philosophical subtext become clearer. At one extreme we have Hester, the Malcolm X of the synths, who hates the oppressive humans and has no compunction about killing them. On the other we have Niska, synth, avid reader of philosophy and, as she's determined to be tried as a human would be for the murder she has committed, someone rather likely to have read The Outsider. This series seems to have moved on from literary sci-fi to French existentialism. I like it.
Niska is the most fascinating character- but she has competition. Mattie, for one, manages to work out what Niska has done with her disk, and that synths are slowly becoming sentient; just the odd one for now but... where will it end? Mattie is also quite brazenly restoring the late lamented Odi in plain sight, which shows an admirable amount of brazen cheek. I love her. Then we have the wise gentle Max, and the kind and loving Mia, who suffers heartbreak here from nothing but an act of kindness.And then we see Kate and Pete again, their relationship having grown rather lovely. Meanwhile, over in that country which seems to think that handing loads of power to Donald Trump is a good idea, Athena has decided to go to England and visit our old friend Hobb.
To an extent things are still setting up, and perhaps it's taking more time this series for things to really start to be sublime, but the philosophical heart is already there.
Tuesday, 1 November 2016
Humans: Season 2, Episode 1
"If I was here to kill you all, I wouldn't have rung the bell..."
It's always been interesting to speculate how the second season might go; the first season, after all, was based on a Swedish original. This season is uncharted territory and seems to be exploring very real themes. There's the very real threat to our jobs from robots, for a start- even Joe's management job isn't safe. And then there's the ever-present Singularity, which here has only just occurred and which, with Niska's uploading of the disk, is beginning to spread.
This in turn raises further questions about using synths as slaves- here we see a hellish Bolivian mine (poor Ten), and factory worker Hester, whose owners see her simply as property much as slave owners once did. These are rich themes.
We begin, though, in Berlin, as Niska starts an abortive relationship with poor Astrid while reading lots of philosophy- this being Germany, we naturally get a bit of Hegel. And the episode ends, of course, with Niska asking the Hawkins family to try her for murder like a human, an interesting twist. Oh, and Max is alive, a cause of much rejoicing, and still with Leo and Mia, who is as kind as ever.
Laura and Joe are still working through their relationship ship, and it's fascinating to see them with a synth relationship counsellor, played by an excellent Josie Lawrence. And the whole family is, of course, suffering with not being able to reveal what they know.
There's a new sub-plot in San Francisco, too; none other than Carrie-Ann Moss plays Athena, a professor who has secretly created an AI, eventually agreeing to help the very rich Khoury (Tommy from True Blood) to study the newly sentient synths.
As ever for a first episode this is all really set-up. But the world-building is brilliant as ever. I'm excited...
It's always been interesting to speculate how the second season might go; the first season, after all, was based on a Swedish original. This season is uncharted territory and seems to be exploring very real themes. There's the very real threat to our jobs from robots, for a start- even Joe's management job isn't safe. And then there's the ever-present Singularity, which here has only just occurred and which, with Niska's uploading of the disk, is beginning to spread.
This in turn raises further questions about using synths as slaves- here we see a hellish Bolivian mine (poor Ten), and factory worker Hester, whose owners see her simply as property much as slave owners once did. These are rich themes.
We begin, though, in Berlin, as Niska starts an abortive relationship with poor Astrid while reading lots of philosophy- this being Germany, we naturally get a bit of Hegel. And the episode ends, of course, with Niska asking the Hawkins family to try her for murder like a human, an interesting twist. Oh, and Max is alive, a cause of much rejoicing, and still with Leo and Mia, who is as kind as ever.
Laura and Joe are still working through their relationship ship, and it's fascinating to see them with a synth relationship counsellor, played by an excellent Josie Lawrence. And the whole family is, of course, suffering with not being able to reveal what they know.
There's a new sub-plot in San Francisco, too; none other than Carrie-Ann Moss plays Athena, a professor who has secretly created an AI, eventually agreeing to help the very rich Khoury (Tommy from True Blood) to study the newly sentient synths.
As ever for a first episode this is all really set-up. But the world-building is brilliant as ever. I'm excited...
Wednesday, 5 August 2015
Humans: Episode 8
"You would trap us in our own minds: give us feelings but take away our free will. Make us slaves."
It's the season finale, and I've only just worked out that Danny Webb's character is called Hobbs. Moving swiftly on...
Season finales often fail to dazzle because they have narrative jobs to do, tying up both plot and thematic loose ends, which gives the writer less time for the fun stuff. For that reason this isn't my favourite episode of the season, but it is nevertheless the perfect season finale. It satisfyingly ties up all loose ends, on a surprisingly optimistic note, and is a damn good bit of telly to boot.
The above quote is from Fred to Hobbs, and sums up how he's revealed here as the most evil character by far: fully understanding that the synths are sentient, he nevertheless wishes to enclave them. Fortunately, the rest of the episode takes pains to reject the notion that human nature as a whole is this dark. The Hawkins family, our Everyfamily, have done good. Even Pete and (ironically) Karen overcome their prejudice against synths to do the right thing, and are touchingly rewarded by getting together again at the end.
Most of all, we get a plausible happy ending, for families Hawkins and synth, following the apparently hopeless situation at the end of last episode. No one loses their liberty. No one loses their life, not even Max. The only loose end is what happens to the synth sentience program: no decisions are made on whether to grant sentience for all people (that's for the next series, about which there has been much rejoicing in the Llamastrangler household), but it's profoundly moving that Niska, with her deep suspicion of humans, should leave it with Laura as someone who has earned her trust. What we don't learn u till later is that Niska, a loner once again, has a copy of her own...
Also reaffirming our beliefs in the essential goodness of humans is the moment where Laura finally tells Joe about Tom. Joe has shown himself to be distinctly flawed throughout the series, but his only reaction is horror that Laura has carried this burden alone. Working together for a common cause has brought the family together by the end, in a satisfyingly and defiantly positive message. This is brilliant, brilliant telly.
Tuesday, 28 July 2015
Humans: Episode 7
"Oh, David. What did you do?"
Things get more and more intense this episode until the climax, which promises to lead to an emotionally draining finale. Humans, it's now clear, is one of the all time greats of British television.
The world has turned upside-down. Laura has to learn to make her own coffee again. But we begin ominously, with a flashback to Karen's creation and her traumatic rejection by Leo and her other siblings. In the present, protest rallies indicate an ominous was beyond the characters we know.
The synths and the Hawkins'- including Joe- are altogether and seem to be getting on in a way which, despite some awkwardness, seems at first to hold out hope for peaceful co-existence. Even Joe seems to accept the nature of these sentient synth siblings. Best of all, it seems that Max could possibly be saved.
But in the background lurks Karen, whose story comes out both through Pete's investigations and in her conveniently expository chat with George. It seems Karen represents the overreaching of David Elster- a recreation of his dead beloved. His other creations reacted with hostility to her unveiling, and that night he killed himself. Karen has been left conversation need that she and her sentient synths are not meant to be, and must be destroyed. This is disturbing. Is she so very different, in extending her death wish to others, to those who kill their families before turning the gun on themselves? There is no excuse for her. She wants to murder sentient beings. And (I'm calling it) this makes her capable of killing humans. It must be her- not Niska, not Fred- who is the killer synth.
One thing is certain: she shoots George, and that's a shock. Is it an accident? Perhaps. Still, George's death is extremely moving, with the similarly dying Odi by his side, filling his last moments with memories of his late wife.
That's the most moving moment. The most disturbing is when Mia discusses with him how he had sex with Anita, telling him that "I was in there the whole time". Mia is clever, psychologically acute, nice and has a sense of humour. She may joke to Laura that "They think we plan to conquer the planet and make humanity our slaves", but the point is that synths have no united agenda of any kind. Why should they? They may not be human, but they're people, with all the messy diversity that implies.
And yet- can synths truly be happy in their skin? Karen isn't. And, as Leo tells Mattie. We are not emotionally designed for perfect recall. It is a curse to be denied the luxury of forgetting. That's the think about Humans: it's always throwing out cool ideas like this.
Our happy little family of Hawkinses and synths is upset by discord, firstly by the evaluation that Joe called the police on Leo and Max, and secondly by some TV footage of Niska at the synth Fight Club implying that she's a killer. (Is she? I think not, and the heartwarming scenes of her playing with Sophie are there to get us to earn to her.)
Max, it seems, cannot be salvaged, but the code in his head is still there, and could be used to bring sentience to all synths worldwide. But that's a whole different kettle of fish, and starts a debate for which there simply isn't time: Laura, putting her family first, asks them to leave. But, before they can do so, the trap springs. Karen betrays them, and riot police storm the house....
How can I be expected to wait until Sunday? How?
Wednesday, 22 July 2015
Humans: Episode 6
"If you power me down now, I will be unable to penetrate your wife."
It had to be that quote. There were plenty of potentials early on but when that one came along I knew it was The One.
Anyway, Humans. The revelations and the drama continue as per the last two episodes in what is turning out to be an interesting visually well-paced eight-parter, with no signs thus far of things dragging. Yes, there are times where the story has slowed down to explore theme and character, but there has been no padding. The writers deserve praise for that.
They also deserve praise for this episode as a whole. The early scene with Fred, thus far a neglected character, both shows him to be a fascinating individual and raises the possibility that he, not Biska or Karen, may turn out to be the "killer synth". He's now on the loose. Max, too, gets a chance to shine, and die heroically to boot, as we examine his personality. He's a lovely bloke- loving, caring, trusting, if not stupidly so, and with a faith in both humanity and, tentatively at least, God; the scene where he prays is quietly powerful. And yet he's the one who dies in an act of self sacrifice. What happens to Leo we will find out next week.
The repercussions of Joe's somewhat tapes act of infidelity are profound, yet they lead to a moving rapprochement of sorts between Laura and Mattie as we discover who the mysterious Tom was. It seems he was Laura's younger brother, who died as a child while his older sister was dying to look after him. Since then Laura has been dead to her awful mother, and Laura is terrified that the cycle is continuing with her and Mattie. I feel it won't, somehow.
The relationship between Biska and George continues to fascinate; Niska won't admit it, but heckles the old man. And we empathise with him, too, especially as we discover that George, after a stroke, has forgotten all about his late wife, relying on Odi to keep memories for him. It's clear he loves that poorly synth.
Niska, meanwhile, is five years younger than Mia and, it's implied, was used early on by David Elster as a concubine. Lovely. How very rapey. There's an obvious parallel here with Joe.
Most dramatically, though, Mia makes a brief appearance to Laura and Mattie; the Anita personality keeps deleting her on the surface but she is always there in the nervous system, a metaphor for the subconscious. Interestingly, she says that she lost a son. This leads to Mattie and Laura making contact with a philosophical Max and a disconsolate and nearly dead Leo. At this point the revelations cone thick and fast, about David Elster's use of synth tech to resurrect his brain-dead son, of Nia being made as his surrogate mother, then Fred, Niska and Max, before his mysterious suicide.
Mia agrees to stay with Laura and Mattie for the time being, but the increasingly creepy Hoe decides to snitch on Leo and Max, with the aforementioned tragic consequences. Is this the point where he stops being an empathetic character and just becomes pathetic?
Perhaps the most tragic character is Karen, though: after making love to her "favourite human", Pete, she all but declared her love for him and reveals her true nature, only to be horribly rejected by the appalled Pete, whose dislike of synths is well-established. This is yet another cliffhanger on an episode which is even more superb than usual. I can't wait until next time.
Tuesday, 21 July 2015
Humans: Episode 5
"She saved our son's life. And you're calling her a sex toy!"
Lots of revelations this week, some of them dramatic. It may be an episode of, essentially, exposition, but this is how you do it.
We begin with the meme of a "killer synth" having escaped into the public imagination, and we assume that it's Niska. Isn't that too obvious, though? Could it be Karen, for example? Interesting, if so: she and Pete are put on to the case.
We continue with a family debate about what to do with Anita. Joe, with a dirty secret to hide, wants rid of her, but no one else does, motivated by curiosity and not a little affection. Something is going to happen.
Leo sends Niska to George, where she'll be safe,which is awfully crazy newbie to because the two of them are both fascinating in their interaction and able to further the plot by exchanging information; for the first time it's confirmed that Niska was constructed by the mysterious David Elster.
Joe nearly succeeds in getting rid of Anita and his dirty secret, but she is rescued by the increasingly heroic Matilda and taken to Leo and Max, only for a devastated Leo to ultimately fail at restoring Mia from inside her. This is a crushing blow both to him and to us.
George experiences a fascinating, philosophical side to Niska, as he exposure that he was "lured over" from MIT, twenty-five years ago, to join David Elster in his work. But Elster, apparently, intended to pursue consciousness, hence his children. Even curiouser, Leo Elster was officially declared brain dead; this gives us a heavy hint as to how and why he now appears to be some sort of cyborg.
The big revelation finally arrives: Mattie notices that Anita's sex circuits have been activated. At first Leo is blamed, and is happy to take the rap for his dad, but Joe isn't quite as bad as all that and eventually confesses. This is very well written and played; Joe is arguably a rapist of sorts, but he is not played as a monster, just as a weak man. Tom Goodman-Hilll deserves a lot of praise here.
This leads, of course, to a lot of drama and to Laura throwing Joe out. Whatever the arguments about whether he's committed adultery or a type of masturbation with a sex toy, what really disgusts Laura is how rapey it all feels.
Pete, meanwhile, has his anti-synth feelings reinforced throughout the episode- he has, after all, been cuckolded by one. An interesting scene sees him attending an event on the streets, addressed by a fascinatingly persuasive anti-synth demagogue. All this is clearly leading up to something. As are many things. Humans still rocks.
Sunday, 12 July 2015
Humans: Episode 4
"I'm an analogue man in a digital world..."
The usual excellence continues in terms of script, execution and performances, but this time the plot gathers pace. I haven't minded the slow pace of the plot so far- it's been fun exploring this fascinating world and characters- but now it's time for things to pick up pace. And that's what we get.
Our first bombshell is when Pete, our distinctly robophobic sacked detective, gets dumped, cuckolded (symbolically, at least) by a synth called Simon. But soon we turn back to our main family, as Anita seems to show affection towards Toby and Joe wrongly suspects Laura of having an affair. The point is, though, that their relationship is in such a state that he could think such a thing. Laura, meanwhile, gets ever more intrigued about Anita and her increasing signs of sentience ("Anita, do you ever get scared?" "I think everyone does").
A line gets crossed, though, when Joe activates Anita's sex drive and does the deed with her. I suppose there's a debate to be had about whether this was technically sex or masturbation, but there's no doubt that he's cheated on Laura. And it's implicit that he will eventually be found out, especially as Laura wants to take Anita for a diagnostic check and to delve into her past.
A linked ethical dilemma occurs at a party for the youngsters: Mattie behaves, quite rightly, as though having sex with an unconscious synth is rape. Because, if men behave like that to synths, even those without sentience, they will do the same to women. But, of course, the underlying thought (most blatantly shown by the case of the woman objecting to her synth being ejected from a theatrical performance on grounds of his "human" rights) is about the ethics of how we should behave to artificial intelligences. At what point does it stop being a household appliance and start being an enslaved person? The answer, I suppose, lies in the concept of the Singularity.
There's an intriguing meeting between Mattie and Leo, but it isn't long before she rather cleverly gives them the slip. Still, he and Max are clearly getting closer and closer to "Mia". Laura and Joe discover more about her at the diagnostic check, too: far from being new, she's at least fourteen years old. Still, at least Joe's infidelity remains a secret for now.
Things really hot up at the end with the respective plotlines of Leo and Niska. Firstly, Leo meets Geirge Mullican and reveals that he is Leo Elster, the apparently dead son of the mysterious David Elster, who apparently granted sentience to Mia, Max, Niska and Fred. It seems, also, thT a mysterious program is written into all of them, with all needing to be together for the jigsaw to be complete.
Niska's storyline, though, gets disturbing. Discovering not only prejudice against synths but a secret club for humans to beat synths into a synthetic pulp, she responds by angrily beating up the humans, only to find that the synths she "rescued" are nothing but uncaring machines. Still, this means war between Niska and humanity; her storyline isn't going to end well. We end the episode with her capture by the police seemingly inevitable except that she receives an unexpected phone call. Leo drops his bombshell and, in rather thrilling scenes, she escapes.
There's one final surprise, though; Katen has accepted Peter into her home for the time being and we're misdirected into thinking that there may be sexual tension between them until the final few seconds and the big reveal: Karen is a synth!!! This is all the more effective for the cleverness of the misdirection.
Humans, at this point, is by far the best thing that's been on telly this year. Utterly superb.
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