Now that the Basswood Plan has been invoked, power is going out across the UK, leaving the synths vulnerable and unable to charge. Can Laura and Mia stop the invocation of the next phases, and will Niska complete her quest?

In this spoiler-free preview of the final episode I won’t touch on any of the big plot developments, as they’re there for you to discover and enjoy yourself. I will say that it’s generally a satisfying conclusion, after some frustrating ups and downs over the eight-week run. My greatest sense is that there’s an excellent six-episode run here, diluted by some plodding movement of some of the threads. It starts well, finishes well and there’s some great stuff sandwiched between.

One of the greatest lulls was Niska’s quest, a voyage of (self) discovery that plays out pretty much as I’d anticipated. There’s an unfortunate moment when Niska says to V (The Synth Who Sleeps) “No more riddles. No more bullshit.” It’s a sentiment shared by the audience, who have been frustrated by the under use of one of the show’s best characters (Emily Berrington is excellent), and where she ends up is the place we wanted to be mid-run.

Gemma Chan also finally gets the chance to be more proactive with Mia in some crucial and well-directed moments that will dictate the future. Mark Bonnar also does a great job in bringing Laura’s temporary love interest Neal to life, in a performance more nuanced than some of the other Dryden Commission flunkies who are drawn a little too broad for my taste.

And so everything comes to its conclusion with some great twists and set-pieces in this final hour. There’s enough unresolved to warrant and tease a further series, though nothing has been said one way or the other at this time. Maybe the story has run its course, but enough seeds have been sown to take it further if wished. At its very best Humans has been a thought-provoking polemic with very clear parallels to the real world and provided a great springboard for the careers of its leads.

Verdict: A powerful series finale that might catch you out when you’re least expecting it – with all eyes on a conclusion, there’s none of the navel gazing or diversions that crept in to the weaker instalments. Quality British sci-fi that has something to say. 8/10

Nick Joy