“Humans”, Season 2, Episode 5, “Ends and Odds”

[Image via AMC]

I apologize that the recap is coming a little late but life is a bitch and it doesn’t want to cut me any slack. That and I’ll be busy as hell the next three or four days, so expect the next one to come day or two late as well.

The fifth episode of Humans seem a bit scattered even though there was plenty going on, but by the end it all tied up nicely. Never the mind: we’re ready to get started.

 

 

Factory Reset:

As expected, Mia (Gemma Chan) was sold out—literally. When she’s powered up she finds herself chained up in the back of a van with Ed (Sam Palladio) standing there explaining that he has to keep his mom in the home, so he’s in need of some fast, hard cash, and he’s going to get it by selling Mia to an anonymous buyer. She manages to get one hand free and chokes him a little, but his mate is able to keep her from doing any damage. With her rebound in the back of the van they take off.

However, Ed is a bit of an idiot and he leaves a mobile phone where Mia can reach it and she plugs herself in so she can get a download. This means when they show up to meet the buyer, Mia has reverted to her old “Anita setting” and responds the way she did in Season 1. Not only that, but enough of her system is been overlaid that she looks like any other synth, so no synth buying today. The buyer takes off without Mia and eventually Ed realizes that keeping around is a liability, so he and his mate take off as well leaving her standing beneath an underpass.

 

Leo’s Bogus Journey:

Leo (Colin Morgan) and Hester (Sonya Cassidy) are on their lonesome now, laying low so that they are not spotted by authorities. The place where they’re hanging out happens to be a cheap “love cottage” where men come to have sex with female synths, and Hester can hear one example of this lovemaking going on in a nearby room. It seems to fascinate the hell out of her, mostly due to the fact that she’s still coming to grips with all these new emotions she’s feeling, and any new stimulus leaves her curious.

They’re trying to get as much information as they can on The Silo and have spotted the defenses around the building that make it almost impossible for them to enter from the outside. Therefore Leo decides they need to break in to the building through the offices and they start hanging out try to get information from Qualia employees.

It’s while they’re doing this that Hester spots the woman who shot Ten and they decide to follow her to see if they can get information. Of course, neither of these two losers are really good at what they’re doing and they’re made quickly, which necessitates Hester running up on the woman and knocking her down and almost out. She tells Leo to head back to their hideout and that she will convince the woman not to tell anyone what happened.

Hester shows up at the hideout and lets Leo know the matter has been rectified. She goes into the bathroom to clean up and can hear more lovemaking going on, so she decides it’s time for her to figure out this new aspect of her life. This entails coming out naked and seducing Leo, who one can tell hasn’t been with any type of woman, living or synthetic, in a long time. Before they get down to business Leo asks one more time if Hester is certain the woman will not talk; she assures him the woman won’t say a word. The odds of her statement being true are good as in the next scene we see the woman floating face down in a canal.

 

Max Making Connections:

We get a quick vignette with Max (Ivanno Jeremiah), who has now taken up Leo’s old job and is actually helping a synth who became aware and has walked away from her family. The new synth, a female who probably was a nanny for a couple of bratty little shits, leads him to a parcel of land near rail line that she said her owner has wanted to develop but cannot. She wonders if this would be a good place for Max and her to stay, and he seems to think that it might just be perfect.

 

Love Means Always Remembering to Plug In:

We get a quick check in with Pete (Neil Maskell) and Karen (Ruth Bradley) as well, and not all is well with these two. Karen is cleaning up the bedroom and realizes what a difference there is between the two sides of the bed. Pete’s side looks lived in and used, while all there is on Karen’s side is her charging plug. She is not happy with this arrangement.

Pete comes in with a group of files, which he shouldn’t be doing because he supposed be resting up after getting his ass beat. She accuses Pete of not allowing her to forget that she isn’t Karen, that Karen is a persona she created to forget that she’s a synth. The problem is, Pete won’t let her forget that she’s a synth, and she’s becoming uncomfortable with this knowledge. She decides she needs some space and leaves the apartment. Pete calls after her then decides, hey, I got a case I gotta solve… True love: it doesn’t get any better.

 

Athena and Ginny:

Athena (Carrie-Anne Moss) gets a call from her ex-husband: their daughter Ginny has died. She tells him to make arrangements for her and lets him know that not only is she not coming home for the funeral, she has no intention of coming home ever.

It’s then that V (Marshall Allman) asks about Ginny and wants to know about her and the person to whom Athena was speaking.  She decides it’s time for full disclosure. She says Ginny was her daughter and then segues into talking about the waterfall that V has been imagining. She tells her AI that her daughter and she were out hiking and Ginny fell there and suffered brain damage. It was in the aftermath of this accident that Athena began constructing a simulation that would be as close to her daughter as possible. She tells V that she is that simulation.

V isn’t all that surprised. She had already figured out that Ginny was short for the word Virginia, which was the daughter’s real name. What she hasn’t guessed, however, is what Athena intends to do with her

 

You Can Take the Synths Out of the Family But—:

After the Attack of the Meter Reader, the Hawkins are questioned by the police. They determined that the synth was hacked and incident is probably no big deal, though they don’t seem to have any answers as to who might have done the hacking. In the aftermath of this event Joe (Tom Goodman-Hill) tells Mattie (Lucy Carless) to get rid of Odi (Will Tudor). Though she doesn’t want to do so, she finally tells the broken synth that he’s free to go. When he asked where he should go, she tells him he can go anywhere: that’s what people with free will do.

Later, Maddie confides in Toby (Theo Stevenson) that she’s finished her modifications to the consciousness code. The original version she tested on Odi was designed to act like a slow moving virus and only awaken a few synths here and there over time. Her new version, however, is extremely bad ass: if released it into the Internet all synths everywhere would awaken. Toby’s shock at what this could do is only secondary to the shock that his sister actually confided in him.

In order to keep Sophie (Pixie Davies) way from synths Joe takes the kids to a village where no synths are allowed on the main shopping lanes. While this part of the family outing is good, it kinda goes to hell later when Joe drops off Toby to meet with Renie (Letitia Wright), who is “synthing out” with a couple of her friends. Sophie asks Renie how she got her eyes colored the way they are and she responds that her eyes are blue because she’s unattached, whereas they would be green if she were owned. Though no one is really picking up on this, Sophie is hanging on every word spoken.

Renie invites Toby into her house, which is large and luxurious. He finds out that her father’s away on business and that he has a girlfriend who is far younger than he. She brings Toby up to her room where he immediately notices a candy that she has out on an end table—one that she quickly sweeps into a drawer, because we all know synths don’t enjoy candy.

She invites Toby to sit at the end of her bed and once they are comfortable she hands him a small card—ah, but not just any card! It’s the infamous Adults 18+ Options Card, which we last saw Joe using so he could fuck Mia in perhaps the worst robot sex scene ever. Toby is kinda freaking at this point, but Rennie assures him that it’s all right as she doesn’t have a primary user. Toby cracks the card and reads the words, and the moment he reaches the last one Renie leans over and begins making out with him. While Toby may have invested some wank time imagining doing this same thing with Mia, doing it with Renie is freaking him the fuck out and he stops before they go too far. He tells her that he wanted to get to know her, the girl that likes candy, not the girl who thinks she’s a synth. He eventually storms out and leaves her crying at the end of her bed, upset enough that she decides she needs candy.

The last scene we have is of Sophie drawing two small blue dots on a mirror and making certain they line up perfectly with her eyes. Yeah, smooth move Joe: really doing a great job keeping your youngest daughter from turning into a synth.  Give yourself a hand, asshole.

 

Her Day In Court:

We finally get to the big day where the evidence will be weighed that Niska (Emily Berrington) is a sentient being and can be tried as a human. Laura (Katherine Parkinson) seems convinced that their chances of reaching their goal will be met, but Niska is using the old HAL 9000 trick of reading everyone’s lips and she comes to the obvious conclusion that she’s fucked. Before Laura leaves the big glass box she’s kept in Niska thanks her for her help: moments later blue goo begins coming out of her mouth and she asks for a tech, who finds a slight tear in her mouth.

The hearing begins and Laura and Niska are seated in front of the tribunal. But before they can begin hearing evidence of Niska being a conscious being, she asked to make a statement. She stands up and pretty much calls out everyone on their bullshit. She knows they have no intention of ruling in her favor and feels there is collusion between the tribunal and the government itself, therefore she no longer recognizes the authority of the tribunal and they can all go fuck themselves. Right about this time a quick hack she had performed using a wristwatch she had stolen from the guard who was assisting the tech examining her and her charging cable shorts out the lights in the room, and Niska makes her get away. She runs out of the room, jumps through a window, makes her way across several rooftops, and manages to run off before anyone can gun her down.

 

Angel On My Shoulder:

We finally come to the last two stories of the evening, and though they don’t know it they’re both discovering the same thing—

Pete finally has a lead on a guy who may be dealing in Seraphins. He tracks the guy down and sees him leaving with something in his trunk, probably one of the synth in questions. He starts to follow the other car, is quickly spotted, and a chase begins. About a minute later Pete finds the guy crashed and the boot popped. He gets out his mobile and activates his synth tracking app…

Athena has an inadvertent conversation with a tech who was one of the people sent out to track down Hester. She tells Athena that during that encounter she may have met one of the original Elster synths. Athena puts two and two together and asks the woman if she has access to The Silo. After she mentions that she does, Athena pulls rank on her and demands her ID so she can get into the building. She goes there and is stopped at the last door—but who cares about a door when you have your own pet AI who can sneak and peek in the company’s servers. She gets V to override security and she finally enters The Silo.

Pete tracks the wayward synth to a children’s playground. He finds a group of children surrounding a child and he asked all the other children to move off, that it’s okay, he’s a policeman and he’s working. He moves closer to the last child who stares back at him, unemotionally, with stark synth eyes—

Which is the same thing that Athena finds—only it’s not just one child, it’s many children…

They both discover the truth almost simultaneously: the Seraphins are synthetic kids. And the question now becomes: who the fuck is making them and why?

 

As always, leave us a comment and tell us what you think!

 

The Cast:

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

Dr. Athena Morrow — Carrie-Anne Moss
Milo Khoury — Marshall Allman

Ed — Sam Palladio
Renie — Letitia Wright
V — Chloe Wicks
Odi — Will Tudor

 

Humans airs in the US on AMC at 10 PM EDT.

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