Tonight it was mostly about the humans, even when those human came with their own recharge ports. We got to see the best in humanity in our Special Synths really are, and how they can be far more superior than those bothersome sacks of meat that created them.
Speaking of those meat sacks, lets start with Doctor Hobb. He’s got Fred in bed, because he couldn’t stand to destroy this work. Hobb’s admits he’s been going along bullshitting people about a Synth uprising, and that what he really wants is to continue David Elster’s Human Synth project and run that shit to the inevitable end, whatever that may be. He’s chatting up Fred and lets him the synth scares him, which leads Fred into telling something that David Elster thought impossible. This had Fred realizing that humans underestimate these advanced creations of theres, and while giving Hobb a “Let me tell you about my mother” look, he punches through a door where a dude who’s standing guard with a shotgun stands, snaps said guard’s neck, retrieves the boomstick, and shoots Hobb in the leg. After that he goes outside, kills two more guards, and with that he’s gone, daddy, gone, hopping in a car and GTAing his ass outta the Hobb Spread.
RT: That awkward moment when the “I told you so”brigade were right… CF: I’m sure Hobb knew that moment was coming . . .
Speaking of killer synths, Niska is with Vera, who she has in powered down mode. Millican is giving Niska shit, and it’s pretty obvious she is holding him hostage. Millican tells Niska that she likes him, which is one of the reason he believes she won’t hurt him, and that leads into a deep conversation about feelings and compassion—really, what it means to be human, which is something Niska seems to understand completely. The doorbell rings, Niska is worried, but guess who! It’s Odi, looking pretty jacked from his extended game of hide and seek.
RT: Seriously, could Niska and Vera have their own show? They could call it “Fifty Shades of Synth” (Or, “Why Humans Need To Be Punished”) CF: That could become the most seriously jacked up show ever.
Millican tries fixing the busted ass synth, and Niska doesn’t get why he’s wasting him time with this junk. Millican explains that he lost a lot of memories because of a stroke, and Odi is the only one who still has those memories—and it’s because of that he sees as more than just a broken down synth: he’s pretty much the keeper of what was once Millican. Niska finally decides to help, because that’s what humans do, and she gets him back on line.
RT: This is really sad. Poor Millican 😦 CF: He’s turned into such a tragic figure because, deep down, he’s really a nice guy and, I believe, he really wants to help the aware synths. The whole dynamic of his relationship with Niska is showing her how to be human. Some very subtle psychology going on here.
Odi has seen better days, but Niska sees how Millican feels, and it touches something in her mind. She asks about David: she wants to know if Millican though he was loving. Millican’s like, “Eh, he was in love with his work, and you were the work.” Niska reveals that she’s nine, and that it appears David was using her for more than simple household duties, which Millican doesn’t touch because he’s figured it out. There’s a touching of hands, a tender moment—maybe she does like him.
RT: The whole “she’s nine”thing raises even more android sex questions that I hadn’t even thought about yet o.O CF: While she doesn’t look nine, I have to wonder how long it took to get their to their current level of understanding. Mia seemed to be “adult” right away.
The real drama is happening between Leo and Max, and their continuing search for Mia, which has gone straight into the toiler because Leo can’t access Mia’s code, so he’s wandering around all emo and, we later discover, dying. While Max is looking for Leo and praying to a god he is not certain he exists that he will serve him if they can only reunite their family, Mattie is playing her own Tom card on her mom, because if Laura can toss Joe for shagging the synth and then hiding the fact, Laura should stop hiding shit and come clean.
Speaking of Joe he “runs into” Toby while the lad is on his way to school. Toby is pissed that dad fucked the snyth, and you have to wonder if he’s upset because dad was being a cad, or if it’s because Toby didn’t get there first.
When Mattie doesn’t come home from school Anita activates her GPS system and tells Laura Mattie is probably hanging out with her boyfriend. They both go there to retrieve her, and Mattie is all like, “Truth or get the fuck out,” and . . .
Laura comes clean, and Mattie and she sit on a hillside with Anita standing off to one side while Laura tells the tale. Tom was Laura’s brother, and when she was 11 and he was 5 he ran out into traffic and was run over by a car because she was busy chatting up a neighbor. Laura’s relationship with her mom went to hell right after that, and because it was shit she started telling everyone she was an only child and that her mum died when she’s gone off to uni. She admits that when she was mysteriously away (in the first episode), she was visiting her mum, trying to get a handle on the relationship because she thought she was losing Mattie and not because Mattie is a walking flesh bag of hormones.
RT: Holy mackerel! There’s a story dump I wasn’t expecting! Suddenly Laura seems like a real person rather than merely being in bitch-mom mode. CF: It took them a while to get here, but you suddenly see Laura being a person. Also, she didn’t want Anita around after she saved Toby from being run over–guilt tripping there, me thinks. Killed Laura to know every time she saw Anita, she saw what she couldn’t do.
They reconnect, and while heading home in the car Laura and Mattie talk about Tom, but the camera is doing a slow zoom in on Anita, who is looking sad. It’s only a matter of time before the OH SHIT moment comes, and it does with a loud gasp from Anita. Laura’s pulling right the hell off the road everyone bails, and . . . It’s Mia!
She’s managed to get her code going and she asking for help before Anita code regains control—which happens in short order. It’s now Mattie’s time to come clean, and she explains who Mia is to Laura.
Once home Laura tells Toby about Mia and Mattie heads out to get Leo. She finds Max and they head off to find Leo, but only after establishing that an aware synth and a teenage girl are pretty much the same: getting through the madness day to day. RT: Amen Sister! CF: I can attest that female puberty sucks, since I’m going through it right now. They finds Leo and he’s not good, almost dead, and Max hauls him back to their empty social club they’re using for a hideout. Leo is “rebooted,” and Mattie tells him that Mia is alive, she’s seen her, but Leo’s calling bullshit, she’s gone and not coming back. Max convinces Leo to trust someone for once, and Leo asks for a television, because he has memories stored digitally in his head, and he wants to show Mattie—
We see Leo’s life. His mom grew insane and couldn’t take care of her son, so Leo’s father made the aware synths to take care of him. Mia was first, then the others come as well. But at one point Leo’s mother comes around and decides to take her boy on a car trip—right into a lake, where Leo dies. His father brought him back by adding synth tech to his body, which is why Leo is as much synth as human, and considers himself a brother to the others. We also find out that Leo’s dad eventually went nuts and killed himself—and it seems as if there is another memory he keeps fighting . . .
RT: Holy Shit! Way cool. Sad, but cool… CF: There are some completely fucked up people in this story–lots of damaged goods.
Things have been going so well that you’d expect it to go to shit any time now, and you aren’t going to be disappointed. Let’s start with Toby finding Joe and giving him shit before he tells the truth about Anita, how she’s thinking and feeling, but still: Dad’s a shit for fucking her. Hey, Toby, remember when you wanted to bang her? Damn teenagers.
That’s enough to get Joe back home and speaking with Laura. In a way clumsy way he “gets” why banging Anita was bad, and he’ll do whatever it takes to come back, but not only isn’t Laura giving a shit, she’s got other things on here mind, ‘cause she’s got a “special” synth who needs help—and who walks in at that moment but Mattie, Leo, and Max. They’ve come for Mia, Chuck.
Leo is trying to get Mia back on line, but he can’t find her root code, even though Mia said he would. Mattie comes up with the idea that maybe Mai’s root data is being sensory data, so he starts reloading that and . . . yes, this is the code you’re looking for. Mia! You’re back! It’s the real, feeling Mia, and all her synthy Anita shit is forever gone as she gives Leo and Max big hugs.
RT: Naw, look it’s happy Synth-land. CF: A feel-good moment if there ever was one on this show.
Later Mia fixes up Leo while Laura wants to know who it is who wants them. They don’t want to talk because, you know, bad people, and Laura decides that the Hawkins family is gonna help them find a new home. Fred calls then asking for a pick up, and Leo’s going with Max to get Fred, while Laura convinces them to leave Mia with them. As they are getting in their car Joe, who is outside, calls the cops and drops a dime because—well, he’s being a cunt. Really, Joe’s pissed and he’s gonna take it out on someone, may as well be these guys who are messing with his synth that he’s still gotta make payments on.
RT: Mother fucker! Seriously, can’t we get Vera to fix this shit up?! CF: I truly hope he gets jacked by someone over this shit.
We have a very quick aside with DI Karen and DS Pete. She thinks she’s located the killer synth, speaks to a taxi driver about Niska, and then heads home to tell Pete. He’s there being bummed because his wife Jill doesn’t want him anymore, and they’re divorcing. Pete tells her about Millican, and ba da boom! Karen senses something. As she’s leaving the kitchen to go back up to her room she tells Pete she doesn’t usually drink because it doesn’t agree with her—Pete poured her a glass of wine, you see—and she’s probably never going to drink again. While and she’s up in her room writing Pete shows and starts being clumsy, but wait—there’s chemistry, or maybe it’s electricity? Can’t really say, but it doesn’t matter ‘cause Karen begins seducing Pete, and it doesn’t matter that she’s coming across about as sensual as a coffee maker, kissy kissy, baby, and that’s all Pete needs to get the motor running!
Once the shagging stopped—maybe ten minutes later—Karen tells Pete that he’s her favorite person in the world, and she needs him to remember that as she pulls out her charger, because she wants him to know her true self. Needless to say Pete does not take this well.
RT: That awkward moment when your fuck buddy needs to charge and you were completely unaware. CF: Now that you’ve turned me on, honey, I need to get my power back up.
Lastly, Leo and Max are heading off get Fred, but they’re pulled over by cops and rousted. That’s when Hobb shows up and Leo knows it’s time to boogie. They get cornered and make a run, but Max is almost out of a charge and there’s no way he can keep going. He decides to jump into a river in order to save Leo, saying if he does die by this action, then it’s all cool, ‘cause that means he’s really lived. Into the water he goes as Leo runs off and Hobb freaks, and the last we see of Max he’s sinking to the bottom of the river, all shut off and looking peaceful . . .
Nothing of interesting this week, but I have a feeling the tropes are coming out in force soon.
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.