Toby Whithouse’s show started as a one-off pilot play about a vampire, a werewolf and a ghost in a flatshare, but once it was picked up (and substantially recast) it took on a whole new life of its own. With a US spin-off/remake and three popular and successful series under its belt, it’s been one of the BBC’s few unequivocal genre successes outside of the venerable flagpole Doctor Who franchise (for which Whithouse has also written.)
I thought the first season was a triumph, a blend of genuine sitcom fun with serious drama and outright moments of horror. For my money it lost that ability to ‘balance’ so well in season 2 which was heavily weighted toward the darker and bleaker aspects, and there’s been a notable attempt in season 3 to set time aside for the lighter things in life which has been much to its strength, although sometimes it’s felt that those more fun moments have been wedged in somewhat awkwardly, such as a out-of-place “zombie” episode or werewolf George’s bottle show to visit his dead father’s grave. Perhaps the show’s increasingly complicated relationships and mythology gets in the way of the central part of the show reconnecting with that lighter elements. Of course, by the time of the big season finale two-parter there was no longer any time for the fun things and it was all-action and very, very heavy and dramatic.
For one thing we had the return of ‘evil’ version Herrick, after several episodes of the vampire being locked in the attic with his memory and sanity distant acquaintances. This sounds like a really interesting idea, but while well-written and excellently played by a superb Jason Watkins this somehow wasn’t as satisfying as it sounded on paper, and this was underlined by how wonderful it was to have the out-and-out monster Herrick return for the season finale. Also excellent in the supporting cast were Erin Richards as a dogged detective Nancy (I genuinely didn’t see the twist coming about her shouty boss) and ex-EastEnders star Lacey Turner as ghost Lia, plus Spooks star Nicola Walker hysterically funny in a one-episode cameo as a social worker and George Gently‘s Lee Ingleby as a late addition “Old One” stealing several scenes in the final 20 minutes. The biggest guest star name was undoubtedly Robson Green, and he was faultless as hardened werewolf McNair.
In the main cast, Sinead Keenan has really come into her own as George’s werewolf girlfriend Nina and finally made to be a strong addition to the core cast; meanwhile Lenora Crichlow’s ghostly Annie finally got some strong storylines that really drove the series rather than just end up being a comedy B-plot off to one side. If there was a character who had become slightly sidelined in this series it was George, played by the wonderful Russell Tovey, which might explain the need for that “dead dad” bottle story; but he certainly came back in strength for the final episode where the resolution revolved around his relationship with his vampire best friend Mitchell, played by Aidan Turner.
If there’s one person who has been made a star by this show, it’s Aidan Turner. Since the start of Being Human he’s already been the lead in Desperate Romantics and had a major role in BBC4’s Hattie, and now he’s been cast in Peter Jackson’s forthcoming The Hobbit films. His influence on the show is such that the US remake of the series even rechristened the Mitchell character ‘Aidan’. And he certainly dominates the season, with his downwardly-spiralling Mitchell consumed by guilt over dark deeds driving the series forward. His romantic scenes with Crichlow have been both touching and comic, while the look on his face as he arranged for detective Nancy to visit “Uncle Billy” in the attic was a shocking look of dark, evil cunning.
Look away now if you haven’t seen the end of the series and want to avoid spoilers
The problem with the season is that Mitchell’s downwards spiral had left him irredeemable and beyond the point of no return. His fate was inevitable from early on, and while the final scene is nicely played it still ends the only way it can given the season arc – with Mitchell staked and dead. It’s the right ending for the season, but it’s also the right ending for the show which has always been about his and George’s friendship more than anything else (and guess who gets to do the staking?) It’s where the show should finish, which makes the news that a fourth season has been commissioned all the more surprising.
Of course, being dead in a genre series does not need to be final, or even much of an obstacle. But Turner’s presumably now spending a year or more on Hobbit duty in New Zealand which is a bigger, more practical problem for the show: without Mitchell’s dark presence the series loses a lot of its dark core and narrative drive. Who really wants to see a show about a well-adjusted werewolf couple with their once-a-month problem and their ghost lodger, without the ever-present danger of the bloodsucker flatmate and the vampire clans? On a purely commercial level, these days a series that doesn’t have a ‘vampire’ on its cast roll loses a huge amount of marquee pulling power. Most of all, Being Human without Mitchell is just … wrong. It wouldn’t work, nor would pulling in some “Mitchell substitute” to fill the vampire-shaped hole in the dynamic (although Craig Robert’s teenage vampire Adam who appeared in one eponymous episode before being spun out to a digital-only mini-series could be a possibility.)
There have been times during this season where my attention has wandered and I’ve had to force myself to pay attention to it – not a good sign. That certainly doesn’t apply to the riveting two-part finale, and the season as a whole has had some impressive high points, but while the slaying of Mitchell is undoubtedly a dramatic coup per excellence to end the show with I’m not sure I’m minded to return for another series if he stays staked – or that willing to forgive them a “beyond the stake resurrection” either, come to that. Whithouse may just have written a cliffhanger from which Being Human can’t be saved.