Being Human 3.01 Lia

Lia 3.01

Previously on Being Human: religious wackadoos sent Annie into another reality, Mitchell lost his entire mind in a glorious killing spree, and George and Nina were basically just a normal couple.

(This is not about the American remake, which is too bad even for us.)

They’ve moved to Wales, apparently, which is probably more about the BBC cutting costs because of the worldwide financial crisis than any plot element (though, I guess the vampires in Bristol aren’t very fond of the gang at this point.)

With UK shows, the lag between seasons is so long and the episode count is so low that when a beloved show turns up you don’t even care that half the episode is about moving house and the biggest gag is that one entire wall is painted like a schlocky tropical beach in Jamaican strip mall restaurant.

Mitchell’s manpain over killing a train car full of innocent bystanders isn’t as interesting as the fact that he’s willing to pass over into the unknown HORROR dimension that’s been the bogeyman in the previous seasons without appearing to realize that he’s in love with Annie. That’s pretty unselfaware for someone who spends every waking moment processing their emotions in order to keep from murdering people. Ok, I guess he’s not really good at processing now that I think about it.

What I’ve always really loved about this show is how they go there with the unexpected plot twists and keeping it real and gritty, but at no point did I actually think Mitchell wasn’t going to get Annie back.

But on to what the show does right: the creepiness of the staticy tv broadcasts really makes my skin crawl, the romp through Mitchell’s murdering hisory was beautifully detailed, the subtle characterization of the Nina-Mitchell-George tension which so cleverly reflects back the ease between Annie-Mitchell-George in the first season.

There was a certain inevitability about having to introduce the wider supernatural world to the gang, having exhausted the claustrophobic Bristol scene, so the introduction of non-Tully werewolves wasn’t much of a surprise. What was, though, was the stench of realism they set in among the over the top scenes in Limbo and the George and Nina comedy hour with the tragic lives of the weres. (I really love both George and Nina, but I don’t know what I think about GeorgeandNina, mostly because we all resist change and the show was always about Annie and the guys for me.) Not even this show could escape the WEREWOLVES AND VAMPIRES LOCKED IN CENTURIES OF WAR AND STRIFE concept that is so pervasive in media these days. Could have done without the Sid Vicious vampire, but I like the father and son weres so far. It’s probably half in the casting, though. (Robson Green, who I’m sure you recognized and went “wait, this dude is familiar” but you couldn’t place him.)

(As an aside: what did George and Nina think Mitchell was going to do when he opened the door to the other side? Pitch a note in?)

Russell Tovey does excellent work, y’all. The entire scene in the hospital is fantastic from the prayer to his fake “I can’t remember the rest” and elastic face to his frustration at Mitchell being such a lunkhead to the final bit where he won’t watch Mitchell walk through the door. He acts with his whole body and between the lines of dialogue. He’s quite spectacular when given the material.

The summary for this episode really is: we undo what happened in last season’s finale so we can get on with getting on with this one. They introduce all the elements we’ll need for the season–Mitchell in love with Annie, George and Nina having unprotected sex, the housemates moving to Wales and encountering a new pool of supernatural creatures, the looming explosion when Nina finds out about Mitchell’s murder spree, the bomb that a werewolf will kill Mitchell (probably setting up the finale cliffhanger where it looks like Mitchell is dead). Mostly, it’s nice to have more of this show.