Being Human reviews – Page 2 – Simon’s Incoherent Blog

Being Human: Series 4, Episode 3–The Graveyard Shift

“Sometimes I think the only demons worse than him must be the ones he’s fleeing from.”

After a thoughtful, character building piece in last week’s Being Human, the action (and the convoluted plot) were back with a bang in this week’s episode, The Graveyard Shift. There was a lot going on in Jamie Mathieson’s script – I’d say perhaps too much for one episode, resulting in a slam bang piece that felt like a chapter of a story rather than a story in itself.

Not that there wasn’t plenty to enjoy. Amidst all the plot advancement – Eve’s destiny, the vampire prophecies, the Old Ones heading for Wales in a boat – there was plenty of the character based humour the show seems to be recovering with its new cast. In particular, we learnt a lot this week about Hal, the ultra-repressed, OCD-ridden vampire who refers to his supernatural status as “my condition”. After last week’s cliffhanger, in which Fergus learned of Hal’s return, we got an opening flashback very much in the mould of those we used to see for Mitchell, showing his past as a Big Bad, slaughtering all and sundry with Fergus. It was, not to put too fine a point on it, massively reminiscent of the flashbacks to Angel and Spike’s historical killing sprees in Buffy.

At this point, I think the show needs to be a little bit careful. Up till now, the writers have been at pains to distinguish Hal from Mitchell (though both characters’ resemblance to Angel has never been shied away from). The flashback to 1855 was nicely done, with Fergus and Hal (gratuitously shirtless, not that I minded) covered in blood having slaughtered the inhabitants of a big country house. But Mitchell too was a former Big Bad, revered among the vampire community for his previous life as an unrepentant killer, as frequently shown in flashbacks just like this. As we learn from Fergus, Hal’s past as a vampire Old One is arguably way more prestigious than Mitchell’s. But the similarity was there, and I think the show’s going to have to be careful not to make Hal – in some ways – seem like a carbon copy of his predecessor.

Still, Hal in the present is very much a different vampire to Mitchell. Socially awkward where Mitchell was easy going and blokish, this week saw him forging a more friendly relationship with Tom. The tension is still there, of course – initially, Tom’s carrying stakes around just in case, while Hal almost turns him over to Fergus and the gang. But the episode quite skilfully built the beginning of a believable friendship between the two; not quite on the level of Mitchell and George’s easy mateyness, but by the end of the show, you could see them getting there.

This started by having the aloof Hal having to get a job, in order to pay for the baby stuff that Annie is currently having to spectrally steal from Aldi. In a week which has seen much debate about the UK government’s Workfare (read ‘slave labour’) scheme, with the Work and Pensions Secretary decrying objectors as ‘job snobs’, this was curiously timely. Initially, it seemed like Hal thought counter work in the same cafe as Tom was beneath him; later, though, as they grew closer, a Jaws-style pissing contest over who’d had the worst jobs revealed that Hal had done some pretty grim stuff to earn a living.

Nonetheless, Hal seemed to find the job rather distasteful at first, with his glacier-speed table wiping and lettuce chopping. It was only when he and Tom began to build up that camaraderie you tend to have with your co-workers that he lightened up a it. We got some nicely humorous business with Goth-ish wannabe writer Michaela, who amusingly tried to freak the boys out with her ‘edginess’ (mostly comprising terrible poems and drawings). She resisted the boys’ competition to see who could get her number because they weren’t ‘edgy’ enough – something that would come back to haunt her later.

Michaela, along with vampire recorder Regus, provided much of the broad comedy this week. How funny you found this depended on your tolerance for a character who was a little too broad and comical to be realistic – for me, anyway. Laura Patch put in a good comedy performance, but Being Human has never been that kind of comedy. It was too much like caricature rather than character to be believable.

By contrast, Mark Williams, returning as Regus, pitched the humour of his character just right. It’s nice to see that even a vampire can be a nerd and a loser (“my lunch fought back. I mean, who carries a crowbar to walk the dog?”). Williams played him as genuinely weary of 400 years of being a nobody, thrust into the spotlight by his interpretation of the mysterious prophecy.

He also developed a sweet but creepy rapport with Annie, who was this week struggling to accept Tom and Hal as being more than just lodgers. It’s good that the new trio haven’t just fallen straight into the pattern established when the show began. It’s always traumatic when a beloved flatmate moves out and is replaced by someone you don’t know, and for Annie that’s even harder as both of her ex-flatmates are now dead.

Annie spent a lot of the episode advancing the Big Plot, firstly in a genuinely tense confrontation with Fergus and then in mountains of exposition with Regus. As the oldest hand in the show, Lenora Critchlow has the confidence to pull this off while the boys get all the action, but I’d just as soon see some return to the dark, powerful Annie we’ve occasionally seen before.

Perhaps that will come to pass by the end of this series, but for now, she seems largely stuck with relationship building and comic moments. There was quite a good one of the latter, as Regus blackmailed her into telepathically sharing her memory of her first sexual encounter – only to discover that, being from her point of view, he was actually going to experience what it felt like to have sex with ‘Dave’ (“Don’t worry, I don’t remember it lasting very long”). Annie’s always been the show’s real moral heart, steering George and Mitchell back to the straight and narrow when necessary, and now she seems to have become a den mother in addition. All very well, but I’d like to see her take more of a role in some of the action again.

Said action erupted as Fergus and a gang of vampire heavies turned up to storm the cafe, and there was much shouting, hissing, and brandishing of stakes. Somewhere in the middle of all that, Michaela got caught up with Hal and Tom, only to end up with her throat slashed when Fergus and his heavies crashed into the B&B. Inevitably, the lonely, creepy Regus brought her back as a vampire – this made me groan, but I was relieved that the new happy couple headed off for happier shores. It was a little contrived, but I think that might be my dislike of Michaela as a character colouring my opinion. At least the script got in some not too subtle digs at the vampire-worshipping fangirls. Pointing out Regus’ Twilight T shirt, Michaela asked, “are you taking the piss?”, only to receive the inevitable reply, “well, you started it.”

Still, an actual vampire battle in the B&B was a welcome bit of excitement in a show that has had so much happen between seasons. I was genuinely surprised to see Fergus offed so quickly; Anthony Flanagan has made him a rather good villain, and I expected him to be around a bit longer. There was no sign of Cutler this week either, fisticuffs plainly not being his thing. Still, I believe that makes him the only vampire villain left not in a Hoover bag at this point.

And Hal nailing his colours to the mast after initially convincing Fergus that he was back to his old ways was a superb – and necessary – bit of drama. Up till that point, like Annie, he was undecided whether the flatmates were his actual friends. This was the moment when he decided, and as a consequence convinced them too. I’m very much enjoying Damien Molony as Hal, and hope the show survives its cast change to see a bit more of him.

By the end, then, of a tumultuous episode, we were back with Hal and Tom slouching on the sofa watching TV just as Mitchell and George used to. The point that “it’s similar but different” was made amusingly but unsubtly, as the boys rejected watching “something about conmen” in favour of Antiques Roadshow. Still, as Annie sat down to join them, it felt like something of an equilibrium had been forged with the new trio. In many ways, the show could have ended right there – but no, we still have the Prophecy to deal with, along with a boatload of vampire Old Ones and a ghost from the future intent on killing herself as a child. Still, on this evidence, our new gang of heroes may have bonded well enough to deal with those things.

Being Human: Series 4, Episode 2–Being Human 1955

Annie: “Things have changed a lot recently.”
Pearl: “That’s a pity. Over 55 years and I’ve never had to change my lineup.”

OK, this is the episode that’s convinced me I want to stay with this show (though judging by my Facebook friends, I may be in a minority). After the sturm und drang of last week’s Big Plot shenanigans, this week Being Human concentrated – quite rightly I think – on establishing the new characters and their place in the show. Despite the loss of George and Mitchell still being very keenly felt, this was a real return to the blend of comedy and horror that made the show so much fun in the first place. It’s not the show it was, to be sure. But it felt, unlike last week, like a promising new direction.

Lisa McGee’s script was rather excellent; full of quotable lines, it had me by turn laughing my head off and then gasping at the drama. All right, I think the comedy was most to the fore, but it was used to inform the drama (and vice versa) in precisely the way the show used to before it got so hung up on its own mythos.

Oh, the mythos is still there, and we’re obviously going to see some developments this year with the threat of vampire domination and their ongoing war with humanity and the werewolves. I was glad to see that both Fergus and Cutler survived last week’s massacre at the groan-makingly named ‘Stoker Import and Export’ building (though bafflingly they’re still headquartered there).

Of the two, Fergus is the more obvious baddie. Like last week, Anthony Flanagan invested him with genuine menace beneath an apparent bonhomie, and he’s very much a trad vampire with his first response to everything being to kill and feed – “We need fists and fangs”. But charismatic though he is, Cutler is the more interesting of the pair. A ‘vampire of the times’, we first encounter him using homeless people as a ‘focus group’ for his werewolf transformation footage propaganda. Fergus’ first reaction is to immediately kill all the humans (“we missed lunch”), and then more tellingly, compare Cutler to a certain political figure – “we don’t need a vampire Peter Mendelssohn”. Cutler’s withering putdown to this – “Did you mean ‘Mandelson’, or are you calling me a 19th century German composer?” – was gold, and I’m hoping their bickering double act will be a running thing.

Fergus and Cutler aside, we also saw Future Eve (if indeed the ghost from the future is her), who was directing the plot by sending the ailing Leo, together with Hal and Pearl, to see Baby Eve in her capacity as Warchild and Saviour. I’m still not sure about this aspect of the plot, and may have to watch last week’s again – is the ghost from the future really Eve? If so, her mission to kill the infant version of herself, while noble, is a time paradox more head scratching than anything in the Terminator movies.

But these Big Plot aspects were fairly incidental to the episode’s USP, which was, plainly, to set up the new household. It’s being done in a nicely gradual way;we’re already getting used to Tom as the new resident werewolf, and with this in train, here comes new vampire Hal. Only glimpsed last week, this week Damien Molony got a large slice of the action to establish this new bloodsucker as a very different vampire from John Mitchell. He’s far more introverted, with his archaic suit and clipped 1950s English accent (though I’m pretty sure I detected traces of Molony’s real Irish twang once or twice).

He also has an endearing tendency to OCD, with his strange superstitions and rituals. He never stops at petrol stations on the left hand side of the road because it’s bad luck – which must cause problems on dual carriageways, considering we drive on the left in this country. He also has a daily ritual of setting up complex domino chains, but never actually knocks them down, preferring to then carefully put them away.

As he explains, this is a method taught to him by Leo for controlling his primal urges; I like that. For as we saw in an electric confrontation between him, Tom and a slimy pawn shop owner, he could be very dangerous indeed. That scene, with Tom’s initial loathing of the stuffed wolf head leading to the owner pulling a shotgun on him, felt like the writers and the actor really setting the stall out for Hal as a character.

Molony was chilling as he calmly explained what killing was like, how easy and exhilarating it was, and how hard it was to live with afterwards. You got a real sense of how many times he’d learnt this himself. As the shopkeeper said, “you’re either a man of God, or you’re speaking from experience.” Molony’s regretful, faraway look as he replied, “I’m not a man of God.” was perfect, and it was a good one liner the likes of which the show used to do so well. The whole scene reminded me of nothing so much as a scene in Doctor Who story The Happiness Patrol, in which the Doctor, held at gunpoint, calmly and firmly talks his would-be executioners into putting down their guns. I wonder whether the resemblance was intentional?

But we also got Hal’s housemates Leo (werewolf) and Pearl (ghost) turning up with him, in a nicely timed comic bit after Tom had declared that Baby Eve wasn’t going to be suddenly visited by three wise men proclaiming her the Messiah. It had ben pretty well-publicised that the show’s new lineup was going back to the original mix – one vampire, one werewolf, one ghost, so plainly they weren’t going to stay around long. As it turned out though, the resolution of their storyline was every bit as affecting as the characters we’d known since the show began.

As much as the writing, this was down to the actors involved. Tamla Kari as Pearl had a nice interplay with Annie from the outset, with her bitching about the B & B’s decor, not to mention her smug assertion that she’d managed to make a vampire/werewolf/ghost household last for decades while Annie had barely managed a few years. And it was a brilliant, laugh-out-loud moment, in keeping with the show’s traditions, that the one snipe Annie just couldn’t take was when Pearl criticised her tea-making skills!

Good though Kari was, Louis Mahoney as Leo was again the best of the new crew. He was both funny and heartbreaking as the dying werewolf, with his assertion that he once saw Louis Armstrong – “though it could have been Shirley Bassey. I was really drunk” – and his obvious tenderness for his supernatural companions. I must say though, after this and his turn in Doctor Who episode Blink, I do wish someone would give this talented actor something more to do than dying emotively in bed.

All that said, the ultimate resolution to his and Pearl’s plot was a little predictable; they’d always loved each other, and having worked this out at the end of his life, could both move on through their doors, together. It was sweet, but signposted as soon as Leo sent Tom off to buy that mysterious ring.

In the same way that Hal is very different from Mitchell, Tom is clearly nothing like George, and again that’s a good thing. Theirs is obviously going to be a fractious relationship, nothing like the best mates that Mitchell and George were from the very beginning of the series, which is perfectly in keeping with their wounded and mistrustful natures. Hal may be best friends with another werewolf, but he still can’t touch Tom without interposing a handkerchief between their hands; and Tom never even came to trust Mitchell, so as far as he’s concerned, all vampires are still the enemy.

This all came to a head as Hal, alone and upset, tried to fall off the wagon by feeding off the nasty pawn shop owner. As he and Tom pointed a shotgun and a stake at each other, it was down to Annie to make an uneasy peace, and set the scene for that final shot of all three of them on the sofa, uneasy allies but housemates at least.

Ah, Annie. As the last one standing of the lineup that fans came to love, Lenora Critchlow has a heavy load to bear this series. On the evidence of this episode, she’s more than up to the task. Although an ensemble piece, Annie really dominated the action, with her usual mix of comedy and pathos. She got all the best laughs, from her mothering of Tom – “no stakes in my shrubbery!” – to her cobbled together ‘ceremony’ in an attempt to heal Leo, in which she randomly spouted every bit of Latin gobbledegook she could remember – “carpe diem, veni, vidi, vici, Dolce, Gabbana…”

But she also got some of the best moments of pathos. Hal saw straight through her cheery exterior – “Your mask. It’s almost as good as mine.” Then there were her tears as she tried to stop Tom and Hal killing each other. She’s lost her two best friends, and despite her cheeriness, is far from dealing with it well. She’s the same old Annie, but there’s something sadly ironic that out of the three housemates who started, it’s only the dead one who’s still around.

So, the new lineup is complete. They’re not mates yet, not like the old gang; Tom is very much like a teenage son to Annie, who’s also relishing being mum to Eve. Tom and Hal seem to have reached an uneasy peace, but I’m sure it’ll take a while before they even trust each other. Still, for all the show’s ever growing mythos and Big Plots, it feels like we’re back to its original format – three supernatural beings sharing a house, trying to deal with their own monstrous natures and ‘ be human’. In a way, the character change could even be a good thing; it felt, last year, like they’d gone as far as they could with Mitchell and perhaps George too. This way, we have a new gang to deal with the same problems in different ways. However much you loved the original cast, that’s got to be a good thing – and on the strength of this episode, for me, it is.

Being Human: Series 4, Episode 1–Eve of the War

“I don’t know what I’m for any more.”

Changing the lead cast of an established, popular TV series is always a risky business. Look at what happened with The X Files after the departure of David Duchovny, or The Dukes of Hazzard’s one, disastrous season without John Schneider and Tom Wopat. On the other hand, done well, it can be no handicap; MASH survived the loss of Wayne Rogers, McLean Stevenson and Larry Linville, and Doctor Who and James Bond change their lead actors on a regular basis.

The cast changes for BBC3’s Being Human have been well-publicised – a mistake in my opinion, but a logical approach in these days of internet rumour, gossip and spoilers. From being a cultish, word of mouth modest success for a lesser BBC channel, Being Human has become a massive, popular hit with an international following, so any developments are going to be big news. It was well-known that Aidan Turner, tortured vampire hero Mitchell, wouldn’t be returning, as he’s busy with The Hobbit. As the final episode of the last series saw him turning to dust after a mercy staking by best friend George, the show’s fans were already uneasy at dealing with the loss of, arguably, the most popular character in the show.

But the show was never just about Mitchell, and even then I thought that its talented creator Toby Whithouse could work around the loss of one of the original three lead characters. However, we then learned that Russell Tovey, as werewolf George, was off too, albeit with a brief reappearance. And it was announced that Sinead Keenan, whose role as George’s girlfriend Nina had been rather divisive for the show’s fans, wasn’t coming back at all.

With that leaving ghostly Annie as the only original character standing, I must admit even I was starting to think that the show might have had its day. But I’m a great admirer of Toby Whithouse’s writing, so I was prepared to give the new-look Being Human a try. I wanted to be convinced. And after one episode, I have to say that I’m not, yet. But I’m not unconvinced either.

Because far from being a slam bang introduction to the new setup, this first episode of series 4 was actually something of a slow burner. There was plenty of action, true; but by the end of the story, newly introduced vampire Hal hadn’t even got to Barry, let alone met his soon-to-be housemates. It was fairly obvious that we’d be seeing more of last year’s newly introduced werewolf Tom, and he was very much in evidence, but firstly we had to deal with what had happened since we last saw our heroes, declaring to vampire Old One Wyndham that he’d got a fight on his hands.

In a typically tricksy move, Whithouse opened the episode unexpectedly in a flash forward to a nightmare 2037, with vampires overrunning the planet. This was visualised economically by director Philip John, with a few exterior shots of burning London leading to a sequence in an underground Resistance HQ, where crucifix laden freedom fighters were listening to the fall of New York via shortwave radio. As their unseen operative was overpowered, his voice was replaced by a sneering, English-accented vampire declaring, “the Earth belongs to the vampires.” – a near quote from the very end of the first disc of Jeff Wayne’s musical War of the Worlds. The one called, like this episode, “Eve of the War”.

Of course, that clever title was more than a reference to a cult 1978 rock album; as the episode progressed, it became clear that the young woman leading the Resistance was actually George and Nina’s grown up daughter, named Eve by George with his dying breath.

Ah, George. That’s where I thought it was perhaps unwise to let it be commonly known before the series started that Russell Tovey was leaving. As a result, it was fairly obvious that it would be early on in the series, an impression reinforced by his placement right at the back of the much circulated publicity shot of the cast this year. This meant that his eventual, heroic demise in this episode came as no particular surprise, whereas if we hadn’t known Tovey was leaving it might have been a genuine shock.

George, it transpired, had been busy between series. He’d killed Wyndham (I’m guessing because of more casting problems; a shame, because Lee Ingleby’s sneering, arrogant Old One had looked like a promising new villain). In retaliation, the vampires had killed his beloved Nina, beating her to death with baseball bats. While this set George up nicely to be the traumatised, grief-wracked hermit we saw here, it was again a little too obvious a result of casting problems. Again, had we not known Sinead Keenan was leaving the show, this could have come as an unexpected shock.

Still, not everyone is as familiar as me with the difficulties of cast retention in a long running TV show, or necessarily pays attention to the behind-the-scenes gossip on the likes of Digital Spy. It’s fair to say that, without that insider knowledge, these revelations would work pretty well, and anyone who’d managed to avoid the backstage gossip must have had a very different experience to me.

This episode was less concerned with getting the new ensemble together post-haste than establishing the plot threads for this year. Recurring flash forwards to 2037 established that George and Nina’s daughter has a Big Destiny in the coming fight; meanwhile, a nest of vampires in Barry were preparing for the arrival of the Old Ones, who promised to bring an old-fashioned conquest of fire and the sword to our shores.

We were introduced to Wyndham’s ‘replacement’, Griffin, another Old One who was placed high in the local police force. Alex Jennings did well as the character, a vampire very much in the traditional mould with typical arrogance and contempt for humanity (and werewolves). But I must say, the character came across as little more than a thin shadow of previous vampire baddies, Herrick in particular; and I wasn’t altogether heartbroken at his fairly quick demise. If the show’s going to continue, it shouldn’t be repeating itself.

Much more interesting was the hip, modern vampire Cutler, who I suspect is going to be the real main baddie this series. Cutler was disdainful of the Old Ones archaic plans for conquest – “The humans would soon have an army raised. On Twitter.” Instead, he proposed an alternative that seemed scarily realistic in these days of manufactured media scapegoats like, say, disabled people on benefits. Give the vampire a new context, was his proposition, by showing humanity something even scarier.

It soon became clear that the “even scarier” something was going to be werewolves, as Cutler used his mobile phone to film the transformations of the trapped George and Tom. Andrew Gower as Cutler is a very different vampire from the likes of Herrick, Wyndham or Griffin, and this storyline looks like it could be interesting.

With all this going on, our new vampire ‘good guy’ had to be established too. So we also intercut with new boy Hal, introduced in a barber shop getting a haircut from his aging werewolf flatmate Leo. It was great to see venerable old Louis Mahoney as Leo; many of us geeks remember him well from classic Doctor Who, not to mention a heart wrenching guest spot in 2007’s Blink. Leo made the point that it must be impossible to cut Superman’s hair, presumably an allusion to similar problems with vampires; principally, that they can’t be seen in mirrors, as we were amusingly shown. But this did make me think – how, then, do they shave? We know they grow stubble, Mitchell was scarcely without it. Perhaps Hal, at least, can get Leo to shave him…

Damien Molony, as Hal, is physically a little too similar to Mitchell for my liking – as I said, change should be more than repetition. But the character is already nicely distinct from Mitchell’s hedonistic indulgence / tortured self-loathing persona. Hal is assured, quiet, and apparently far, far older than Mitchell was. There are hints that he could be much, much more violent too, and only his friendship with Leo had been holding him back.

It seemed a little contrived that Southend played host to another vampire/werewolf/ghost household, as we were introduced to Hal and Leo’s other flatmate, the ghostly Pearl. But that aside, their relationship was well-realised and (presumably intentionally) reminded me nostalgically of what Being Human was like when it started. The trouble with that, though, is that it made me reflect on how much more enjoyable it was before the encroachment of Big Storylines about Conflicting Supernatural Forces that Control the Destiny of the World. Not that this isn’t well enough done; but there are already plenty of shows doing that. The original appeal of Being Human was in placing supernatural beings in the most ordinary of settings. Get them caught up in a battle for mankind’s destiny, and you’re in more familiar – and less interesting – territory.

Still, Whithouse threw us some fun, interesting guest characters as if to make up for this familiarity. Darren Evans was a standout as motormouth vampire thrall and eternal loser Dewi; effortlessly funny and sympathetic, I was glad to see him spared staking by the episode’s end. Maybe we’ll see him again, but it seems unlikely that he’ll have much of a part to play in this year’s Big Story.

Unlike the ubiquitous Mark Williams, who played an integral part as ‘vampire recorder’ Regus. It was a nicely comical turn with moments of gravitas and drama; pretty much what you’d expect from the actor who played Arthur Weasley in the Harry Potter movies. Regus was instrumental in avoiding Griffin’s intended sacrifice of baby Eve, playing for time with some amusing business about rituals, robes and incantations (which were a random jumble of commonly known Latin phrases). All because he’d discovered, via a parchment of human skin complete with nipples, that Eve had a part to play in a Big Prophecy. Nicely enough done, but wasn’t that the plot behind about half of Buffy the Vampire Slayer?

Regus managed to stave off Eve’s execution long enough for George to force a halfway house of his usual transformation, which was obviously not going to end well. He killed most of the vampires (though noticeably not Cutler), but he was obviously not coming back from this mangled form. So we got a not entirely unexpected touching death scene. As George died, his ghost appeared – together with his door to the afterlife – and he bade farewell, off to join his beloved Nina. Sadly, this was less moving than Mitchell’s death last year; partly, as I say, because it was half expected, but also because it seemed a little contrived. If George was so motivated to protect his daughter and continue the war against the vampires, it seems unlikely that he’d so willingly go to his death, even if it was to be with Nina. He had far too much unfinished business on Earth for that to be entirely believable.

With all this going on, Annie hadn’t a great deal to do this week – a shame, as her understated niceness and hinted-at power were always at least as interesting as Mitchell and George’s self-flagellation. Nonetheless, Lenora Critchlow was as good as ever, and those hints about her power and destiny were still coming. As usual, she was a mixture of understated scattiness and real humanity. She was distraught at her failure to keep Eve out of the hands of the vampires, but had also come up with an amusing term for her teleportation power – doing a Rentaghost.

“That’s just stupid,” commented genuinely nasty vampire cop Fergus when he suddenly, startlingly revealed that he could see her. Yes, it is, and that’s sort of the point; of all the characters, Annie is the one who’s managed to retain the most of her human ordinariness, in spite of everything. She’s also, now, the show’s only constant, its only link to what it was. I don’t envy Lenora Critchlow the task of being longtime fans’ only anchor to the show they’d come to love.

Overall then, a pretty packed episode that nonetheless did little to establish the show’s new status quo. That’s maybe as it should be; a new status quo perhaps shouldn’t be set up too quickly for a show as established as this. It felt transitional rather than satisfying in itself, and set up a wealth of new storylines. We already knew we liked Tom (and it’s nice to see Michael Socha get a regular cult TV role to compete with his lookalike sister Lauren from Misfits). Hal looks to be interesting, and I’m glad we’ve got a new take on the vampires’ plans for world domination.

But as the episode ended with future Eve arranging her own death, then stepping through her door with the announcement that she was heading off to the past to “kill that baby” and prevent the nightmare from happening, we added time paradoxes to an already complicated mythology. With our glimpse at Hal, Leo and Pearl’s household, I found myself longing somewhat for the days when Being Human was a simpler series, without the Buffy-style mythos. Don’t get me wrong, I enjoyed this and will continue to watch, but I’ve yet to be convinced that the show hasn’t drifted too far from the concept I originally came to love.