Technology and sex go hand in hand, don’t they? After all, without porn, the internet wouldn’t be as nearly as popular as it is today. In fact, surprisingly, nothing is advanced as much as sex toys are. Particularly synthetic dolls. In the pursuit of advancement, vagina based droids are pushed beyond uncanny valley so that lonely people across the globe can feel some sort of manufactured flesh against them. In some ways, that is the basis of Humans this week, which sees sexual desire and robotic humanity clash intricately whilst others battle with being seemingly replaced or an impending war from the robots.
Humans has started to tackle intimacy between human and synth and does it so subtly that it burns with promise. As it divulges into the intricate desires of Joe and Jill are enhanced by the performances from Tom Goodman-Hill and Jill Halfpenny respectively. See, there is something so delicate about how they portray feeling attracted to the Synths. Whether it’s Joe repeatedly telling himself that Anita’s bits and pieces aren’t real or a hug from Jill’s chiropractor robot Simon utters a closeness she has clearly been missing. This series is softly unravelling questions of sex and robotics. Including; why do the Synths have vaginas, boobs and penises in the first place? Why do all makers insist on creating them in our image? And is it so wrong to be attracted to a robot that has been made to be attractive? All of these are unnervingly tinging the atmosphere.
Humans is tantalising. Though the slow pace may cause people to steer away from it, the themes at the core of it bristle across your skin in an evocative way. I have to praise, once again, the score though. Reminiscent of Clint Mansell’s Moon score or Rick Smith’s Bring it To Me epic in the movie Trance, Cristobal Tapia de Veer's music is stellar. There is an intriguing similarity between Leo and Laura’s backstory, could he be a modified family member of hers, brought back from the dead?