SFX blogger Narin Bahar scrutinises the penultimate episode of the season
Written by: Toby Whithouse
Directed by: Charles Martin
The One Where: Annie decides it's time to move on, but despite Kemp's best efforts ends up lingering like a bad smell. Nina comes back to encourage George to suppress the wolf forever – perfect timing since he's about ninety seconds from rampaging through a primary school after a confusing snafu with the clocks going back. Mitchell goes a bit Angelus.
Verdict: So thirty vamps died at the funeral parlour including the amazing Ivan but Mitchell was unscathed despite standing pretty much on top of the bomb until he was shoved aside? Hmmmm. Even with the supernatural mythologies of Being Human not always taking from the traditional vamp/werewolf books of lore, it's a bit of a headscratcher how exactly an explosion killed all the undead bar our favourite floppy haired Irishman, although I suppose we shouldn't complain. That said, Mitchell unravelling as he (finally!) figures out who Professor Jaggat is, and his Bonnie and Clyde style killing spree with Daisy is so intense and interesting that you forget the slightly ropey explanation early doors and just watch in fascination as Aidan Turner's phenomenal performance and Toby Whithouse's great writing makes you feel sympathy for someone capable of slaughtering a train full of people in one of the creepiest scenes of the show so far. Turner's Angelus, erm, turn is perfectly pitched and really sinister, with none of the hamminess Boreanaz lapsed into at points. That moment of sexual tension and underlying violence with Annie – where finally that kiss is mentioned once more, albeit in a way that will leave Annie/Mitchell shippers aghast – is particularly chilling.
While Mitchell properly embraces the monster, poor George tries to keep it in caged, despite the inevitable problems even his largest lies about tobogganing can't mask. Sam's response to the most unromantic, ill-advised marriage proposal ever is proof Molly's right – she is an occupant of life's yellow table – but even so, watching the domestic bliss George yearns for fall apart moves the coldest heart. His tear-filled eyes as Molly screams in horror at him and the penny drops that things must end is heartbreaking although – as ever – it's Russell Tovey's scenes with Sinead Keenan that showcase his undoubted talents best. While a lot of George's big moments involve hyperactive arm-flailing comedy, for my money the quiet intensity of his gaze as he lays eyes on Nina for the first time since she left and their awkward subtext-laden talk in the kitchen is more affecting by far.
Another Annie-light episode – it feels like she's been a little short-changed - although her frustration and eventual boredom at Kemp's attempted exorcism provides a rare moment of levity in an otherwise terrifically dark episode. Beautifully crafted – and with some wonderfully shot flourishes – this episode highlights once again how much of a hole in the TV schedules Being Human will leave when it ends. And that happens next week. The big question has to be will all our major characters make it out unscathed, and can Mitchell ever be redeemed now? On one hand I can't wait to know, on the other I don't want it to end. Great stuff.
Flashbacktastic: This week fans of semi-naked Aidan Turner will be disappointed (pre-credits at least) as the flashback focuses on Ivan and Daisy meeting in the Blitz. Some classic Ivan lines and a great glimpse at the initial spark of their relationship – although it's still not enough to make up for killing him, Whithouse.
Soundtrack of our times: Again it's classical and choral music that takes centre stage – with Richard Wells' score ratcheting up the tension nicely an extra notch or two.
Gone but not forgotten: George's sarcastic Chaplain from the end of last series returns in a nice little nod to continuity – and even escapes being culled, although after accidentally dropping Lucy in it and setting up what looks like being Mitchell's last stand maybe it would have been better if he hadn't.
Watch out for: Ever been irritated by the tinny bass line of a fellow train passenger's iPod? Mitchell and Daisy clearly have – the bloke slaughtered in the carriage wearing one actually has it sticking out of his mouth when the railway maintenance worker switches on the lights to make his grim discovery.
Quotable moment: Mitchell: “You want retaliation? I'll show you retaliation.”