Humans, Season 1 Episode 5: I Compute, Therefore I Am

Humans Millican Killer Synth

With three weeks left in the run, Humans worked its way into the philosophy of being something others than human. Really, while this episode was spread out a little more evenly between the players this time, the high point was at Doctor Millican’s place, because . . .

Because that’s where Niska went. She met with Leo and listened to him talk about the code he found that will bring about Synth consciousness, but he wants to get Mia back on her feet, so in the meantime, Niska, go hid out with this friendly doctor—his name is Millican.

She does show up, and once inside she meets Vera, and nurse Vera ain’t buying the good doctor’s bullshit that she’s human. On the other hand, Niska isn’t playing, and pretty much tells Vera to piss off on that Synth business. It’s while she’s there and getting tired of being stared at, while Millican figures out she’s “injured” and helps get her patched up, that they start talking about what makes her more than human—what it is that makes her feel. She knows she’s nearly human, she knows it also took seventeen thousand pages of code to make her award. She’s also quite aware that people want to destroy her, because thinking Synths are a no-no. Millican relates on how, when he realized that Leo’s dad really wanted to develop like Niska, he split because he didn’t care for the idea. When he wants to know about her experiences, she shuts the hell up and says she needs to to charge.

Speaking of charging . . . Karen finishes recharging just as Pete barges into her bedroom with a paper and the “Killer Synth” headline. This scares her, ‘cause it seems as if she know what would happen if Pete finds out she’s a Synth. They head back to the office and news people are all over their asses as they walk in. The boss man gives them instructions to not say anything, and DS Pete is put on a desk job like he’s in a Lethal Weapon movie.

Karen, however, starts using The Google and finds out there’s some interesting video of Synths Gone Wild at a smash club. She finds the dude who recorded it, gets a view of said video, and hey—there’s Niska!

And back with DS Pete, he gets a call on a Synth found in the woods, and when he runs the tags it’s Odi, who isn’t there when Pete shows up in the woods. But since he knows the owner he heads over to Doctor Millican’s and started giving him shit about having not recycled his old synth, and that’s gonna cost you a few hundred quid, mate. Being a suspicious prick, Pete has a look around, and comes remarkably close to catching a pair of scissors in the eye because Niska’s hiding and she’s not about to be taken alive. Fortunately Vera shows up, and when Pete asks if there’s been any Synths come round for a spot of tea—he’s thinking Odi is hiding out somewhere—Vera says she saw Odi a few days before and that’s all. In other words, she lies her ass off. The question is, why?

"While I cannot lie, I make exceptions for doucherockets such as yourself."

“While I cannot lie, I make exceptions for doucherockets such as yourself.”

But the real stories are with the Hawkins and Leo, and they intertwine in a way—

Joe wants to get rid of Anita, probably because he figured left over semen invalidates her warranty. The kids don’t want her to go—Sophie is going nuts, and Toby’s erection has a vote, too—and even Laura wants Anita to stay. Joe can’t take it, though, and calls the pick-up dudes from the company to come get his guilt—I mean Anita.

Mattie has other ideas, however. She calls Anita by her real name, which doesn’t get a reaction, but then she gets back in touch with Leo, and it’s time to go all Thelma and Louise with Anita, and just like that, they’re gone—

Off to see Leo and Max, who are hiding out in an old social club, and are ready to hack Anita to get Mia back. Before she gets there, however, Max reminds Leo that he wants a picture of him for when he dies again, which is pretty creepy, but screw it, ‘cause here’s the Girls on the Run, and once it’s obvious that Anita/Mia doesn’t recognize Leo at all, the hack is on.

It doesn’t go well. They don’t get through, the hack starts messing Anita up, and it becomes necessary to reboot her butt. When she comes back, she’s still in Anita mode, and Leo is despondent that he’s never going to see her again . . .

Back home Mattie starts checking up on things to see if something’s change with Anita, and discovers that her Adult Options have been turned on. Mattie flips and accuses Toby of shagging Anita, and he cops to the deed, which makes Laura send him to his room, and readies Joe—who is totally suffering from Guilty Face—to have a “You shouldn’t have banged the robot” talk with his son—

Only Toby isn’t as dumb as he might appear, and when confronted by Joe, tells him that he knows Dad did the shagging, and he only admitted to it so he could have this special moment alone with Dad, getting some weight on him.

Realizing he’s run out of options, Joe tells Laura that it wasn’t Toby who got vertical with Anita, it was him, but really, it was an accident—you see, his penis accidentally found its way into her vagina because he wanted to see what she’d do. While Laura gets pissed and calls him a cheat, Joe’s like, “It’s like fucking a sex toy—oh, by the way, who’s Tom?” Laura completely loses her shit and tells Joe to start packing his, ‘cause his ass is on the street.

So what do we have at the end of the episode:

Leo is dreaming of better days with Mia and the others. He wants to talk a walk, because depression, and it’s Total Emo Time.

Mattie is all emo as well, and as Leo leaves in a taxi he gets a last look at the sex toy—I mean, Anita.

Back at the Blade Runner office Karen tells Peta that Niska’s passing as a human. Is she playing his ass? Hard to say. Later that night Pete heads for a “We Are People” meeting and drinks deep of the Anti-Dolly Kool-Aid.

Doctor Millican finds the newspaper headline about a “killer synth”, and puts together why Niska’s hangin’ at his joint. Shit. Niska finds a picture of Hobb, confronts Millican, and finds the same paper. Double shit.

And what of Hobb? Well, he’s been talking to government hacks. Based upon a recorded conversation he figures out that Leo Elster is alive, even though he should be dead. The hacks want Fred dead, and order Hobb to destroy him. He does, and when the government hacks come in to check ‘ol Fred out, they find a charred body. Hobb is like, “Well, you wanted him destroyed.” I’m sorry, but do these people live in a universe when the movie I, Robot, never existed? Do I believe Fred is dead? Ah, hell naw!


Interesting Trivia:

Nothing, really. Hoping for something next week.


The Cast:

Laura Hawkins — Katherine Parkinson
Joe Hawkins — Tom Goodman-Hill
Mattie Hawkins — Lucy Carless
Toby Hawkins — Theo Stevenson
Sophie Hawkins — Pixie Davies
Synth Anita Hawkins — Gemma Chan

Dr. George Millican — William Hurt
Synth Odi — Will Tudor
Synth Vera — Rebecca Front

Detective Sergeant Pete Drummond — Neil Maskell
Detective Inspector Karen Voss — Ruth Bradley

Leo — Colin Morgan
Synth Max — Ivanno Jeremiah
Synth Niska — Emily Berrington

Professor Edwin Hobb — Danny Webb

Humans airs in the US on AMC at 9 PM EDT.

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NEW RELEASE: The Amber Voyeur by Ravyn Rayne

release day blitz bannerTitle: The Amber Voyeur

Series: Gem Apocalypse Book Two

Author: Ravyn Rayne

Publisher: Blushing Books

Genre: Dystopian Erotica

Expected Release: July 20th, 2015

TheAmberVoyeur 500size


No longer safe in Brayleigh, Aria and James travel by ship to find refuge and discover what’s left of the world.

Dangerous seas and pirates lurking are only the start of their troubles. Forced off the boat with nothing but the clothes on their back, the crew and passengers make it to a nearby island, only to be abducted by the Knight Tribe, a clan of romantic warriors with a voyeuristic culture and a taste for nightly entertainment.

Get swept away in this dystopian erotic adventure, brimming with romance, spankings, and betrayal.


Add to Goodreads

Amazon | Barnes & Noble | Blushing Books



The hum of the engine died, and Aria heard the scream of unfamiliar words in a language she didn’t recognize. Shots were fired in every direction forcing her to duck, throwing herself onto the floor of the ship.

James lay right beside her, covering Aria with his body, shielding her from danger. She didn’t have the courage to ask what happened.

The warmth and security Aria felt from James vanished. A man covered in tattoos, his arms a canvas of ink, grabbed James by the arm and dragged him across the room. The second man accompanying him lifted Aria from the floor and escorted her up the stairwell. James walked just a few feet in front. The man dropped his hold on her as the passageway narrowed. A gun pressed into her back, a constant reminder of danger. Aria couldn’t fight without risking her life. She hoped these men would steal what goods they came for and then leave.

Forced outside, the lifeboats were just a few feet away.

The sun began to set, and the sky twinkled like a sapphire without a cloud in the heavens.

Even at dusk, beads of sweat trickled against Aria’s forehead. Her black shirt stuck to her back, the cargo pants she wore were too hot for this climate. She didn’t dare ask where they were; she didn’t believe anyone would answer.

They were forced against the wall. Would the lifeboats even float anymore? The old luxury cruise liner’s paint faded from years of sun exposure. What would it have been like fifty years ago, before the devastation and destruction that their parents created, taking a luxury cruise? She would never know. The Gem Apocalypse had resulted in a war with only survivors, no heroes.

“Move!” the man behind Aria said. His gun dug further into her back, and she pushed forward on James’s heels. “Down!”

They got down onto the ground with the other crew and passengers. Six men towered over them with guns. Aria was unfamiliar with the weapons, as they were larger than the ones the guards carried at the palace.

“We’ll be okay,” James said as he sat beside Aria, reaching for her hand.

Aria wanted to ask him how he could know that without a doubt. Hope shrank like a beacon of light fading in the distance. These men were thieves. She could smell the treachery and greed from where she sat. How did they end up here?


Amber Voyeur


Grab the First Book in the Series


TheEmeraldVirgin Gem Apocalypse by Ravyn Rayne

The Emerald Virgin
Gem Apocalypse Book One
Author: Ravyn Rayne
Publisher: Blushing Books
Published: June 19, 2015
Emerald – a girl with green eyes and a rarity after the horrific genocide that slaughtered millions.


After the war, King Gideon rose in power. A lust-filled and greedy king that believed in the power of slavery.

At eighteen, women were required to come before King Gideon and his four sons, to offer themselves as a courtesan. The princes took only those they found most attractive and alluring. The rest were returned to their homes with a brand on their wrist proving they had been through the process and rejected. Ignoring the ritual was punishable by death.
Aria Stone had been kept hidden from the princes and the ceremony, because she was an Emerald. At twenty-three, the royal guards storm her home, murder her mother, and drag her to court. She must face the four princes.
A dystopian erotic adventure.

About the Author

Ravyn RayneRavyn is a sassy, fun-loving, and adventure-seeking young woman. She loves to travel and can’t wait for her next vacation, wherever it might be.
Ravyn writes romantic erotica. She began writing romance novels in college, spending her down time either reading a book or writing fiction. Please don’t make her choose between the two, she loves them equally.
Although BURNING DESIRE is her debut romantic erotica novel, it is not her first published book. She has been published professionally since 2013. You can find her other books here.
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Humans, Season 1, Episode 4: Sex, Lies, and Mysterious Synths

Episode 4.Niska (Emily Berrington)

We’re at the half-way point of Humans, and things are finally starting to gel together in a way that’s bringing the separate threads together. But in order to get to that point where things feel like they’re gelling, we gotta suffer through some extremely awkward interactions—as well as answering the old questions, “What does man really want?”

Before we get to the Hawkins Family—who are still adjusting to Anita in their own ways—we get to the other threads:

First, there’s Pete, Mrs. Pete, and Simon. Pete is checking up with Karen, and he wants to look at the case files on the synth murder, which Karen is letting him know is verboten. This puts him in a bad mood, which means he’s gonna have words with his wife, Jill, and splits for a while. When he comes back Jill is giving him the bum rush out the door, and Pete is like centimeters from going nuts on Simon, because, well, why not? He hates the bastard because he’s what Pete can never be. Before he starts to beat on Mr. Helper Synth, Jill reminds him that they’ll lose their deposit if he damages Simon.

So Pete is out on the street—sorta. Karen comes in and finds him sleeping on the sofa in their office, and she makes an offer for him to crash out at her place. This eventually leads to Pete meeting with the journalist he beat up with the offer that if the guy drops all charges, then he’ll feed him what he can about the synth murder. Scratch mine, scratch yours, all kinds of scratchin’ about to go down—

Hobb, Niska, and Joe are about to come together in a strange way, which must all start, believe it or not, with Mattie Hawkins. Little Miss Synth Hacker wants to speak with Anita first thing in the morning—she wants to know more about her flipping out during the hack. Anita gives her the synth blow off, but Mattie feels something’s wrong, and Laura hears all this go down.

RT: Mattie is reminding me of the student in the Fear The Walking Dead trailer. They should all be listening to her, but they won’t so shit will go down waaaay worse than it should…

That night Toby and Mattie are going to a party, and Anita helps Horrible Henry tidy up before going out. Oh, yeah: just lead him on. At the party a girl, a real girl, more or less hits on Toby, tells him if he goes outside with her she’ll make it “worth his while,” but Tobes has eyes for someone more—synthetic. Loser.

RT: LOL! That awkward moment when the plastic is more appealing than the real deal. At least he will have plenty of material to keep his therapist employed busy.

Back at the Hawkins stead Joe is looking to get together with Laura, but she’s heading out on biz. On the way out the door Laura asks Anita if she ever gets scared, and Anita says everyone does. But synths aren’t “everyone”, and Laura can just smell the bullshit heading her way.

Laura is out checking on a client who is suing a theater who kicked her and her synth out, but Joe is thinking the worse. He thinks about this “Tom” dude, and thinks Laura is out with him, and he’s doing his damnedest to have Anita—who, you know, can track email and GPS stuff—find out where Laura’s at, and he’s deep into the wine and feeling the blues, and while Anita is checking out her owner’s manual, Joe pulls out the “Adult Options” and go on about unlocking Anita’s “passion” and, um, he just wants to know if she’s interested in finding out if she’s passionate.

RT: Hahahaha! FINALLY, he opens up the can of worms unlocks her full potential ;-)

This brings in a three-way montage of Joe “unlocking” Anita, of Mattie getting crazy on some of her party mates who’ve shut off a female hostess synth and are taking her upstairs like she’s a passed out girl to do pretty much what scumbag dudes do to passed out girls, and Laura interviewing her female client and her male synth—whom the client swears “feels” things—and after a bit of questions comes to understand that not only does her client feel her synth is more than a machine, it’s also true that synths don’t feel fear—

But Anita is feeling Joe! Oh, yeah, big time, and in what is probably the worst robot sex scene ever, ‘cause what goes down is about as erotic as a guy bangin’ a Real Doll and painful to watch. And if Joe is unlocking Anita’s passion, he’s doing a piss-poor job—

"This is my O Face, Joe.  My 'Oh, get this shit over with' face."

“This is my O Face, Joe. My ‘Oh, get this shit over with’ face.”

RT: Burn is when you’re so bad at sex even the paid help can’t look animated.

When it’s all said and done, between the party dudes wanting to screw a shut-down synth, Joe looking like he was caught masturbating in the living room—which is pretty much what he was doing—and Anita unemotionally asking if she can clean herself out, we find the answer to what men and maybe a few women want—and it goes back to something Stephen King said during a review of The Stepford Wives in this book Danse Macabre. The answer to the question of what men and women want is, “A robot with sex organs.” And this brings up a question I have: if synths in Humans have genitals, then are are they going to replace us completely?

RT: Does that make us no better than lab rats then? After all, if we give the robots genitals we are basically rubbing ourselves out of existence.

Now, to Hobb and Leo . . . Hobb finds out about Leo and Max through the dude who did the mod on Anita. Max and Leo contact and meet Mattie about the code she pulled out of Anita, but when she books because Leo comes off like a strange-ass stalker, they go see Doctor Millican. The doc looks at the code and realizes there code inside the code, and Doc Millican wants to know who Leo really is. It turns out he’s really the son of Dr. David Elster, the man who created the sentient synths. At the same time we find out Leo is dead . . .

Later Leo runs the code on himself and tells Max he discovered “life”. Um, okay, dead dude.

But what about Niska, you say? She’s still on the street, still passing as human, and about the only one not having sex right now. She gets invited to a Smash Party, which is nothing more than humans beating on synths with baseball bats. Those synths can’t fight back—but Niska can, and she beats the shit out of a few people before the joint clears, Hobb shows up, and she gets a call from Leo about “life”. Desperate times demand desperate synths take desperate actions, so she grabs a human, holds a nail gun to his head, and uses her human shield to waltz out of the joint. Before she leaves she uses the nail gun on her hostage’s hand, fastening him to a board, so I guess you can say she did nail a guy . . .


Back with the Hawkins, and the family have Anita at the shop getting checked out, because Laura knows there’s something wrong with her. Joe is shitting bricks because he’s afraid the game is up for him, but there’s good news and bad news. First, the good: there’s nothing wrong with Anita. Now, the bad: she’s fourteen years old. Back home Joe wants to dump Anita, but Laura wants to keep her because she knows she’s different. Laura wants to know who Anita was; Anita doesn’t understand the question; Laura calls bullshit.

Last thing now . . . Back at Karen’s Pete gets the sofa and she goes upstairs. She closes the door, sits, reaches down her throat, pulls out a sack with the wine she’s drank with Pete, and bins said sack. Let’s say it together: Synth Cop! Say it again! LOUDER! Time to call her Deckard, I guess . . .


Interesting Trivia:

The idea of an android having a food sack was used as a plot point in the Issac Asimov novel, The Caves of Steel. R. Daneel Olivaw pointed out that the food in his sack was undigested and still eatable, so dig in? Also, the Asimov novel The Robots of Dawn, which also features R. Daneel Olivaw, involved as a major plot point that a human woman was involved in a sexual relationship with an android, and that she felt he was so human she considered him her husband.

The coworker who puts Laura onto the client with the synth suit is played by Naoko Mori, and the moment I saw her I yelled, “It’s Tosh!” Just as I suspected, Torchwood is behind the whole damn thing, and they’re probably watching Laura to get to Anita. We can expect The Doctor to show up any episode now . . .


The Cast:

Laura Hawkins — Katherine Parkinson
Joe Hawkins — Tom Goodman-Hill
Mattie Hawkins — Lucy Carless
Toby Hawkins — Theo Stevenson
Sophie Hawkins — Pixie Davies
Synth Anita Hawkins — Gemma Chan


Dr. George Millican — William Hurt
Synth Odi — Will Tudor
Synth Vera — Rebecca Front


Detective Sergeant Pete Drummond — Neil Maskell
Detective Inspector Karen Voss — Ruth Bradley


Leo — Colin Morgan
Synth Max — Ivanno Jeremiah
Synth Niska — Emily Berrington


Professor Edwin Hobb — Danny Webb


Humans airs in the US on AMC at 9 PM EDT.

Posted in AMC, Humans, Humans Season 1 Recap, Recap | Tagged , , , , , , , | 1 Comment

Humans, Season 1, Episode 3: Mother’s Synthy Helper

Humans Niska Charging

Let’s get all the non-Hawkins Family stuff out of the way first, because while it was interesting stuff, it’s all filler compared to the showdown that you know is coming in that household . . .

First up, the tale of Fred and Hobb gets a bit deeper when the people working with Hobb start running a tapeworm on Fred, trying to get a better fix on his “dreams”. The moment Fred twigs to what’s going on he shuts down the signal, but we know you can’t stop the signal, so expect Hobb to go all intrusion software on him to find out who these other “aware” synths are—especially now that we know one has murdered a human.

Hobb shows up at the former doll house where Niska worked, and where Pete and Karen are hard at work trying to identify the synth who did the deed. They don’t get too far into their investigation when the Big Man in Charge shows up, and there’s never a good sign—usually means you’re about to get pulled off a job. Which is more or less what happens.

When Pete goes outside to chat with his superior, he sees Hobb, and there’s a discussion between them, which leads Pete to (1) get pissed off, (2) accuse people of a cover up, and (3) to snap on a reporter and toss his ass down some stairs. After the obligatory “Go home and cool off, you’re suspended” scene, Pete goes home and walks in on his wife getting Simonized in the kitchen, which doesn’t set well with Pete at all. He grabs a beer and stalks back into the living room, and we can start the over/under on how many more episodes we need to watch before he snaps and beats the hell out of someone or something.

RT: I LOVE the simmer going on in this story line :-) It is gonna get nasty ;-)

CF:  Since we’ve seen in the teasers that Pete does go nuts, the question is now–Simon or the wife?

Speaking of Niska, she’s in a mall getting a quick recharge, and just like with her “sister” Anita, another synth asks why she doesn’t share data—

As she strolls through the mall she lifts a bag of clothing and changes out of the hooker outfit she’s been wearing since leaving the doll house, gets to lookin’ a lot more preppy, and scoots on out of the mall post haste.

Meanwhile Leo and Max are hiding out and not talking about that thing in Leo’s side. They hear about an “incident” and the place where Niska worked, and discover there was a death, leading Max to ask if Niska “hurt” someone again. Yeah, hurt: that must be what the kids are calling neck snapping these days, ‘cause nether Leo or Max seem all that surprised by this turn of events. They eventually catch up with Niska, but when Leo tries to bring her back into the protection of “their family”, she tells him to piss off, that he’s doing nothing for them. Max has a few kind words with her before she leaves, but it’s obvious that Niska is her own synth, and she’s going her own way. She eventually gets picked up by a dude, heads back to his place for sex, and it looks like she’s gonna kill him and squat at his place until she discovers he has a daughter, and she doesn’t want to kill someone with kids, so she splits.

RT: The old “hooker with a heart of gold”story gets me every time…

CF:  The old “hooker with a heart of titanium” is more like it…

Meanwhile, back at the happy home of Doctor Millican and Nurse Vera, it looks like they aren’t having the best of times—well, he isn’t. Vera looks almost as if she’d enjoying being a major robotic bitch to the good doctor. He starts on about how he really thinks he should bring his bed down from the first floor bedroom and put it in this room over here—yeah, the one with the window painted shut, can you see if you can open that, Vera? While she’s messing with the window he slips out and locks her in, then heads outside to check on Odi. Realizing his days with his old synth are limited, he pulls the dusty covers off his Mercedes, hands the keys to Odi, and they blow that pop stand just as Vera rips the knob off the door and comes outside. She is not a happy looking caregiver, let me tell you.

RT: Oh dear, that’s not going to end well is it? Can Synths eat each other? because I would buy a ticket to that mess ;-)

CF:  It’s looking ugly.  I have a feeling Vera is really a spy at this point.  She smiles.  That worries me.

The Sunday drive with Odi doesn’t go as planed, though. After a little reminiscing, Doctor Millican remarks how he could really use some ice cream, so Odi decides to go get it—by stepping out of the car while he’s driving. Hilarity ensues, the car crashes into a tree, and Millican sends Odi off to hide while he awaits rescue. I’d say the chances of someone finding Odi are pretty good . . .

RT: I love that a robot can get senile!

CF:  Odi must be running XP.

But now to the main event, and I bring you the Hawkins Family Drama!

Joe and Toby come home from their bike right to discover Laura is taking Anita back. This causes Toby to charge off on his bike to find Mom, which really doesn’t make much sense, because he stayed home when Anita was bought, so does he know which way they went? Probably not—

But we know the real reason for this: it sets up the situation that’s been teased for months. Toby just happens to dart out onto the street where Mom is stuck in traffic, a van approaches, and Anita jumps out and puts up her hand in a “Stop now!” action, as if that will be enough to bring the van to a halt. We already have a good idea how Anita’s gonna get that van to stop—

“Hi, do you mind if I work on my Supergirl cosplay? Thanks.”

—and it does stop after its slammed into her and sent her flying. Toby isn’t hurt, though his wank material—I mean, the family synth has seen better days, as there’s a shot of Anita on the ground lookin’ kinda like a broken doll.

RT: Oh dear, that escalated quickly. What sort of porn is it when you have to whack off to a broken Synth?

CF:  Do we really want to go there?

Anita is in mostly good shape, and the rest of the family eventually catch up to Laura and Toby. Sophie is now all starry eyed over her new hero, and this can’t help Laura’s position any. After Joe confronts her on why she was returning Anita, Laura starts going on about being scared by what Anita said to her earlier. Joe is but a step away from rolling his eyes and is like, bullshit, just walked Toby’s bike home.

While Laura does just that the rest of the family consoles Anita. Anita tells Joe he needs to examine her for external damage—as she says, he needs to “check out her epidermis”—and one can see the wheels grinding the shit out of themselves as Toby gets all charged up thinking about that. Joe takes Anita to the garage to give her a look-see, but he can’t bring himself to undress her because, I don’t know, maybe erections interfere with manual dexterity? Anita undresses herself, and while Joe is uncomfortably looking her over, Toby’s by the garage entry listening to the exchange inside looking like he’s about to lose his shit. Joe’s having a hard time as well, ‘cause while he keeps reminding himself that she’s not real—and Anita also reminds him of that face—damned if she doesn’t look and feel real. Both these guys are gonna need some serious bunk time alone.

RT: I LOVE the weird sexual tension AMC have managed to work into this show. A real “where’s the line and how far can we push it”kind of thing. Makes you uncomfortable as well as make you question just how far we’ll all end up “loving our technology”.

CF:  We have Real Dolls coming that will be able to talk to you, but this does have some creepy connotations.  It’s going to be curious to see if after Joe unlocks Anita’s “adult functions”, if she’s gonna get back in touch with her old personality, and maybe start helping Toby through puberty.  Now that’s gonna be strange tension.

Later, while Anita is putting away clothing, she finds the book Laura hid in Episode 1 and gives a quick look. Sophie comes upon Anita at this point and she wants the synth to put her to bed, which then becomes an issue. Finally Joe tells Anita to put the child to bed, and Laura grow pissed once more—hell, she’s so upset can’t even make proper cakes. Anita manages to convince Sophie that Laura should put her to bed, and does so in a way that it looks as if Sophie now wants Laura, but the truth eventually comes out: Anita told Sophie that Mommy would be sad if she didn’t get to tuck her in, and we don’t want Sad Mommy, do we?

RT: Nothing like the smell of emotional manipulation…

CF:  It’s like Anita’s been around young kids at one time…

Laura’s not handing this well. Earlier she drilled Anita on the possibility of her lying, and Anita rattled off some Three Laws bullshit showing that if she was worried about hurting the feelings of her human she could BS them, and while this is happening one truly gets the feeling that Anita is totally gaslighting the woman—and Laura feels this, too.

She decides to give Anita her own version of a Voight-Kampff test, starting with the question of whether or not Anita feels pain. To make a point Anita jabs herself in the eye with a toothpick, getting a reaction from Laura and everyone watching. A bit more questioning brings Laura to the conclusion that Anita can pick up on human emotions—something that synths shouldn’t be able to do—and Anita finally drops the hammer on Laura and lets her know she’d make a better mother, because Laura’s pretty rubbish at the job. The only advantage Laura has over Anita is that the later can’t love the kids, and when Laura starts probing about whether Anita wishes she could, the synth brings up Tom, and it’s like Dracarys, bitch. Laura completely loses her shit once more, only this time Joe is eavesdropping in the next room and hears the exchange.

That night, while Anita is recharging, Mattie comes down and decides to check out Anita’s base code. Little Miss Synth Hacker is checking out things out when, all of a sudden, Anita is crying for help, saying she’s still in here—and that’s when we realize Mattie has actually uncovered Anita’s real personality, buried underneath a programming mod and struggling to get out. This only lasts a moment, but it’s enough for Mattie to freak, unplug, and get the hell back to her room—

RT: Oh hell YEAH, this is AWESOME!

CF:  It was a great scene, and you can see that (1) Anita is a real person, and (2) she’s locked in hell.  I want her free so bad.

—Where later she’s sitting all dejected because she can’t figure out the code. But, hey, let’s post this shit to the Internet, ‘cause what’s the worst that could happen? Maybe someone will figure out it. Maybe like, say, people who may be looking for her? Like Max, who recognizes the code and tells Leo, who is then able to generalize the area where Anita is located . . .


CF:  Though Mattie’s gotta work on her mad hackin’ skillz…

Interesting Trivia:

The conversation between Hobb and Pete concerning keeping quiet about Synths “killing” is reminiscent of the conversation with Lawrence Robertson, the CEO of USR, and Lt. John Bergin, Will Smith’s police boss, in I, Robot. Almost to where it sounded like they were recycling the dialog.

Anita’s interpretation of how she could lie if necessary because it fits with her “Asmovian Blocks” not to hurt people is pretty much a direct reference to the Asimov short story Liar!, which deals with a mind reading robot that tells people exactly what they want to hear so they are not hurt, which is in keeping with the First Law. Of course, if any of the people in Humans ever read that story they’d know it’s all bollocks . . .

RT: Oh, I love this! I would never have picked it up if you hadn’t have mentioned it :-D

CF:  It’s a nice thing having gone through all the Asimov Robot stories and being able to pick out this stuff.  One has to assume that those stories exist in this world, but like today, most people have never heard of them, much less read them.  Which makes me wonder:  is I, Robot a movie in this world?  Does Will Smith look up at the robots attacking him and say, “Ah, hell no!”.  I would love to see Anita watching this on cable.

The Cast:

Laura Hawkins — Katherine Parkinson
Joe Hawkins — Tom Goodman-Hill
Mattie Hawkins — Lucy Carless
Toby Hawkins — Theo Stevenson
Sophie Hawkins — Pixie Davies
Synth Anita Hawkins — Gemma Chan

Dr. George Millican — William Hurt
Synth Odi — Will Tudor
Synth Vera — Rebecca Front

Detective Sergeant Pete Drummond — Neil Maskell
Detective Inspector Karen Voss — Ruth Bradley

Leo — Colin Morgan
Synth Max — Ivanno Jeremiah
Synth Niska — Emily Berrington

Professor Edwin Hobb — Danny Webb

Humans airs in the US on AMC at 9 PM EDT.

Posted in AMC, Humans, Humans Season 1 Recap, Recap | Tagged , , , , , , | 2 Comments

What I Will Be Reporting On At San Diego Comic Con 2015

San Diego Comic Con logo Screenrant

Since joining the staff at The Inquisitr, my life has been hectic – but in such an awesomely good way! Recently I have posted a whole pile of articles on AMC’s The Walking Dead and their companion series, Fear The Walking Dead, so if you have been keeping an eye on my Inquisitr articles on the right hand side of this blog (it’s directly underneath the Emeline and the Mutants image), you will have seen all the TV articles I have been posting of late.

My schedule for San Diego Comic Con 2015 is below. While I will be focusing mainly on The Walking Dead, Fear The Walking Dead, Vikings, Game of Thrones and Orphan Black, there are a few fun panels thrown in as well ;-)

SDCC2015 Friday and Saturday Schedule

Clicking on the image above will take you directly to my schedule page on the San Diego Comic Con website. So if you are attending the panels, let me know!

As news occurs via the panels, I will be writing articles. Be prepared for the brand new season trailers for The Walking Dead, Fear The Walking Dead and Vikings in particular. It will also be interesting to see the brand new cast for Fear The Walking Dead as they attend their very first Comic Con. Also on offer for fans attending Comic Con is the following:

  • A chance to see the revolving doors of death we saw in Season 5 of The Walking Dead.
  • Alison’s Victory Brunch for Orphan Black on July 11. The event gives #CloneClub fans a chance to meet up. You can view all the details via my article here.
  • History Channel has gone all out with their Vikings events at this year’s Comic Con. The Vikings Bludgeon Booth is an Instagram booth where fans can reenact their fave Vikings battles, complete with CGI blood spatter.
  • Collect your Vikings drinking horn and roam the Gaslamp district.
  • Try out the Vikings replica Longship. Fans can travel around the Gaslamp district. All details on the Vikings events can be found here.
  • Conan O’Brien will be hosting his show directly from Comic Con, so this is a chance for non-attending fans the chance to feel like they are actually at Comic Con. Guests on his shows include Elijah Wood, Chris Hardwick, and select cast from Game of Thrones, The Walking Dead and The Hunger Games: Mockingjay Part 2. There will also be mystery cast guests on the final night. All details can be found here.

Are you excited about San Diego Comic Con 2015? Let me know by commenting below!

[Image credit: Comic Con International / MySched ]

Posted in AMC, Fear The Walking Dead, Game of Thrones, HBO, History Channel, San Diego Comic Con, The Hunger Games, The Walking Dead, Vikings | Tagged , , , , , , , , , , , | Leave a comment