Almost Human: under the Skin

It can be tough for a new show to maintain momentum in its second outing. Fortunately for Almost Human, episode two (“Skin”) featured a Cheo Coker script about sexbots. This was basically the exact opposite of a Kobayashi Maru scenario.

Coker has perfected the art of yielding deep character revelations from the smallest of moments (on SouthLAnd), and the skill of wielding heavy exposition on the fly (on NCIS:LA). These abilities are essential in the future world of Almost Human, which has a network procedural chassis powered by a cable-style character-based engine. The words were the supple human skin on this artificial life form: the hour was full of emotional, wry, hard-hitting and rhythmic dialogue. With a steady stream of killer details (cats, balls), Kennex and Dorian bantered like pros. Karl Urban and Michael Ealy played their scenes to perfection, continuing an endearing chemistry that makes us want to spend the entire hour listening to them ragging on each other.

Almost Human Skin

Both actors can convey emotional nuance with the smallest of actions, which fits the style of this show perfectly; it’s a gritty, flinty, fast-moving world, composed of shards of light and emotion amongst the steel and glass. Cityscapes glitter and shine brightly with future-light, androids behave as though they have souls, and no one is quite what they seem. The hard-bitten noir quality runs through every aspect of Almost Human, as does the connection with Blade Runner, which is not just there in the concept and visuals, but also in the dialogue, with a character at one point talking about a blush response. Of course, the key debate of that movie was whether Deckard was a replicant. It’s a rich seam to mine, and J.H. Wyman’s show is doing it thoughtfully.

At the same time, it’s distinguishing itself from its sci-fi forefathers and brethren, establishing its own unique identity through a new language of crime: flash masks, DNA bombs, tag scramblers. Wyman is delivering on his promise to only feature crimes that are entirely dependent on futuristic technology. This is a sci-fi geek’s dream in the best kind of way. The concepts are clever, but the emotions are always real: Dorian’s pain at the destruction of another synthetic was palpable and moving.

And yet, in a sign that this show has a great line-up in the writers room, possibly the most moving moment of the episode was the tiny robotic giraffe that Kennex hands to the small child of a kidnapping victim. That emotional moments can be handled so quietly and simply amidst the chaos of the day bodes extremely well for the sophisticated nature of future episodes.

All of the show’s emotions are enhanced by The Crystal Method’s beautiful, futuristic and ambient score, which flows through every scene artfully; it’s up there with the best sci-fi scores, in TV and in film. If machines did dream, this is what it would sound like.

Almost Human has started with an astonishingly assured one-two punch. It’s thrilling TV; exhilarating concepts driven by emotional truths. As long as it can give more time and complexity to Captain Maldonado and Agent Stahl, both of whom currently exist in a “popping in and out of scenes with information” status, there’s nothing to stop this show cementing its status as best new drama of the season.

Random uploads:

  • “You scanned my balls.”
  • Gareth from The Office (the UK original) as a specialist in robots. Brilliant.
  • Kennex stabbing his leg and scaring the kids.
  • That giraffe, man. Beautiful.

Almost Human: Pilot Episode

That Fringe-shaped hole in your TV world is about to be more than filled with ALMOST HUMAN, a show that might just be the purest display of high-octane sci-fi ever to hit the small screen.

The pilot episode, penned by former FRINGE showrunner J.H. Wyman and produced by sci-fi uber-titan J.J. Abrams (FRINGE, PERSON OF INTEREST, REVOLUTION, SUPER 8, STAR TREK, STAR WARS), is a fiercely gritty introduction to the police procedural world in 2048. Cops are partnered with androids, and programmable DNA is the target of choice for the future-tech criminals they chase down.

Almost Human

The pilot accomplishes more than most first seasons. Wyman’s world-building is precise, deep and always on the fly. It’s a world of constant motion. This is kinetic sci-fi of the highest order. And it’s all driven by character and emotion, memory and loss; every piece of tech, every cool idea, is serving the story. Wyman’s great skill is to introduce us to multiple strata of the world, as well as our two lead characters: Kennex, the embittered cop struggling with the continued fallout of a mission gone wrong, and his partner Dorian, a “synthetic” who is programmed to feel. They both have something to prove, and almost certainly something to hide.

Their relationship is the cornerstone of the show; it all depends on their arcs, their dialogue, their chemistry. Wyman’s script does a stellar job making all this completely naturalistic, and the two actors, a fantastically grizzled Karl Urban and a smoothly assertive Michael Ealy, trade hard-bitten noir-ish lines with ease.

That combination of sci-fi noir and androids programmed to seem human unavoidably calls to mind the ur-text of this genre: BLADE RUNNER. To its extreme credit, ALMOST HUMAN is never derivative, but doesn’t shy away from the resonances either. Indeed, it richly plays with our expectations by giving us just enough to wonder if Kennex is as human as he seems (read EW’s excellent breakdown of this theory).

The sci-fi in the show serves the story entirely; and simultaneously the story couldn’t exist without the tech that drives it. That’s why this is pure sci-fi, the very best kind: emotion, action, concept, heart and character are all the same here.

It’s an outstanding pilot episode, one that holds a tremendous amount of promise for the rest of the season.