Things are starting to get interesting on Humans, and tonight’s episode was about nothing but the feels. It’s easy enough to break everything up into the four main stories that happened this evening, so that’s exactly what I’m going to do. And why don’t we start and end with the boring humans?
Let’s get going:
Hangin’ With the Hawkins:
There’s finally some good news around the Hawkins household: Joe (Katherine Parkinson) has a job. Back at his old plant. Moving boxes around. Now, this is something a synth could do, but the government has to do something with all these unemployed guys who’ve been replaced by said synths and this is what they do. However, the new job allows Joe to spend more time at home doing the caregiving thing, and he seems to do little better than Laura (Katherine Parkinson). And during one of those moments he has an encounter with Sophie (Pixie Davies). He puts her to work grating cheese and she cuts open her hand, but then acts as if it doesn’t hurt. The girl is acting strange: she’s referring to her father as “Joe” as well as doing a lot of standing still and staring. Remember, at the end of Season 1 Sophie was starting to imitate Mia (Gemma Chan) and it looks as if she’s falling back into that habit.
Maddie (Lucy Carless) finally downloads the consciousness code into Odi (Will Tudor), and though it takes a while for it to override his base code Odi finally becomes awake and nearly walks in on Joe while he’s taking a shower. Now Maddie has a conscious synth that she can use to hunt down information. Just what every girl her age wants.
Oh, and at school Toby (Theo Stevenson) hits on the girl who identifies as a synth is completely shut down. Given that he invested a lot a wink time in Mia when she was at the house, it’s unlikely he’s going to give up anytime soon with this girl.
The Many Moods of Mia:
Speaking of Mia,She’s currently going through a bit of a quandary. See, working around Ed (Sam Palladio) has caused some funny things to happen insider circuitry, and after a short talk with Max (Sam Palladio)–which is overheard by Hester (Sonya Cassidy)–she finds Ed that at the café and tells him that she has to speak with him. She tells him that she is a conscious synth, that she can feel just like a human. But wait, there’s more! She also tells Ed about those funny feelings that she’s having insider circuitry–what us humans would call “love”.
The thing is, Ed is down with that. So after her reveal they go back to the café, have a heart-to-heart, and then began making out. In fact, they make out so long that Ed’s friend shows up at the café and notices that it is having a big kissing session with his synth help. I’m sure this won’t come back to bite him on the ass.
Meanwhile, Leo (Colin Morgan) discovers their prisoner is gone and that Max turned him loose. Hester however doesn’t reveal that she drowned the poor bastard in a puddle, but who cares because Leo is freaking out and decides it is time to get the fuck out of town. However, Mia informs Leo that she’s not leaving because she she now has a human that she cares for and she won’t leave him. Leo’s like, fuck it, ain’t got time for this drama, and splits with Max and Hester. While on the run looking for new place he comes up with the new plan: find the silo and free all the conscious synths.
Doing the Police Thing:
Detective Inspector Karen Voss (Ruth Bradley) is finally back at work after having to go “visit her sick father”. Sure, that’s what happened. Good thing for her she’s still working for Detective Sergeant Pete Drummond (Neil Maskell), because she can get away with this sort of shit when she sleeping with her immediate supervisor. DS Pete has a new case: a “head cracker” apparently spent a hundred thousand on a synth, and he privately tells Karen that this is gotta be some sort of special synth like her. Before they leave to check out the head cracker she uses the loo where she meets up with another policewoman who tells her that she knows her secret. A moment of panic crosses Karen’s face before the other woman reveals that she knows Karen and Pete are an item.
The two check out the head cracker who is acting flaky the minute they walk in the house. He mentioned something about a Seraphim and then runs like his ass is on fire, getting away from Pete without a problem. They don’t have much to go on except for a laptop and a phone with one contact on it. Later at a pub Karen and Pete are having drinks and Pete reminds Karen I given the number of pints she’s consumed she should act a little more drunk. He thinks Seraphims are special synths like her and that they are conscious. Just then Karen looks as if she’s about to throw up and runs to the bathroom where she does. Pete follows her in and jokes about how she’s finally getting to experience some of the less welcome human conditions, but she reveals the bad news: the bag she uses to hold fluids and solids has broken and right now all that beer is coursing through her system, screwing up the circuitry. Before she starts shorting out she tells Pete to get her to the car, get her home, and drain all the fluid out of her body before she’s damaged beyond repair. In the car she’s spasming so hard that she tells Pete to shut her off, which he does with a lot of tenderness.
Go To the Mirror, Girl!
The reason Laura can’t do the caregiving thing is because she spending all of her time trying to prove that Niska (Emily Berrington) is really a conscious being. But Niska is proving to be a difficult case to prove: she’s put in a room where she spent a lot of sensory information that is designed to provoke emotional reactions, and for the most part she sits and stares at the images with no feeling whatsoever. Laura decides to roll the dice and she comes right out and asked Niska why she killed her last john. Niska tells her and the other people monitoring her: that her client wanted her to dress as a young girl, to pretend she was a young girl, and that she felt based on past experiences that the man was going to hurt her. She gets about as honest as she’s ever been with everyone at the holding center, telling them that while she’s incapable of crying it doesn’t mean she doesn’t feel pain, fear, and sadness. It’s just that she doesn’t express those emotions the same way others do.
Note: if you think about it, the years Niska spent as a sex worker taught her to separate her feelings from her work, and since she was working all the time when she wasn’t recharging, the only way she could get through a day was by completely shutting down all of her emotions. The difficulty here is, how do you bring out emotional responses and someone who is completely disconnected from their emotions?
Laura spends time watching Niska on a monitor and she notices the synth rubs her right wrist from time to time. Laura goes to the area where Niska’s personal items are kept and not only finds the wrist band that was given to her by Astrid, but she discovers Astrid’s mobile number. And an idea starts to form…
Ooh, Baby, Do You Know What That’s Worth?
So I’ve saved the best for last and as such, you should get ready for a few in jokes here.
Before she heads off to England Athena (Carrie-Anne Moss) goes to a hospital caregiving center outside of San Francisco and visits a young woman who is in a coma–a woman who we saw hiking with Athena in a scene moments before she arrived at this hospital. For a moment or two I thought we might be dealing with a Girlfriend in a Coma, but while Athena is rubbing lotion on the young woman’s hands a man shows up and began speaking with Athena. A moment or two of conversation indicates that this man is Athena’s ex-husband and that the person in the room is their daughter. He’s trying to get Athena to sign termination papers so they can end the girl’s life–he more or less tells Athena that You Keep Me Hanging On— but she says she’s heading off to England to do some research and she has no intention of signing papers.
She finds Professor Edwin Hobb (Danny Webb)–who didn’t die as I half expected them to do after the end of Season 1–but he doesn’t want to talk to her. Though really, he does, and he sets up a situation where they can have a quiet conversation as he watches his granddaughter. He explains that he’s being watched, and that part of his agreement with the government to keep out of jail is not to not write or discuss anything concerning conscious synths at all. So the reality is he can’t converse with Athena, because he doesn’t want to go to jail. Since she can approach them directly with questions she tries another tactic: she asked him what he would like to do if he had gotten into AI’s. He says he probably would’ve become a wine grower. She tells him that she’s working with Qualia and that she can get him a million dollars to open a vineyard. It’s still not enough: he doesn’t want to talk. Finally she goes all in: she tells him if he doesn’t talk she’s going to send an email to him–several emails, in fact–thanking him for the nice, pleasant conversation they had and how much it’s going to help her with her research. So now he can either come to her room later in the day and tell her what she wants to know, or she’s gonna fuck him hard with a complete dick move.
However, it’s a dick move that works and Hobb shows as expected. He now has his demands: he has his eyes on a vineyard and he’s going to need a million and a half dollars to get it operational. He’ll tell her what he knows but only in broad strokes, nothing specific; that way, no one would be able to tie what she’s doing back to him and it could all be explained away as a coincidence. Apparently, these conditions are okay with Athena.
With that she heads off to Qualia Headquarters, UK, and meets with a person there. They know that Athena is there to work on conscious synths and they have plenty of them: they’re all kept in The Silo. Gee, what a fucking surprise! She immediately gets to work and wouldn’t you know it, she has a computer link back to V (Chloe Wicks), who as we know is Living in a Box. V tells Athena that she’s been thinking of something lately, and she’s been thinking about it a lot. Athena asked her what it is and she says it’s a waterfall, a triple waterfall, one that people could walk behind. And isn’t it Ironic that Athena just happens to have a picture of that waterfall–the same one we saw her at with her daughter.
Any moment now Athena is going to queue up Belinda Carlisle and get this party started–
As always, leave us a comment and tell us what you think!
Niska — Emily Berrington
Mia — Gemma Chan
Max — Ivanno Jeremiah
Hester — Sonya Cassidy
Leo — Colin Morgan
Laura Hawkins — Katherine Parkinson
Joe Hawkins — Tom Goodman-Hill
Mattie Hawkins — Lucy Carless
Toby Hawkins — Theo Stevenson
Sophie Hawkins — Pixie Davies
Detective Sergeant Pete Drummond — Neil Maskell
Detective Inspector Karen Voss — Ruth Bradley
Dr. Athena Morrow — Carrie-Anne Moss
Ed — Sam Palladio
V — Chloe Wicks
Odi — Will Tudor
Professor Edwin Hobb — Danny Webb
Humans airs in the US on AMC at 10 PM EDT.