when robots claim their human rights
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ARTE – THURSDAY AUGUST 18 AT 8:55 P.M. – SERIES
After a remarkable first season, broadcast in 2013 on Arte (1.3 million viewers), the “hubots” (contraction of human robots) from the Swedish series RealHumans have made a comeback in a second season of ten episodes aired in 2014.
This new opus still takes place in a small Swedish town resembling any European metropolis. Humans continue to coexist with robots – and to exploit this new rechargeable and programmable proletariat with a USB key. The “hubots” integrate better and better into society despite a computer virus that turns them into dangerous and uncontrollable machines. To the point that some humanoid robots, who are in search of a code allowing them to free themselves from their machine condition, envision a future without human domination and begin to claim equal rights with humans…
This demand for living together is at the center of this season that its creator, Lars Lundström, has made more complex in the story and more political in its approach. Faced with 100% human groups looking to break robots – the Hub Battle Land is a hunting game for “hubots” using real ammunition -, Bea, a “free hubot” reactivated after several months on standby, starts in search of the code that would free his fellow men.
Behind this fight, the screenwriter has slipped, in the form of metaphors, all the themes that shake the European nations: discrimination, the relationship to work, class difference, gender equality, the place of minorities or freedom sexual.
Thriller and fantasy
Freed from the dogmas of science fiction, which he does not claim for this series, Lars Lundström directs his story towards thriller and fantasy. Little by little, the robot escapes its creator and, beyond the narrative adventures, the screenwriter begins to reflect on the human being.
” RealHumans is the most relevant social criticism in the world of series, far ahead of that of the Americans”says journalist Nils Ahl, author with Benjamin Fau of a TV series dictionary (Philip Rey, 2011).
When launched in 2012, RealHumans did not have a very good audience in Sweden. On the other hand, European televisions rushed to this series which the British adapted in their own way with the right of artistic scrutiny for Lars Lundström. Arte had bought the series by just reading the pitch: according to Vincent Meslet, then editorial director of the channel (now general manager of Newen France), ” with Borgen Where So be they, RealHumans is a series that corresponds exactly to our editorial line, because it asks questions about the future, science, the future of man, and rejuvenates our audience. »
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