Meanwhile things are going on in the woods. Leo (Colin Morgan) is on the run with a self-aware synth and there are others out there. Anita has secrets and maybe a sense of her own subjecthood. Laura has moral shortcomings and is annoyed by Anita’s unrelenting cheerfulness. The vile Matilda has inherited her mother’s attention seeking behaviour. This was good and has horrible glory.
An old codger named George (William Hurt) wants to keep his old synth but his caseworker has only a craven tolerance for him. Synths are changing and things go a bit Stepford as the enormity and finality of what is coming is hinted at. Synths hamper the jobs market. Cops have a special technologies taskforce. Laura has an abrasive personality and a superior air. There are fruit picking synths, medical synths, sex syths and some of them have conduct disorders.
Morally dubious things happen, there is talk about the singularity and how synths will supplant their creators. George intrigues, Leo deals with escalating problematic behaviour and Laura is particularly repellent. A Channel 4 newscaster appears as himself and there are mentions of Asmiov locks. Mmmmm.
“Don’t come in dad, I’m masturbating.”
“Is your synth in?”
“Not now Vera.”
“Not upset by the infant’s actions.”
“This time you didn’t bother.”
“I feel avoided.”
“Why would a synth need a telephone?”
“Work is a human right.”
“You just ruin everything.”
“Fingers crossed it’s only burglars.”
“There is no home.”
“Did you turn off your pain?”
“You have to press the button. It needs human body heat.”
“Technology surpasses us.”
“Panties down, not off.”
“Should we be afraid of our synthetics?”
“If a bus hit me tomorrow, no-one would care.”
“You’re a mad fellow aren’t you?”
“Thank you. No thank you.”
“A little too much leather.”
“I don’t have to say anything.”