Todorov states that there are five stages of narrative that majority if texts follow;
- the equilibrium; the world we are introduced to
- disruption to the equilibrium
- recognition that the equilibrium has been disrupted
- attempt to repair
- either restored or new equilibrium
This theory is applicable to the TV show 'Humans', both for season 1 as a whole and individual episodes. Episode 3, for example, proves Todorov's theory and displays typical narrative conventions. In terms of the main plot, the 'equilibrium' in this episode is that Anita is still living with the Hawkins family, despite Laura's apprehensions. Following a conversation between Anita and Laura, Laura is creeped out by Anita's words and decides to take her back to the suppliers (this is the 'disruption'). This then makes the episode conform to the idea of goal orientated narratives, whereby the only aim for a narrative and characters within it is to achieve this goal. For the rest of the Hawkins family, this goal is to stop Laura from taking Anita back, and maybe convincing the mother that their Synth isn't all that bad. This is called 'cause and effect' narrative and essentially means that one action within the story will have an effect on the plot or the characters actions, propelling the narrative forward as the character will have to overcome this, and probably many other, small obstacles in order to achieve their overall goal of restoring the equilibrium.
In this case, the recognition comes with Toby cycling to Anita's rescue, but nearly being hit by a van prompting Anita to step in and save him. This then means that the family HAVE to take Anita home, and Joe is then forced to complete a full-body check on Anita, 'for insurance purposes'. Whilst nothing comes of the awkward encounter in this episode, it does set up narrative plot points for future episodes and foreshadow Joe's infidelity. This pushes the 'recognition' into am attempt to repair, by Laura herself, as she walks home with her sons bike contemplating her decision to take her synth back. When she returns home she brings Anita into her conversation with Joe and has her synth explain her side of the story, showing a slight regret and therefore emphasising the attempt to repair. Laura seems to forgive Anita after the synth suggests to Sophie that she allow her mother to put her to bed to cheer Laura up, as well as when Anita cleans the kitchen and bakes a cake for Laura (who burned the first one).
All seems to be well between Anita and Laura and a new sense of acquaintanceship seems to have been formed, however all is not restored in terms of the Hawkins narrative as Matilda, an amateur hacker, hooks Anita up to her computer. This seems to 'awaken' the real Anita who starts to beg for help, prompting Matilda to unplug her and upload her code to a hacker group. The code is then found by Elster, who has been looking for Anita since the beginning of the series, and who we have seen look for Anita in particular throughout this episode. This is a traditional narrative convention as we now see the plot and subplot begin to merge, so whilst the main disruption/ binary opposition (Laura vs Anita) is solved, we now begin to assume that Elster will come to find Anita, and loop the Hawkins family into his quarrel with the police.
Whilst this episode doesn't include them Humans does provide us with flashbacks to before Anita and Elster were separated, showing how the shows narrative can also be considered a 'felxi' or 'non linear' narrative. This ties in with genre theory as non-linear narratives are conventional of the sci-fi genre, as it allows us to see what the world for the characters was like before we were introduced to them, and show us the 'true' equilibrium, furthering the cause and effect narrative as we can see that the overall end goal is to reunite Elster and Anita and free her of her brainwashed state.
Overall, the narrative for Humans is rather conventional, as the main binary opposition in each episode is generally solved, yet the sub plot's binary oppositions seem to get worse and worse, yet drives all parties concerned towards the end goal of the reunion of Elster and Anita. What doesn't seem to be clear is where George and Odi's storyline fits in, as the duo seem to live unconnected to the other characters; this may reveal itself as the series progresses, or may be an unconventional form of narrative and have their only use to be to provide a different perspective on synths- George and Odi seem like father and son, a clear juxtaposition to the somewhat hostile Laura's attitudes to Anita.
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