Hang on a minute while I pull off the dust sheets and run around with the vacuum. Open the windows will you? Give the blog a bit of a blow through.
I can’t quite bring myself to close this blog permanently although I don’t feel the need to write about Being Human that often nowadays. I’m quite sure that occasionally there will be thoughts and this is a good outlet as I can’t see anyone rolling their eyes at me!
Today I do have thoughts as it’s six years ago today when the first episode of the first series was aired on BBCThree. It was a Sunday, a fairly mild day for winter, a bit damp and the day before the new moon.
Here’s a thing. Can we really look back at that first episode and see it as we did then?
“Maybe… we find each other”
George and Annie making tentative steps towards friendship, picking their way through the mugs of cold tea?
Mitchell coping – sort of – not really – with the help of pizza and cereal?
“…and she was mine”
Owen the grieving finance – it all sounded so innocent and so touching then.
“You’re a shark – be a shark”
Herrick, tidying up after Mitchell, charming Cara (or canteen girl as she was known then) and generally talking a reasonable amount of sense.
“A-positive? A bit Jacob’s Creek-y for me”
Ah Seth, bless his dim little cotton socks. He changed the wine choices of a fandom!
Lost, vengeful, confused Lauren.
“OK, I’m new to this, but aren’t you suppose to weep or scream or wee yourself?”
Of course we can’t see it new now. Everything – the house, the people, the passing strangers, it’s all coloured by what we know is still to come. We know their ends so we can’t help seeing the path and we – or maybe just me – still wishes they applied a little more common sense from time to time. Yes Mitchell, that means you!
Nowadays I think more about what Being Human brought with it. For me as well as being one of my favourite TV series it gave me opportunity – there are two books out there with my name on and I still write. Will I write another TV book? Maybe but it’s hard to find anything I want to watch as often and in as much detail as I did BH. I wore out a set of S1-3 DVDs!
But most importantly the Being Human fandom brought people – groups of friends that go far beyond the influence of a TV show. Transatlantic, cross European meet ups. Theatre trips. Excursions to the cold, wet yet scenic glories of Barry Island. Bristol BH pub crawls. Knicker-wetting laughter. Mutual support and encouragement. Captain Fringe. General insanity. Panda sex. A quote for every occasion. A full on gospel chorus every time someone goes to IKEA…
I’ve chosen my favourite episode from each series and now I have to pick my favourite out of those five. And no, I can’t change my mind about them now. Not even if I ask myself very nicely.
Of course there are so many scenes and characters and sub-plots that I’ve had to leave out and what might be good would be to put together my favourite episode that never was, made up of all the very best bits. Except it would make no sense at all and be several hours long. In that light it’s not such a great idea, so let’s junk Plan B and go back to where I started.
Where was I?
In case you’ve forgotten – and frankly, I need a reminder myself – here are the runners and riders – linked to the posts where I kind of/sort of justified the choices.
Should I do reverse order? Yes? Oh all right then! Anything to make life harder… Although I’ve already thought of a snag. These are my favourite episodes from each series so although I’m going to put The Last Broadcast in fifth place it wouldn’t come fifth if I chose my over all, anything goes top five. Are you with me? No, me neither but having done the excuses lets move on with the announcement of the favourite episode out of the five I chose, one from each series, not the overall top five episodes winners and losers. Or something something something…
Although the winner would have still won however I worked it out. Clever that…In case you missed it in the excitement, fifth is 5.06 The Last Broadcast.
Equal third (yes I can have a tie) are 1.06 Bad Moon Rising and 2.05 Through the Looking Glass.
Second and the proud recipient of a rather lovely satin sash and a small tiara – 4.07 Making History. I’d give the sash to Cutler but I’m not at all convinced he’d wear it. The tiara however…
This episode edged out The Looking Glass because of The Looking Glass. Both flashback heavy, cutting back and forth, old loves and new ones – OK that’s possibly stretching it a bit but wait! Making History took that premise and built on it and they built good! Yes Cutler is my second favourite character and I do love a man who can dig a decent grave but the whole episode had a depth and quality of image and setting that made it distinct in the whole series. Sharp colour in the present day, unremitting grey in the future and warm sepia tones in the 1950’s giving a glow of nostalgia to what was a particularly twisted relationship. In fact I think Cutler/Hal beats the tied-to-a-bookcase courtship of Josie and Mitchell into a cocked trilby! The locations were also perfectly chosen, ending in the glacial white night club, the complete opposite to a classic gothic horror cellar. And that cellar, practical and prosaic, not a scrap of gothic just a rather useful cage of fresh mixers perfect for draining a fresh corpse…
I like it. A lot.
And first? Which gets the bouquet of roses, shiny shiny sash and the big crown? Frankly if you’re asking that you haven’t been paying attention!
It really isn’t a hard choice to make. There is one episode that for me sums up everything that is wonderful about Being Human – the writing, the characters, the setting. It’s an hour of television that stands up to almost anything you care to put against it.
3.05 The Longest Day – written by Sarah Phelps, directed by Philip Johns.
Yes, it’s a Herrick centred episode. Are you surprised? Really?
It’s not just about Herrick though, Wendy, the community psychiatric nurse was one of the most fully realised one episode guests ever. She wasn’t supernatural and she wasn’t outright funny nor was she tragic but somehow Sarah Phelps and Nicola Walker made her all that and more. I read that the part was written especially for Nicola and it fitted her like a bespoke gown – paired with some eminently sensible shoes.
It’s hard to pin down exactly what made Wendy wonderful. Obviously the combination of great writing and great performance but I think it was the tiny details and the almost throwaway lines. “Tena Lady moment!”, the sandwich in the laptop, the way she presented her ID badge, “My mother would love you!” and the phone call on the loo. The actual loo. It all added up to something rather special in the most perfectly understated way. In fact that’s probably the key to the episode – dark and twisted events, dark and twisted people, but perfectly, totally believable. Unusually for me I didn’t question a single motive in the whole hour! Not even Nina’s!
This was Herrick’s return – we last saw him muddy and in the all together (bar some strategically clinging compost) in a snowy field someone unspecified as Cara and Daisy bled all over his uneasy resting place. Since then he’s rediscovered his voice, found a suit but not his memory and finally given ever-loving Cara the slip.
It’s an immaculate performance from Jason Watkins (more so after his bath) and even now after many watches I’m still not sure if Herrick was faking it or not. Mostly I think he was but maybe not from the beginning and to be honest I’m not really convinced either way! There were so many nuances to what he did throughout the episode, the terror in the hospital and the confusion in Honolulu Heights, his total blanking of Mitchell. Do we believe his horror when he realises he had no reflection or the way he clinically disposes of Cara. She’s outlived her usefulness now hasn’t she? Or was he really sacred of what she wanted with him? But then there’s the way he draws in George, kind words and congratulations – what he might have expected from Mitchell but didn’t get, his friend being to enmeshed in his own downfall to care enough. Counter that with the way he speaks to Annie and that terribly knowing smile when she leaves him alone in the attic. And the train set. And the Victor. I could go on!
One very striking part of The Longest Day was the strength of writing for the female cast. Obviously Wendy was a new character but Sarah Phelps brought something new to all of them. Cara became a fully realised person – not the slightly simple canteen worker or the killing crazed mad-vamp of series two. She finally showed who she was and her determination to care for her Dark Lord, even to the extent of following him to the enemy camp was touching. When he was so finally nasty to her it broke her heart – and mine too, just a little bit. “Well then. You are nothing.” Could he have said anything any crueller?
Nina’s black and white morality showed a few tinges of grey and her insistence of nurturing the confused, amnesic Uncle Billy despite the horrors it was bound to bring showed a strength she was going to need. She’d never trusted Mitchell but this episode showed her his true colours and the realisation of what he really was literally turned her stomach. Her call to the hotline (and I’m still convinced that was Lia’s voice) was the final piece removed from the Honolulu House Jenga – it’s all about to topple.
Annie also found strength that had nothing to do with bringing the house down around their ears. Her journey through the episode from ditzy Annie, poring over Nina’s scan and cooking celebratory Eton Mess through to the guts to challenge Herrick and to deal with Mitchell’s vileness and rejection. To me it was clear she disapproved of Nina’s treatment of Wendy and her frustration at not being able to do more to comfort her than move the tissues into reach was palpable. And nicely balanced with her disgust at the state of her car!
George was – mostly – the voice of reason, once he’d got over the understandable shock of seeing the man he’d torn to pieces crawling about in front of him. Mitchell was the voice of – well, it tempting to say madness. It’s the point at which his downwards trajectory really start to pick up speed and his instinctive reaction to stake Herrick is curious. Was it a natural abhorrence for something he thought could never happen, Herrick resurrected? Had he been relishing his freedom from Herrick’s web just a little too much? George started to side with his friend but Nina made him see he was acceding to murder and it was almost enough to tun him against Mitchell. Or would he really have cast him out? If he’d know just what was due to happen next he may have done. Having Herrick ensconced in the attic started a chain of decisions that were downright idiotic, even by Mitchell’s standards! He put them all at risk, that bumbling confused man in the pjs – and then he sat back and let them tighten their own nooses. A string of coincidence or pure evil? Well, what do you think?!
If I wish for one thing, if I could time travel back I’d have liked Sarah Phelps to have written more for Being Human. The episode that springs to mind is 4.06 Puppy Love – I’d love to have seen what she could have done with Cutler and I just know she’d have made characters like Golda and Allison more rounded. Oh well. It was not to be.
I’ve probably said all this before – and probably will again but even beyond Being Human this is a very special hour of television. I reviewed it here when it first came out and then went back over it in more detail when I wrote my book A Guide to Being Human but even after all that watching which left it engraved in my brain forever I can still watch it and see something new or something that makes me go “Ahhh…” or even “Oh!” (and occasionally “WTF??!”)
Oh! And final thought – the brilliant Bazza and his undoubted diagnostic expertise in all matters psychological. “Doo-twatting-lally.” Nail on the head there mate!
Series three Another eight episodes. In Wales. To be precise in Barry Island… Pretty much everything has changed – George and Nina are almost, sort of a proper couple, albeit with occasionally – let’s say robust – nocturnal activities, Annie’s been to purgatory and back and Mitchell? Ah yes Mitchell. The Box Tunnel massacre has left him with nowhere to go and it overshadows the whole series. This is Mitchell’s decline and fall. Not to mention that Peter Jackson was murmuring seductively from the sidelines while waving a pointy hat and furry boots at Aidan Turner!
This is probably the darkest of all five series and I have to say I think it suffers slightly from being so totally focussed on Mitchell’s plight and his ongoing attempts to paint himself into a smaller and smaller corner. Despite that it still has good stories for George and Nina and some great guest characters – and Annie was there too, suffering from lack of plot syndrome. Again. Such a shame and such a waste as when she got the chance to shine she probably shone brighter than any of them.
It’s another series when I know which is my favourite straight away – it’s an instinctive answer although there is much that is good about them all.
In episode one Annie was in purgatory, George was in a quandary, Nina was in Ann Summers and Mitchell was in the clutches of perky Mary Poppins-esque Lia. Lacey Turner’s Lia was wonderful – flirty and flinty by turns, keeping Mitchell on his toes and pushing him and Annie together as part of her cunning plan. And what was she? A Gatekeeper? I still think she was more than just a victim out for revenge – she had more power than that. Plus I rather like the idea that the PTB behind the doors are entirely composed of former soap stars! (see also The Leader of TMWSaTMWR)
There were plenty of other great guests and great moments in series three. One of the very best was Sasha, the very Being Human style zombie. It was another dull thud of a lesson of the week but the character was a riot and as well as being vile and funny and smelly and oozing she was touching and sad. There was the fight in The Pack when Tom, McNair and Mitchell disposed of a cage fights worth of vampires and still found time for the odd sardonic quip. The McNairs generally – and McNair senior in particular with his philosophy on life, shopping and sex education. Richard and Emma’s vampire orgy was entertaining – thought a little Abigail’s Party – and I thought the solution to their blood needs with No. 7 (plus 1-6 in the garden) was rather neat! We also got to meet the dysfunctional Sands family – poor old George, even without the wolf did he really stand much hope of being normal?! There was tenacious (annoying!) Nancy and the musings as to whether she’d return as a vampire and the rather shouty and slimy Cooper.
The penultimate episode – Though the Heavens fall– was amazing and probably the best build up to the climax of a series of them all. In fact it stands up well to many series with bigger budgets and grander ambitions. The Wolf Shaped Bullet has heart stopping moments – Herrick with Mitchell in the cage, the moment Mitchell leaves Annie in the cell after she’d pledged eternity to him, Tom burying McNair, Nina almost dying and Lia’s machinations finally unravelled by Annie with a little help from a pink TV. It had Herrick’s end – this time finally – and after one last beautiful sunrise. It also brought us the twice seen never forgotten Wyndam – the blue eyed, sharp suited wrath of god. Pineapples himself! I might have been tempted by the final episode as my favourite but the last-minute reblocking to allow Mitchell to head for Hobbit-land did show and ended up compromising it just too much. I’d love to have seen the planned version which left Mitchell’s story open.
But neither of these are my favourite. Have you guessed yet?
It’s The Longest Day. How could it be any other?
I know what you’re thinking – it’s another Herrick centred episode. Yes it is but this is my choice for much, much more than that. The writing is the best seen in all five series – and yes, I’m including Toby Whithouse’s in that. (So shoot me.) Once George gets the rambling. wide-eyed Uncle Billy out of the hospital the rest of the episode takes place entirely in Honolulu Heights and the enclosed and almost claustrophobic feel are a part of the story. The lighting and direction are beautifully matched to the unfolding events and the dialogue is perfect for all the main characters. There is depth to Nina’s black and white morality and Annie has a chance to shine. Even Cara is a fully rounded sympathetic character. Wendy the community psychiatric nurse is a triumph – written especially for Nicola Walker by Sarah Phelps – we know her the moment she walks into the house. It’s an acting tour de force and matched by Jason Watkins as the confused amnesiac vampire – or is he? I still think not – there’s enough of that ancient evil showing through to make us wonder.
The whole episode is as theatrical as a TV show can be and I love it! And for once without qualification. Not even a minor Tena Lady moment.
And remember – it’s going to be the most beautiful day.
It’s on to 2010 and series two and an extra two episodes to think about with eight instead of six.
Surprisingly this is one I haven’t had to think too hard about. There is so much to enjoy in this one – I chose it as my favourite series after all – but I just can’t get past one episode that just leaps out as my favourite.
Which one? Wait and see!
This series had the most embedded series arc of all of them. All the characters played their part in the tale of Lucy and Kemp and their dastardly plans. Mitchell was targeted, seduced and narrowly avoided being blown up by them, Nina was convinced they could cure her, George was less so but in desperation went to try and Annie realised that she could never move on and asked Kemp for help. Even though he didn’t think to bring a door. Silly man. Mind you he provided help in spades later on, even after she changed her mind.
Over and above the main arc series two brought us sub-plots and stories that could sit alone but they all very cleverly tied into the main thread. We saw our first proper vampire couple – unless you count Cara and Herrick at the end of S1 – the wonderful Ivan and Daisy. Ivan with his car, his twitter account, his swans; Daisy with her tea dress, enthusiastically friendly nature (ahem) and apparent lack of undercrackers. Sadly Cure and Contagion was the only time we saw them together – such a waste, they could have rampaged hand in hand all over every episode and I’d have been very happy!
It seemed that Annie was going to get all the best plots at the beginning – visible, solid, well just a bit squishy – she got a job and a bloke. Ah yes, Saul. What was Saul? Dead but not a ghost, a minion of the PTB behind the door. And Terry Wogan. And then there was Hugh – the life that Annie should have had – gentle kindness and understanding, Fatima Whitbread and hope.
I have a soft spot for Lucy and her clever manipulation of Mitchell and really liked the way that Mitchell was played against type as a bumbling suitor. Deadly furniture indeed! From the genius of Trevor to the tales of poo… It was never going to end well. There was a lovely moment with Lucy and Mitchell talking on a bench dedicated to Lauren. Memories.
We also met Carl and his gay, human lover Dan – well, technically his dead, gay, human lover Dan. Dan’s death also gave us one of the best/worst vampire jokes in Being Human. “Count Spectacular!” “Mince of Darkness!”
Serve God Love Me and Mend was a great Annie episode – and despite the early promise of this series they are few and far between. It showed us what a fabulous character she is by actually giving her something really good to do. She got another go in Educating Creature when Sykes saved her from the MWSaMWR and went on to teach her about doors and auras. Not that we ever saw any of that again… It had such potential – Sykes was a marvellous idea but the less than subtle way it hammered home Annie’s lesson of the week doesn’t put this at the top of my list.
I can’t not mention the Box Tunnel Massacre – bloody retribution on a commuter train. But was it Daisy’s idea or Mitchell’s? I’m not sure he’d have done something quite so bloody and so impossible to come back from without Daisy and her need for revenge. I’m just glad I don’t do his laundry – even Vanish isn’t going to get those sheets clean! And didn’t props and make up have fun with the bodies?!
All God’s Children was darkly claustrophobic with almost all of it taking place inside the Facility, a real life building that was almost a character in it’s own right. The creeping menace of Mitchell stalking the corridors, George finding the message from Tully, Annie’s answer phone tape and her being torn out of the world. The almost sequel in the cottage when Lucy appeared and Kemp followed, when Annie managed to pop out of purgatory and if that wasn’t enough there was yet another final final scene.
So what was my favourite? I could say it was hard to choose – and to be honest there are great parts to every episode in my favourite series but the choice was easy this time.
The Looking Glass
And not just because of Herrick! The way it pulled together the past and the present – it wasn’t always subtle but the inter-cutting of Mitchell trying to recreate what he had with Josie with Lucy was so clever. There was also the care and amusement of dead babies, the library books, discovering that tea is barbaric and that George probably could eat a whole cat. It was also the start of Mitchell really falling apart, he knows he needs the system – needs Wilson – but he can’t and won’t pay the price of doing his dirty work and Wilson’s death is just the beginning of the fall.
And OK. I admit it. It is mostly about Herrick! A Herrick in a rather sharp suit, a luxurious amount of hair and some cracking speeches – just as we’d expect. It was the beginning of his policeman disguise and he’s a fan of Lewis Carroll. Alice, handcuffs and smiling evil – what more could a girl dream of?!
Now the dust has settled and I’ve had time to ponder the end of series five and THAT extra scene it feels like time to go back to the beginning.
(Oh yes. THAT ending. THAT extra scene. Harrumph. I can see I’ll have to come back to that.)
Having made myself choose a favourite series I’ve gone one step further in the search for the next best bit – my favourite episode. This is going to be fun, given that there are 37 including the pilot and I have no idea where to start to narrow them down. Not a clue.
OK. Here’s a plan. A short-ish blog to choose my favourite episode from each series and then a final choice from them of my absolute best ever episode. OK with you? No? Well, to be honest I’m in charge round here so that’s what I’m doing!
Let’s just go with the flow. (Who leads the flow?) (No one. It’s a flow.)
Series one, six episodes and immediately I have a problem. Yes another one. How do I choose between Tully and Gilbert? Between Josie and Bernie? Between werewolf problems and vampire problems and ghost problems? Do I pick the one with the best lines or try to take a scientific view?
I’m doing this from memory – if I do a rewatch or even read my own book I’m going to find so many little treasures that I’d forgotten about so to go on what has lodged in my tiny mind seems to be the way to go! So what does stand out? Herrick certainly had most of the best lines, while George got a good serving of angst and Mitchell wavered back and forth between the vampires and the humans. I see a theme developing there…
I loved Lauren and was so sorry she didn’t get to be the vampire she might have been. She stood up to Herrick – not many did – and with a bit less angst and soooo sooorry-ness from Mitchell the two of them could have ruled the vampires. She also had some cracking lines – who can forget her riposte to Seth’s “Aow” as he turned to smoke?* And on the subject of great lines (so many!) I really – really – want to use Nina’s put down of George’s Tully-inspired attempt to ask her out.** Yes all of it. Word for word.
I loved Ghost Town and Gilbert is one of my favourite one-show guest characters and – of course – his was the first door we saw, the first resolved UFB. And this was the episode in which we found out that Owen killed Annie, that Mitchell and Annie sort of kissed (‘It’s like being attacked by an ironing board’) and when George rather memorably (and rather vigorously) proved to Nina his premature ejaculation issues were – well, somewhat less serious and rather less premature than she may have thought!
But then there’s episode five – Where the Wild Things Are. It had Annie’s door, the wonderful Josie – all the memories in that simple gesture of remembering exactly how she drinks her coffee – and Owen being driven entirely mad and the policeman needing a different form. Ending with Mitchell bleeding in the hall, Herrick demanding to be let in, George pleading with Annie to go (and letting out a tiny bit of wee) and Annie in a state over pretty much all of it! It set quite a standard for penultimate episodes.
But the last episode – Sarky Mark and his wry humour, Josie sacrificing herself for Mitchell, Herrick so very sure he was going to win – and not just Top Trumps – and we see a hint of the power that takes Annie through four more series to save the world. And that final showdown. George does what he’d always dreaded and he does it for love. Bad Moon Rising had everything – pathos, humour, darkness, horror, Brecht, Nanna and not one but two very clever cliffhangers. And Herrick in bits on the cellar floor… but not before some wonderful final speeches that gave me the title of this blog.
Maybe I should roll a dice? Randomly pick a number?
No. I’ve decided.
Although I’d like to choose more than one my favourite episode from series one has to be episode six – Bad Moon Rising. That’s what my heart is telling me so all analysis is off. And I have to choose it for no other reason than Josie’s death made me cry – and nothing else in Being Human ever has.
* “Well, he won’t be staring at my tits when he speaks to me anymore”
Now that Being Human is at an end (sigh) I’m in the mood for reflection. It’s been an amazing five years and – although I’m very sad to see it go – I AM glad it’s ended when the reaction is still so strong and there are still people passionate about it. So many shows drag themselves through one or two series too many and the end comes as a merciful release. At least that didn’t happen to Being Human.
The thought of watching it from behind my zimmer frame as the thirteenth supernatural trinity tries to save the world (again) is just too much like Last of the Summer Vampires to contemplate! (I bet there still wouldn’t have been a decent strong female vampire character though… although the idea of werewolf Nina Batty with her wrinkly furry stockings does appeal!)
I suspect I still have things to ponder so there are likely to be more posts here but while I digest and process and yes, ponder, here goes with a few quickies about favourites – favourite episodes, series, character, guests and whatever else comes to mind! Any requests?
And I’m starting with a tough one – one which I’m really struggling to answer. Which is my favourite series?
Series one – There Goes the Neighbourhood – introduced us not only to Mitchell, Annie and George but also to the supernatural lore that held their world together. We saw doors to the afterlife, a vampire trying to give up blood and others who very definitely weren’t. We learned about ghosts and their unfinished business and how werewolves are killed from the inside out every month when they transform in agony.
It brought us Herrick – my boy Herrick, the little love – and Seth, Lauren and Nina, wonderful regular characters. The other guests were overall probably the best of all five series – Gilbert, Tully, Josie and – of course – Sarky Mark! Who else? Lovely/evil Owen and tango-tanned Janey, Bernie and Fleur – Toby certainly packed them in over those first six episodes!
We rooted for Annie when she drove Owen mad – especially as he’d fooled us all by seeming to be so very lovely, we cringed with George as he likened Becca to a polo and wept with Mitchell over Josie. We admired the mad hats on the pitchfork weilding mob – and I bet none of them brought jam afterwards. We saw just how Herrick manipulated Mitchell and how he used Lauren to the detriment of brown duvet man. And at the end George did the one thing he feared the most and he did it for Mitchell. He killed Herrick.
Surely now it was all over?
Well, what do you think?!
Series two – God Loves, Man Kills – probably came the closest to fulfilling the original premise – being human. It was the only series where the threat came from humanity and in Lucy and Kemp, and also Hennessey and Lloyd it gave us rounded and convincing human characters – an increasing rarity. I might come back to that – favourite human character… Nina was almost a regular and this is the series that brought us the pre-titles flashback – which I really love. Who else? Sykes – such a great ghost! – and all the randomly dressed theatre ghosts including Robyn the usherette, the second best moustache from Alan Cortez and an attempt at a proper grown up relationship for George with the possibly only slightly desperate Sam. Oh and Molly. That child was not normal…
Series two has some wonderful stories and lovely detail – Annie was visible for a while before Saul – what WAS Saul? – and to have sweet Hugh and his Fatima Whitbread fetish whipped away was so sad. We finally saw just how dark Mitchell’s heart could get – with just a little help and encouragement from Daisy. And lets never forget the wonderful Ivan, and his car and his taste in music and his inimitable, elegant languor…
And how could anyone forget the best episode of the series – The Looking Glass. Lucy finally gets her end away, we see how Mitchell met Josie and Herrick returned! In a dapper brocade waistcoat, a suspicious amount of hair and a tidy way with a pair of handcuffs…
I’m not helping myself choose here!
Series three – The Wolf Shaped Bullet – was probably the darkest of all five series, not that that is a bad thing. The first series from Wales, away from the iconic pink house and into Honolulu Heights. Nina is a fully fledged regular and Anne and Mitchell… well, you know how I feel about that. We also got the magnificent McNairs – and when we watched Tom eat his Knickerbocker Glory and promise to take a nap and have a proper tea how could we have imagined where his story would take us?
Nina got pregnant, George got to say ‘what’ a lot, Annie got soppy and Mitchell got… well, grubbier. (Sorry M-fans, sooooo soooorrrrry…) More great guests – Vincent, Adam – filthy, pervy Adam – Sasha the zombie WAG, Richard and Emma and no. 7 (and 1-6 ‘resting’ in the garden) and the rather lovely Wendy the social worker. And Cara was back!
And so was Herrick – resurrected and confused. Or was he? I think not, he was chilling, funny and deadly in turns – and all in stripy pjs and a flowery shirt. You have to admire that! And as befits him, he got all the best tunes. Dirge, History Repeating Itself – just so very Herrick.
And in the end? Herrick gone, a fleeting glimpse of a potential super vampire villain in the steely blue-eyed Wyndam and then Mitchell was dust. But it’s OK, it’s because George loved him…
Series four – The War Child – was a challenge. No Mitchell, Nina and Wyndam disposed of between series and only one episode for George before he kicked the bucket and a few vampire arses, leaving just Annie from the original threesome. We got new vampire Hal with his braces and dominoes, baby Eve and adult future Eve and some timey-whimey stuff that I’m not even going to try to explain. We also had nipple encrusted prophecies – and no, I’m not going to try to explain them either! We found ourselves a great new baddie – the amoral, self-interested, sarky, snarky Cutler with his grand plans and too short sleeves. Focus groups – now why did my boy Herrick never think of that?!
More great guests – Griffin and his Thursday fajitas, Pearl and Leo and their fifty-years on hold romance, the return of Adam with a succubus in tow, Fergus – a street smart version of Seth, Allison the trainee barrister werewolf and Regus. Lovely Regus the Vampire Recorder, sex memory pilferer with his extraordinary T-shirt collection! You have to love a vampire in a Team Edward shirt… I have a rather soft spot for Golda (and her human skin filofax – I want one) and investigative supernatural reporter Pete. (AKA a quick munch…)
The Old Ones arrived, led by the elegantly wasted away Mr Snow but before they could pluck Barry apart Annie blew them apart with a vat or two of old chip fat. Collateral damage included a vaporised baby Eve thereby saving the world and bringing Annie that one final door.
That’s one hell of a bit of unfinished business!
Series five – The Trinity – was the final one and was written as such so expectations were high for a grand and great send off. To cap it all the Big Bad for the series was the devil – actually The Devil. Albeit in a wheelchair, a cardigan and a bit of a state… The new trinity was established with the addition of Alex, feisty, sparky, killed by Cutler (Hal drank her blood – not sure anyone ever mentioned that) and with the potential to be a pretty decent female lead! For a while until the lovelorn, motherly stuff kicked in. Hal took his shirt off a lot. Tom meanwhile wandered lonely as a cloud that floats on high o’er vales and hills in search of some sort of plot…
Along with Captain Hatch/Old Scratch/Old Nick/add your own devil name we had Mr Rook. Head of the Department that keeps us safe and supernaturals’ secret – and a victim of Government budget cuts. Poor Dominic went a bit mad and until the end it was never quite clear whose side he was on. His own maybe…
More guests – good ones in wolf-mountain Bobby, Alex’s dad and Lady Catherine, decent enough ones in Lady Mary and Larry and just plain damned bloody awful ones in Crumb and Alan. Dire. Dreadful. (No I didn’t like them. Sorry, wasn’t that clear?) There were also indescribably amazing guests in a selection of bloggers – darlings, you were wonderful! Mwah! Mwah! The ideas were epic, the execution less so but we did finally see two of the things that Toby said we’d never see – the Men With Sticks and The Men With Ropes and Toby himself doing acting. I think the suit was trying for its own BAFTA but at least he didn’t wave to the camera…
Did they save the world again? The jury’s out on that one. As is the jury on whether they are really human or trapped by The Devil in an alternative universe.
My money’s on the bleak, dark ending – but that won’t surprise anyone!
It’s a tough one, as I love all of them for different reasons.
But if I must pick one of the five I think for overall strength of story, diverse and wonderfully nuanced characters, depth and subtly of writing and well, everything that makes Being Human what it is I’m going to have to go for series two – “God Loves, Man kills”
Although I reserve the right to change my mind according to mood, phase of the moon and whether my shoes hurt – or just because really!
In particular how in the Being Human world there a definite tendency for the dedicated watchers to try and find redemption for the big bad baddies. Or make excuses for them. What started this train of thought is the reaction to Cutler and how his character has been interpreted.
Let’s start with the basics – He Who Must Be Right (AKA Toby) said that the best way to tell if Cutler is lying is if his lips moved. That once his wife was dead he had no humanity left in him. So, he’s a monster right? I’m not arguing with HWMBR, it actually is his toybox!
However, the prevailing view of Cutler seems to be more along the lines of “Oh bless him, poor CutlerNickCutler, Hal was really mean and nasty to him. Poor boy had no choice. He was MADE to be like that. He had to do it.”
Sorry, don’t buy it.
Cutler had fifty-five years without Hal and I doubt he spent them knitting and volunteering at the local cat and dog shelter. He may have found the killing distasteful and messy but he drank blood. He was happy to have others kill for him and when he did have to kill he got on with it – the coroner, Pete the journalist, Golda – and not a drop of blood spilled on the suit. He had enough influence to walk into Stokers and push people around. He was invited to the meetings – or he just expected to be there and no one turned him out. Griffin listened to him, albeit reluctantly and not without a selection of snide comments. (Did he ever get that fucking tea made?) But seriously, Cutler was sarcastically, utterly, beautifully subversive. A 60-year-old, practically a child, challenging an Old One and no one stopped him or ignored him. That’s not a doubtful, still human vampire, that’s the real deal.
We know so little about Cutler, probably a lot less than we think we do which is testament to how well the character worked. We know he was a solicitor who qualified in 1947, he was married and somehow he’d come to Hal’s attention. He was recruited in 1950 but didn’t immediately take to killing, although he seemed to dig a good grave. He refused to kill his wife even when Hal asked him so very nicely. to do so.
(A side note about what we know. We don’t know how old Cutler was when he was recruited but qualifying in 1947, he had to be at least 25 in 1950. That means he escaped conscription or national service. I wonder how. Flat feet? Weak chest? A note from his mum? And yes, I know it’s not real but I’m just saying!)
We know nothing else about Cutler until we find him in the present day when he’s “a duty solicitor in bloody Trumpton.” We see him in his office, at Stokers and that’s pretty much it. He looks quite at home in the police station, certainly at home enough for plenty of that special brand of Cutler sarcasm anyway. There’s no hint of any other life – although he seems to favour a decent restaurant. (I’d have the Merlot.) If – and it’s a big if – we count deleted scenes as canon then we could surmise that he’d been watching Honolulu Heights as he asks Fergus about the reports on Herrick’s epic munching of the local police force. Or maybe he was just watching Herrick…
Beyond than that we’ve all had our crayons out to colour in the back story for ourselves. One area where there’s been a lot of enthusiastic going over the lines is the marriage of Nick and Rachel Cutler. The received wisdom seems to be that they were totally besotted, madly in love, perhaps even childhood sweethearts. Now come on, we don’t actually know that. If you ask me she sounded pretty stroppy in the few lines she had and he sounded henpecked! Just look at his posture if you don’t believe me. Fair enough he didn’t want to kill her but then he didn’t really want to kill anyone.
Maybe he loved her deeply and madly. Maybe she was OK, kept his socks darned and his shirts ironed. More likely it was somewhere between the two. I don’t think we see enough to really guess and those two brief scenes when we see Rachel alive and dead can be interpreted so many ways. And probably will be!
What intrigues me the most is what was it that made Hal notice Cutler in the first place? Personally I wonder if he was already up to no good way back then – a useful trait for a potential vampire solicitor…
It’s interesting to compare Cutler with Herrick. We know just as little about Herrick’s origins; born 1843, recruited by Hetty in 1890 when he was a somewhat corrupt legal clerk. The difference between the two is that we glimpse Herrick across the years – 1917 when he recruited Mitchell, 1933 in Paris, 1969 in swinging London and a rather fine brocade waistcoat and 1992 or thereabout with McNair in the cage. Those little snippets add to the character in that we see he was evil all the way through but he had a weakness. Mitchell.
It’s very different to the more extended glance we saw of Cutler’s early vampire days but nothing between then and now, it showed his initial struggles and perhaps allowed that “poor boy” response come through. It’s odd though – I don’t think anyone has ever said that Herrick’s evil was anyone else’s fault than his own. If we’d seen Herrick’s family (if he had one) laid waste to by Hetty would we sympathise more with him? I don’t think we would so what made Cutler different? And please don’t say it was just because a proportion of the viewers fancied him – even I’m not (quite) that shallow!
I’m not making excuses for Cutler or Herrick. I don’t want to. I love them both to bits but they are not human, they are evil by our morals but not by those of their own species. I don’t want them crying over the bodies and weeping and wailing and wanting forgiveness. “You’re a shark – be a shark” puts it perfectly.
Am I alone in wanting the villain to be irredeemably, unforgivably evil and to enjoy every dark moment of it? I know I’m not (you know who you are!) (Yes, you do there was a memo) but I think we’re in a minority.
Having said that all good villains need shades of grey (no, not THOSE sorts of shade of grey) and that’s where Cutler and Herrick were written and played so brilliantly. Read it on the page and it’s utter bastard, put a beautifully nuanced performance on top and you have the depth that makes you doubt and then makes you wonder if they really are going to do something THAT awful?
And then they do.
And then they do some more.
And I thank them for it!
The post title is from one of the many versions of Kurt Weill’s Mack the Knife which always strikes me as a very vampire song! This is Nick Cave’s take…
See the shark with teeth like razors/And he wears them in his face
And Macheath has got a knife/But not in such an obvious place
Now see the shark, how red his fins are/As he slashes at his prey
Mack the Knife wears fancy gloves/Which gives a minimum away
I’ve been pondering further on that bit of parchment revealed at the end of series four. He will rise.
Of course it may be a complete dead end or a particularly annoying red (beige) herring but who knows? Apart from TW of course…
As an enigmatic hint it’s, well, enigmatic but I can’t help wondering how the ancient vampire recorders with their skin parchment and their cryptic symbols suddenly started writing in plain English? Maybe they had a bit left over?
“Look we’ve used the front, even though it was a bit bumpy, this is what’s left. Where’s it from? Best not to ask really but it was hell to flay… Oh and you did file the nipple off that other bit didn’t you… You didn’t. Never mind, no one will ever notice.”
Maybe someone snipped a bit off the ancient scrolls, you know what it’s like, you need to write a shopping list and there’s never any paper around and you end up forgetting the cornflakes and the toilet duck…
Anyway, back to the point (sort of) as I have a theory on this and if you thought that forgetting to file off the nipples was a bit far-fetched then… Look, it’s a work in progress, all right?
If we assume this follows on from the fifth vampire dream then it has to relate to the prophecy but in S4E8 the scrolls were interpreted in two different ways. That’s after Woman in Gloves extracted the final piece from her handbag, brushing off the odd boiled sweet and dusty tissue.
Cutler believed that the death of the War Child meant the end of the vampires. He believed it enough to force his way into Honolulu Heights despite the immolation that ensued and he said it as clearly as speaking through the sagging remnants of your parboiled face would allow.
“I’m signing the death warrant for my entire species.”
Remember? It was shortly before the rather squelchy gurgle that left him proper dead. Allegedly. Yes, OK, I know… And Hal probably agreed – he immediately read the scroll in Honolulu Heights as the fate of Eve being inextricably linked to the fate of the vampires. He may have had it back to front but the meaning seems pretty clear.
Mr Snow put it differently. As he would.
“The death of the Godhead, humanity lives.”
So… different versions but in the end the War Child died, blown into Pampers clad pieces by a blast of Crisp ‘n’ Dry.
So did the vampires die? Well, the ones in range did! But Hal didn’t. Did any more survive? Presumably there are lots more all over the place, Wooton under Edge for example, and I have no doubt that there are some more Old Ones. The ones not canned and exported from Bolivia.
Did humanity live? Seems that way – although did we actually see any real humans after the explosion? It depends on when the Mr Rook scene was set but I suspect even our distracted supernatural threesome might have noticed if everyone had disappeared.
Was humanity saved? Trickier… Saved from what? From whom?
Maybe all it meant was that humanity was saved from that particular future, the Mr Snow eating the PM/guts for garters/poster boy Hal future. There could be infinitely more terrible futures still in store, ever more nasty threats.
But what if Cutler got it right? Killing Eve killed the vampires… but it just doesn’t happen straight away. Perhaps they can no longer recruit? It would take a while but it would eventually finish them. Maybe it’s easier to kill them – if they became vulnerable to disease or injury they have no inbuilt defences. That would work – the immortal undead wiped out by man-flu. Or could Annie have changed everything? We keep getting told she’s special, unique. Could her sacrifice alter the prophecy – or even help it? Maybe all the rules have changed. Now wouldn’t THAT be a useful plot device! And don’t forget the parchment was the fifth dream – wonder what the other four were? I’m sure there will have been one about naked flying while all your teeth (fangs) fall out – there always is. Or is that just me?
For the sake of finishing off this rather rambling post let’s assume the parchment isn’t a red herring, part of a shopping list, a wallpaper sample or an ancient beer mat and someone will actually rise.
So who might it be? The first thought is that it’s about resurrection which is normally someone who’s dead – proper dead that is.
Mr Snow? Nice thought – surely that powerful a vampire can survive pretty much anything but would Mark Gatiss return? Not sure…
Herrick? Well you know how much I love Herrick. (I have mentioned that somewhere haven’t I?) But no. Herrick is done and gone and it would be so wrong to drag him back again
Kemp? Well, technically he didn’t die and that might be an interesting idea but Donald Sumpter is a very busy boy and it harks too much back to the Bristol/original threesome days to be viable now.
Cutler? Plausible. If you want to wriggle out of the rules does staking a melted vampire count in the same way? But that is stretching an invented change of rules a bit too far. So no, not Cutler. Damn.
You don’t need me to list all the vanquished and staked and anyway, I doubt it’s any of them.
Maybe the rise isn’t resurrection. It could be a coming to power or a deliberate and long plotted event.
How about the men in grey and the wonderfully mysterious Mr Rook? Could they be planning to take a more prominent role in the supernatural world? I think they’ve been around a very, very long time – the archive is vast. Mr Rook has an interestingly timeless look and a level of influence in the government that I’d like to see explored.
But then again – look at Wyndam. Big Bad Edgar. The wrath of god. The scourge of the pineapple hedgehog. Dangled and dumped before we ever got the chance to love or hate him. Mr Rook and Arthur may well go the same way.
The obvious answer is that he who will rise is Hal. If he is or is thought to be the oldest Old One left there must be obligations and power attached to that. Who’ll come looking for him? Or will he go looking for them? An interesting question is that the ‘he’ could be good or evil – and so could Hal. (Although good, OCD, occasionally wibbling idiot Hal is not much fun and would be as dull as used washing up water for six episodes.)
I don’t think he is the oldest left; there must be others that weren’t packaged up in Bolivia, others like Hal who ran away or wouldn’t toe the vampire line. Hetty is about fifty years younger – is her maker still around?
I don’t think that Hal can be the answer for no other reason than because it is the obvious answer. When was it ever made so easy for us to guess what’s coming? That’s right. Never.
Which leave us with the unknown. Maybe it’s the mysterious new villain, the more evil than ever before villain that has been hinted at.
Or some sort of saviour? TW does like to flirt with the odd religious theme so could this be a good supernatural? Vamp on a white charger? SuperWerewolf?
Actually I hope not…
Bring on the villains I say and the eviller the better!
A reminder of evil Hal and Fergus, cleaning up Richmond in 1855…
We’ve had frantic, we’ve had touching and this week it’s all about the funny. Probably the best collection of quotable lines in one episode!
A flashback to 1855 (lots of 5s in this series) and some rather clever location scouting – a staircase, some pictures, two and a half costumes and it all looks quite convincing. Oh and some SERIOUSLY dodgy fake hair… History tells us Fergus and Hal were at war, the Crimean War presumably and home on leave. (Please don’t tell me Florence Nightingale is a vampire…) Fergus thinks ‘they’ are scared of Hal – he lists Wyndam, Ivan and Hetty, names we know and then Jacob who we don’t. Mr Snow, of course, would not be scared… You can guess who Mr Snow is. Really, you can! He seems most surprised about Hetty – it strikes me she’s scared of very little.
“And if you do start eating people, we’ll just have to try something else”
In contrast to bloodied Hal, we have harpsichord Hal, rigidly keeping to his list, not caring much that Annie and Tom have resorted to ghostly shoplifting to keep Eve in Huggies. But it’s OK, McNair said it doesn’t count if it’s a big shop. Right. I presume he means a large organisation and not a long list.
Putting Tom and Hal in the cafe together was inspired, Hal’s deadpan despair and the perfectly squared cloth action for cleaning tables were totally in character and Tom’s well meant help and suggestions came across as genuine (except for the spare stake of course!) I could rhapsodise about the nuanced comedy, the lovely lines, the little glances, the picking up of Nuts with a glove… but I hardly need to as you’ve watched it yourself. Haven’t you? Then you’ll know how funny it was and I can move on!
It was cute to see Hal and Tom slowly beginning to bond, have they realised yet that maybe they aren’t so different? Tom is naive and young in many ways but in others he’s old before his time. Hal is certainly old but having been sequestered away for 50 years he’s out of time too. Tom’s old-fashioned courtesy and Hal’s olde worlde manners (which presumably slip somewhat when hunting!) put them both out of step with modern life. Both spent so much time in isolation – albeit with people who loved them – maybe they can find the right way to exist in the now together. (And can that existence exclude that frankly indigestible looking cheeseburger…)
It’s worth remembering that when we saw George and Mitchell in the pilot they already had an established friendship and so short cuts and assumptions could be made. We accepted they were best friends because Toby told us they were. Here we are seeing Hal and Tom find their friendship – they are forging those bonds in front of us and it’s very convincing. The camaraderie – still a little wary – was unspoken but right there by the time the Antiques Roadshow came on. (BTW – what was that vase worth??!) When they naturally included Annie in their deliberations the pleasure in her face was clear – she’s the bond, the glue, both to the past and the future as well as the link between the boys and that they want her there means a lot. Annie’s fear of being alone has receded again. But for how long?
“Are you taking the piss?” “Well, they started it”
I wasn’t sure about Regus on first look but he played a blinder in this one and let’s face it, you have to love a vampire in a Team Edward T-shirt! Regus is a vamp-geek, a vamp-nerd or maybe just a bit of a sad-vamp. He has vampire asthma, reads mildewed scrolls in basements, puts pin-up posters on his bedsit wall, has a largely imaginary sex life, a varied collection of T-shirts for all occasions and – worse of all – his lunch fights back. I want to feel sorry for him, really I did, but I’m doing about as well as Annie did in trying to keep a straight face after their in-tents experience. (I’m sorry. I’ll get my coat…)
Regus seems to have warmed to Annie, despite her love of a good doorstep row – and he’s willing to trade. Let’s not revisit the weirdest sex scene I’ve seen for a while except to say that if that’s Annie’s first BF he must be the one who posted nude pictures of her on the internet. Well… lets kind of hope they were of her and not of Regus – actually let’s not hope or even think about this at all!!
Once he’d tucked his vulnerability back in his trousers Regus did ‘fess up to what he’d found. A nemesis. Well, of course – you have to have a nemesis. With a burnt arm – if you interpret literally, which would be too easy. Could be a fire arm, a weapon, could be a bit of a suntan – which may rule out a vampire unless they hit the FakeBake. And just what is Tom cooking up with the used chip fat? Fire? Flames?
Before he headed off with his home-made girlfriend in a haze of hopeful anticipation we did get a (slightly spurious) reason why Regus would want to save the child he thinks will destroy his race. He doesn’t want to see 400 years of work wasted and it’s two fingers up to the cooler vampires who never really took him seriously. Do you think he may have had his head flushed at some point back in Stoker Exports?
“You’re not very good at being a vampire, are you?”
Michaela – goth girl, emo chick, would be poet, generally all round irritating ‘look at me – gosh I’m soooo weird’ type. Caricature? Yes. Cliché? Yes. Funny? Undoubtedly – although she trod a very fine line. A glove on one hand might – might? – be a pretension but could it be covering something? A burnt arm maybe?
She may be a parody but haven’t we all met a Michaela? Somehow she and Regus gel and the passing remark from Hal, asking Annie if she ever met Ivan and Daisy may bode well for them. Or may not. I really have no idea!
“I know who you are”
Fergus gets a chance to show off this week – firstly in the flashback with echoes of the genial evil that Herrick did so well and then just plain scary when he find Annie and Eve in the park. A busy day for him, in no time at all he tracks down Hal by the bins. His reaction to Hal is interesting – he kneels to him, calls him Lord. In jest? In homage? Could be either – he’s certainly very keen to get Hal back on side and he offers him power. For Fergus having Hal in charge is the obvious solution, he seems to have no claim to take that place for himself. It’s hard to say if Hal is truly tempted – Fergus has no doubt that he’s back on his side but Hal double crosses him and stakes him. Damn. I was starting to rather like Fergus, now he’s in the Hoover. I suppose at least you’d always know where he was… (I’m trying very hard to avoid doing the “stake ‘n’ vac” here.)
What was interesting is that it was never clear which side Hal was on until the crunch. Now that’s worrying. Tom and Annie seem convinced he’s with them but can they really be sure. That tiny slip about the Old Ones, Hal says he needs to be there to greet them, hastily corrected to being there to face them, makes me wonder. Hal is 500 years old, unimaginably old. Is it all about him? Are the other lives just a detail, something in the way of him either saving or killing Eve to save or end the vampires.
Hal killed Fergus – ostensibly to protect Eve after being utterly convincing that he was back in black, as Herrick would put it. But why? Was it really to protect Eve or to protect himself? Fergus knows him, and knows him well – they go way, way back. What might Fergus have known that Hal wants kept secret – maybe he just doesn’t want to relive those blood soaked days but is there more to it than that?
The acting honours this week were fairly evenly shared but the award (there isn’t an award) goes to Damien Molony and Michael Socha for their budding bromance. Completely convincing and rather sweet in how they protected and stood up for each other – while still competing! Lenora Crichlow was great – her reactions to Regus were spot on throughout and her not watching the tent experience (just like she didn’t watch Lauren’s vamp snuff film) and her efforts to keep a straight face were impossible not to like. I’ve noticed that Lenora always raises her game when working with, shall we say, a more established actor. With Mark Williams she matched him look for look and line for line – just as she did when working with Bryan Dick as Sykes and in her rare scenes with Jason Watkins. I’d love to see her really stretched, her scenes with the younger cast are still perfectly competent but more relaxed, although that may be deliberate.
So we end with Tom and Hal, the start of a friendship, the start of trust between them. Annie trusts them and between them she thinks they can keep Eve safe. Find a life together – the four of them.
So not going to happen…
“Sometimes it leaves me positively giddy”
That’s not bloody Aldi – that’s Waitrose…
Fergus joked about how scared the other vampires are of the War Child, he didn’t get it and he had a knife pointed at her. Maybe she got her revenge? Maybe it was Eve who deflected the knife not Annie…
£1.50 for a cheeseburger? OK it looks pretty awful but damn, that’s cheap!
A very neat switch over from The Real Hustle to the boy’s new show of choice.
Somewhere between episode one and three the demise of vampires switched from cracking into smoke to dropping into dust. Curious. New type of vampire or new type of special effects budget?
Where was DickSplash, sorry, Cutler? Missing the sarcasm…
Does anyone REALLY think Tom is building a swimming pool?
I’m still laughing at “And I had a shield. A red one”
“William Herrick. Born 1843. Made vampire in 1890.”
This may not come as a surprise to some of you but my favourite character in Being Human is Herrick. I adore Herrick! Cheerful evil, chilling and smiling, always in control, how can he possibly be that scary?
What’s not to like?
A great character, created by Toby Whithouse and written brilliantly, and enhanced further by a fantastic performance by Jason Watkins. It all fits together to make Herrick an unexpectedly brilliant villain.
As it’s a week before Christmas this is my present to myself – a quick run through of Herrick’s best bits! There are far too many and there’s a temptation to just list every appearance – that’s OK isn’t it? However, I’ve been rather firm with myself and restricted the choice to just a few magic moments – with a little creative licence of course.
So – cue Smashy’n’Nicey voice – here goes with Herrick’s best bits, the festive five favourites…
“Raiding the dressing-up box, pretending to be human.”
In Another Fine Mess (S1E4) Herrick’s home truths to Mitchell at the beginning strike a raw nerve and he is unsympathetic but it is all so very reasonable. Of course Mitchell was cruel to Lauren, it was terrible of him to abandon her and of course he can’t be human. What is he thinking? How could you mistrust such a reasoned and well framed argument? While that contained and credulous Herrick is good, the very best moment for me is the end of the episode. Mitchell does one of his about turns (almost a pirouette, he must get dizzy) and Herrick’s smile says it all. He knew he would come back, he never had a moment of doubt. He doesn’t need to say a word.
“I could walk into Buckingham Palace in this!”
There’s Herrick in 1969, rather dapper in his brocade waistcoat and so effortlessly in control in stark contrast to Mitchell’s dozy befuddlement. Oh, except for the minor inconvenience of falling out with the London vampires: “I sort of killed his Mum.” When he swapped the Brian Jones suit for a policeman’s tunic the look of triumph was perfect – he’d realised the endless new avenues that that symbol of human authority opened up for him.
Such a shame it ended up with him in bits in the hospital cellar, his discarded police uniform hanging on a coat stand in the filing room of B. Edwards… (Didn’t you spot it? It’s in this episode!)
Back again, but not so far, just twenty years ago to Ringmaster Herrick – and all he needed was a whip! Was he the creator of the cage fights or just one in a long chain? I rather like to think it was all his idea… After all, he did them properly – balloons, streamers and a costume. Of course.
His matter of fact explanation of the supernatural world to a bemused McNair was text-book Herrick. He needs to be heard, to make his point and he can never resist a lecture. And when he realised what had happened? Unrestrained joy!
“Then people would say I was going soft”
There is a wonderful scene in “Though the Heavens Fall” when Herrick is restored to his full power, his true evil self and he accosts Nina in the kitchen. Just before he leaves (only to return at the whoosh of a swing door) there is a moment of absolute stillness and silence. He has his hand over her mouth, he’s considering his options and every single word of that internal conversation shows on his face. Amazing.
“Whatever his crimes, the man you knew is not the man before you now”
Lastly and I’m floundering a bit in the ‘not including everything he ever said and did’ stakes… I need to add some bats in the belfry (OK, bats in the attic) Herrick. But which bit? It’s all pitch perfect and I think it’s very mean of me to make me chose! So what do I pick? Easy, it’s the knowing smile after Annie leaves the attic, the train set with the tunnel, the look through the bathroom door – possibly THE scariest moment in series three, the pyjamas, the viciously crafted cruelty to poor Cara, how he plays Nina, how he plays George, when he wakes after munching on Nancy (to the fabulous soundtrack of History Repeating Itself), the is he/isn’t he look in his eyes that still leaves me wondering just what did he really remember…
I know that as soon as I hit publish on this I’m going to want to take it all back and choose a set of different moments. There’s so much I’ve missed out – Paris 1933, quoting Brecht in the face of a werewolf and Alice in Wonderland to haul Mitchell back into line. Maybe I should have just gone with plan A and listed the lot!
I will cheat a little more (well, what did you expect!) and add five some of my favourite of Herrick’s lines. I do try to use these whenever possible. (Yes, I do get some very odd looks!)
“Something to ponder.”
“You’re a shark – be a shark!”
“Choose a chair. Break a leg. Sharpen it…”
“What, and all this time you’ve been thinking I’m a Kiss-o-gram?”
“Oh well, I feel drenched with love”
“But it feels so nice…”
“Rule number one of Vampire Club – do not get arrested. Even Seth knew that and he used to point at planes”
Perhaps a follow-up is in order – what’s your favourite Herrick moment or quote?
There’s is one thing I do know…
“It’s going to be the most beautiful day.”
A little something I found on YouTube which tells me that I’m not alone in my admiration of Herrick!