I can’t help but think Humans might have run its course as a uniquely intelligent and British sci-fi drama
“…the coming together of man and machine. You can change the course of history…”
I’ve enjoyed where Humans has taken us thus far, and the beginning of a third series seemed promising. But as I got to the end of this season and twist after twist pointed at where the story might well continue, it felt like I might have reached my expiration date with the show.
The human/synth baby that Mattie is carrying, Niska’s transformation into ur-Niska, V’s survival…it’s hard not to feel that any of these feel far less interesting than where Humans are trod thus far in its carefully balanced but uniquely British brand of sci-fi. Continue reading “TV Review: Humans Series 3”
All hail the return of nuanced, intelligent sci-fi – series 3 of Humans starts on Channel 4
“Lemonade not included”
I’m not entirely sure why Gemma Chan and Emily Berrington haven’t become hugely famous due to the world-class performances that both have been delivering for two series of Humans, the third of which has just started on Channel 4. As Synths possessed of consciousness, they manage the not-inconsiderable task of translating the world of sci-fi improbability into something deeply, deeply affecting, and this latest series shows no sign of that changing.
Following on from the events of Series 1 and Series 2, this third season takes us a year further into the future. With the consciousness code uploaded to all synths worldwide, the ensuing chaos led to ferocious reprisals from the human population which has left the synths decimated, ghettoised, shut off from the society they longed to join. And its the chill of recognition here that makes Humans works. You can call this near-future or dystopian but the anger and prejudice against the ‘other’ is as current-day as they come. Continue reading “TV Review: Humans Series 3, Episode 1”
“All we can do is what feels right”
There’s been something really quite moving about the second series of Humans, the Sam Vincent and Jonathan Brackley Channel 4 drama which has just wound to a close. In a world that started off examining the diametrically opposed differences between humans and synths (series 1 review), the stark black and white palette of the show has moved markedly to a murky shade of grey on both sides, complicating the actions of both parties to make us really appreciate the difficulties in deciding right and wrong.
So where the renegade synth Niska (a brilliant Emily Berrington) has decided to subject herself to human justice in order to try and find some common ground, newly awakened Hester goes fully rogue in defining humans as the absolute enemy, to brutal effect in a chilling performance from Sonya Cassidy. And questions of identity are no less complex on the human side, as the show toys with ideas of humans opting to live life as a synth and experimenting even further with technology. Continue reading “TV Review: Humans Series 2”
“I don’t deem your remark pertinent”
I came late to Series 1 of Channel 4 drama Humans but I’m making no such mistake this time round. And perhaps conscious of the show’s enormous critical and commercial success, creators Sam Vincent and Jonathan Brackley have considerably upped the ante on this second series, spreading the reach of the story from the UK to the US, Berlin to Bolivia. And though its scale may be becoming increasingly epic, the writing has thankfully maintained its startling intimacy in its explorations of what it means to be human.
To catch you up, the show centres on the invention, and subsequent evolution, of anthropomorphic robots called synths, designed to serve humans but a certain number of whom have become ‘conscious’. This second series sees that group on the run from the authorities, dealing with the ramifications of Niska’s decision – made early on here – to grant that same life to other synths, uploading code that is gradually deactivating their conditioning worldwide. Continue reading “TV Review: Humans Series 2 Episode 1”
“You’re just a stupid machine aren’t you”
I wasn’t going to write Humans up but I’ve spoken so enthusiastically about it with several people since I watched the whole thing in three days and so thought I’d better recommend it even further. If there’s any justice in the world, Gemma Chan will win all sorts of awards for her performance as Anita (later Mia), the Synth or human-like android that has become the must-have accessory for domestic service in this parallel present-day universe.
Anita is bought by the Hawkins family who soon start to twig that something isn’t right in the way she is behaving and as Sam Vincent and Jonathan Brackley’s drama continues over its 8 episodes, we come to see that the lines between human and machine have been considerably blurred by technological advancement and its potential to be exploited identified as a key priority for the nefarious powers-that-be.
Continue reading “TV Review: Humans Series 1”
“It all got too much and we did something we shouldn’t have”
Continuing the season of new writing downstairs at the Hampstead Theatre is Pamela Carter’s play Skåne. I was particularly interested in this when it was first announced as having previously lived in Sweden, I was able to recognise the title ‘Skåne’ as the southernmost region in Sweden – basically the equivalent of calling a play Dorset – and advise all and sundry on the correct pronunciation: it sounds something like Skor-ner with the emphasis on the first syllable. But sadly there wasn’t the shedload of Swedish references that I could have nodded sagely at nor the attention to detail with props that I longed to recognise. Instead, there’s a tale of the repercussions of a heady affair as both parties belatedly decide return to their respective partners and families.
We open in the midst of a joint family conference, called by the wronged partners, Siri and Kurt, to allow the adulterous Christian and Malin to explain to their children and spouses exactly why they disappeared off together, and more significantly, why they have opted to return. It is a fascinating beginning, full of tension and intrigue, contrasting family dynamics and whole worlds of emotions as everyone reacts differently to the news that things will be returning to just as they were. What then follows is [spoiler alert] a journey back in time as scenes play out showing how the characters had been affected by the impact of the affair and how they all interacted – in some cases, providing surprising revelations – ending up at the beginning of the liaison in all its bare sexuality. Continue reading “Review: Skåne, Hampstead Downstairs”