"I'm watching you."

"I'm watching you too,'re right in front of me."

The second episode of AMC's new Science Fiction thriller Humans continues to expand upon the questions first posed by the Pilot last week, and, (in a lot of ways), has a knack for keeping viewers in the dark and raising more questions than it answers. In the opening sequence, we're already left wondering: Where did Anita take Sophie in the dead of night? Though Laura finds her daughter asleep in her bed, she makes note of a few things that seem out of place.

Sophie is wearing different pajamas than the one's she went to bed in, and, later on, she finds that Anitas' shoes have been cleaned. For someone thats been suspicious of Anita since she arrived, these occurrences don't exactly ease Laura's lingering doubt.


As the designated antagonists, the scientists continue to run tests on the rouge Synth they managed to subdue, analyzing its memory for anything that might be of use to them (akin to going over recorded video footage). Anita is found in one of these recorded memories, something that the scientists seem keen on investigating further. This leaves one to wonder what connection the two have (other than going rogue), and just how deep it runs.

There's an interesting dynamic of cat-and-mouse playing out under the surface between Anita and Laura, both seem to be aware that the other is onto them, and they play this game with the kind of subtlety that borders on a real art form. While Anita is "washing dishes," Laura happens to find her with a spider in the palm of her hand (Laura is deathly afraid of spiders), and Laura, meanwhile, is piecing together Sophie's changed pajamas and Anita's washed shoes.

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This is the first time that Laura's mask of compliance starts to waiver (in regard to Anita) and the true lawyer comes to the forefront. This culminates in a verbal confrontation that sees Laura drive Anita back to the factory, however, Anita doesn't seem discouraged by this, in fact, she seems delighted.

This is also the first time we see such blatant opposition to the Synths on so many fronts. Dr. Millican has the government-mandated Synth upgrade literally forced upon him as his outdated Synth Odi plays hide-and-seek in the shed. Unlike the friendly demeanor that Odi possesses, this new synth is more like a drill sergeant, taking a militaristic approach to treating Dr. Millican that leaves no room for error (or sympathy). This new, top-of-the-line make is efficient to the point of excruciating, and it begs the question, at what point does efficiency become a detriment to overall quality of life? Perhaps a machine of this kind (as well-oiled as it is) isn't always the answer.

In the case of de-facto DS Pete Drummond (Neil Maskell), we see that his wife (suffering from some kind of limited mobility ailment) has become more attached to her Synth than to her husband (much in the same manner that Laura feels her family will become attached to Anita more than her).

This is a telling illustration when those that are in charge of telling people to upgrade their Synths (Dr. Millican) are having problems with their own. At what point does a Synth become more than just a housekeeper and transform into something much more harrowing: Your replacement? The seeds have already been planted, and it'll be interesting to see how this evolves moving forward.

The climax of this episode is two-fold: On the one hand, we see sex worker Synth Niska (Emily Berrington) go full rogue as she murders a customer after a particularly gruesome, sadistic request. Having reached the point of no return, she goes all-in, foot on the throttle as she cuts out something (possibly a tracker) from the back of her neck and walks away from the establishment feeling more free than she probably ever has before.

Leo and Max find themselves in quite the predicament. With law enforcement on their tail and Leo sustaining injuries from a nearly-fatal confrontation with some very questionable "chop shop" connoisseurs, Max is left to drag Leo around as his wounds continue to bleed profusely, but, here's the real kicker: While hiding out in a public bathroom and trying to rouse Leo, Max does the unthinkable, instead of looking for gauze and/or a sewing kit, Max reaches into the open wound, pulls out wires and jumpstarts Leo back into the realm of the conscious. Thus far, we've been led to believe that Leo is either a human or a Synth, but, as it turns out, he could be both.

Tune in to new episodes of Humans only on AMC.