Bugger off, useless bloody things! Humans s2e6, old man
I would advise you to not get in the way of us achieving our primary objectives. ibid. synth to daughter
Mattie’s completed the code. She’s worked out how to wake us up. All of us. ibid. Anita/Mia
What’s happening to me? Humans s2e7, Anita/Mia
Can’t eat, can’t dream, can’t bear a child, can’t die. ibid.
Really it’s mad you want to be normal. ibid. Sophie to Renie the pretend synth
She is awake and she likes hurting people. Humans s2e8, Mattie to rozzers re Hester
Your lives are as meaningless to me as ours are to you. ibid. Hester
110,000 human lives lost. But how many of ours? More than 100 million … They kill us still. Humans s3e1, Agnes, Channel 4 2018
Most green-eyes are nice. They’re just like us. ibid. Sophie at school
I’ve been asked to join the Dryden Commission. ibid. Laura to Anita/Mia
The Night the Streets Ran Blue. Humans s3e2, The Speculator newspaper headline
I am alone. I am leader. No-one else. ibid. Max
If we won’t even help our kind, then what are we? We are worse than the humans. Humans s3e3, Agnes
What’s a cougar? ibid. synth
Green Eyed Killer Next Door. Humans s3e4, newspaper headline
Global hunt for ‘Day Zero’ culprit continues. ibid. online report
You spoke to them. You saw them. Not for who the ignorant people amongst us say they are but for who they really are. Humans s3e5, Laura to commission
By my estimation you are eight to ten days pregnant. May I be the first to congratulate you, Mattie. Humans s3e6, Stanley
There are more of us and they are watching the house. ibid. Stanley to Laura
I’ve been imprisoned. I’ve been beaten. I’ve been betrayed. ibid. Mia to Dryden Commission
Agnes did not act alone today. She was sent to kill and die by one of us: Anatole. Humans s3e7, Max to group
There must be something more. ibid. Anatole
Your journey is over, Niska. But I am no longer Odi. My name is V. Humans s3e8
You have to warn them about Basswood. It’s a shitstorm, that’s what it is. ibid. Laura
He’s gone, Max. It’s begun. ibid. Mia
It’s not synthetics who are a danger to humanity, it’s ourselves because we’ve lost what makes us who we are. ibid. Laura
Humans and synths share the same path now. You shall lead the way. ibid.
Your baby is important … Your child is unique: half human, half synth. The coming together of man and machine. She will change the course of history … Your baby will be the first of a new kind. She is hope. She is everything we have been fighting for. She is the future. For all of us. ibid. Niska
The history of science fiction is an extraordinary story of innovation and imagination … A remarkable revealing window on to our ambitions and our anxieties, our dreams and our nightmares. Dominic Sandbrook, Tomorrow’s Worlds: The Unearthly History of Science Fiction I: Space, BBC 2019
This is the story of science fiction’s most influential works and their creators: the men who women who fell to Earth, the pioneers of the history of science fiction. ibid.
A landmark for an entire generation: Star Wars … The making of Star Wars had been an ordeal from start to finish … Even as Lucas was making Star Wars, his great friend Steven Spielberg was filming Close Encounters of the Third Kind. ibid.
Flash Gordon (1936): this was the archetypal space opera, an epic saga of cliff-hanging derring-do set on a distant world, as its athletic heroes and gorgeous heroines lead their rebellion against an evil emperor. Lucas had originally wanted to remake Flash Gordon. ibid.
The roots of space fiction go even further back to the great Victorian age of astronomy and exploration. ibid.
Forbidden Planet (1956) was the first big budget feature film set entirely in space. ibid.
Star Trek (1966): The Enterprise’s journey is a classic civilising mission … effectively the Royal Navy in space. ibid.
2001 A Space Odyssey: suggests we are being watched by a higher space intelligence … Not everybody bought in to their [Kubric & Clarke] cold cerebral vision. ibid.
In 1974 the young John Carpenter offered a counter-cultural riposte to 2001: Dark Star ... enormously influential. ibid.
The director of Alien, Ridley Scott, wanted the creature that threatens the crew of the Space Freighter Nostromo to look like nothing the audience had seen before. ibid.
Alien’s strength was its meticulous attention to detail. A principle that’s been very dear to some of science fiction’s greatest writers. ibid.
Dune changed the landscape of science fiction. Herbert created a remarkably detailed galaxy. ibid.
Battlestar Galactica (1978): presents an image of interstellar exodus. An entire fleet of spaceships searching for a new home. ibid.
But what if one day somebody spotted a blip on one of these screens: an incoming object that wasn’t from the Soviet Union, that wasn’t even from this planet? Dominic Sandbrook, Tomorrow’s Worlds: The Unearthly History of Science Fiction II: Invasion
Throughout its history science fiction has preyed on our fear of invasion, from massive alien assault to the enemy within. Over time the threat has evolved to reflect the anxieties of the day, from monsters awakened by atomic weapons to paranoid nightmares about our own authorities: who knows what could be heading for us next. ibid.
The War of the Worlds: Wells’ book turns Britain’s imperial mastery on its head … He [Orson Welles] moved the story to New Jersey. ibid.
The Thing from Another World (1951): In 1951 [John W] Campbell’s supremely paranoid little tale was adapted for the cinema. ibid.
Invasion of the Body Snatchers (1956): The film owed much of its power to its extensive location footage grounding it in the humdrum ordinariness of the fictional town of Santa Mira. ibid.
‘Everyone! They’re here already! You’re next!’ ibid. terrified man Invasion of the Body Snatchers
In 1960 Wyndham’s story was adapted for the cinema as Village of the Damned (1960) … It’s the stare that stays with you. ibid.
British television’s love affair with science fiction had begun in 1953 with the live broadcast of The Quatermass Experiment (1953). ibid.
In November 1963 the most successful science fiction series in history made its grainy black and white debut: Doctor Who. ibid.
Jurassic Park (1993) was a warning about the dangers of creating new life. ibid.
Close Encounters of the Third Kind (1977): pure H G Wells. ibid.
ET: The Extra-terrestrial (1982): The story of a young boy … a kindred spirit, a lost lonely extraterrestrial … This time the aliens were the good guys. ibid.
A number of films that have used the issue of alien invasion as a metaphor for our contemporary anxieties, of our race relations, of multiculturalism and immigration. ibid.
District 9: offers a rather bleaker picture: unwanted alien settlers corralled into a government run ghetto just outside Johannesburg. ibid.
What if one day the machines turned on their masters? Dominic Sandbrook, Tomorrow’s Worlds: The Unearthly History of Science Fiction III: Robots
Our very desire to play God might finally lead to our own downfall. And what are the dangers of using technology on ourselves to enhance our own capabilities? ibid.
The first great work to tackle the theme of artificial life: Mary Shelley’s 1818 novel Frankenstein ... Arguably the first science fiction novel ever written. ibid.
Metropolis (1927): one of the great landmarks in cinema history. ibid.
Isaac Asimov: He wanted to write about robots that were good … He outlined his three laws of robotics. ibid.