Although Homeland only used the Israeli series as a starting point upon which the 24-style espionage thriller was built rather than directly remaking it, it’ll be interesting to see the orignal show which was critically acclaimed at the time of its broadcast.

Starring Edna Blilious, Yaël Abecassis and Mili Avital, it tells the story of three IDF reservists who are captured in Lebanon before returning seventeen years late, two alive, one in a coffin. Going back and forth between three points in time – before the abduction, during their time in captivity and after their release – we see how the survivors attempt to reintegrate into society while slowly discovering more about the secrets of their time as captives.

The acquisition was part of a raft of announcements from the channel, including the return of Michael Parkinson to TV and an original drama series, Playhouse Presents.

A couple of weeks ago, I was invited to BAFTA’s swanky London headquarters for a screening of the first episode followed by a Q&A with it’s British stars Damian Lewis and David Harewood MBE. The drama about an American Marine’s homecoming after years in captivity and the CIA officer who believes he may have been turned by the enemy and poses a terrorist threat has won critical praise and 2011 Golden Globe for best television drama series. The pilot episode is one of the best debuts I’ve seen for a while, it drew me in very quickly and introduced the characters in some depth early on.

At the screening, Lewis explained how he was excited by the script because of how dense it was in incident and character, while Harewood said he was attracted by the kind of strong black role that is not often found in the UK. When asked why we do not often have similarly strong series over ten-plus episodes here in Britain, Harewood suggested that there is currently a lack of ambition in the industry. Lewis put it down to the difference between British television’s theatrical traditions as opposed to the Hollywood background of American TV, as well as (perhaps more pertinently) the huge gulf in development and pilot budgets.

The episode starts in Iraq, as Carrie bribes her way into a jail to try to get some information about a possible attack from a bomb maker who is due to be executed. He whispers in her ear that an American prisoner of war has been turned, something she immediately discredits because there are no Americans being held. Ten months later, she turns up late for a briefing at the CIA Counterterrorism Center in Washington where Director of Counterterrorism David Estes (David Harewood) announces that Sergeant Nicholas Brody (Damian Lewis), a US Marine who went missing in Iraq eight years ago and has long been presumed dead, is rescued in a Special Forces raid. Carrie immediately puts two and two together, telling her mentor Saul Berenson (Mandy Patinkin) that she suspects Brody of being the convert to al-Qaeda she was told about. Because she has little evidence and Brody is being greeted by America as a returning war hero, Saul tells her to back down, knowing the CIA will not support any investigation.

Another person surprised to hear of Brody’s return is his wife Jess (Morena Baccarin), who we first see in bed with his best friend Mike, a fellow Marine. She’s tied a yellow ribbon around a tree outside the house, told the world she won’t give up hope and even shunned the wife of Tom Walker, the Marine who was captured together with Brody, for remarrying but clearly she is starting to move on, spending lots of time with Mike and preparing to tell her children that he’s about to move in. Sergent Brody calls to deliver the news himself and his shocked wife races home to tell their somewhat stereotypically rebellious teenage daughter Dana and sweet-natured son Chris, who barely remembers his father.

As his family, the Vice President and the world’s press gather at the airport to greet Brody with a hero’s welcome, Carrie breaks into their home to set up an unauthorised surveillance operation, installing hidden cameras and microphones with the help of Virgil, and old friend whose services she’s used in the past, and his brother Max. She returns home to watch their every move, including some unromantic, grunting lovemaking which helps to show that, terrorist mole or not, Brody has gone through a hell of a lot and is not the man he was.

The next day, Saul manages to get Carrie into Brodie’s debriefing where she aggressively questions him on his first days in captivity, asking about terrorist leader Abu Nazir who he says he has never met. We see in flashback that he is lying, he did meet him when he was being held, but David angrily asks her to back down. After leaving the debriefing, Brodie calls his wife to tell her he’s still going to be there for a while, something the eavesdropping Virgil takes as a sign that he’s on his way to meet his terrorist contact. But instead, he meets Helen, Tom Walker’s wife, to help her come to terms with the loss of her husband, answering her questions about how he was beaten to death when he was in another room.

We learn a lot about Carrie in this episode and she’s shaping up to be one of the most fascinating female leads on television. There’s some kind of history between her and David which ended up with his wife leaving him. Max finds a bottle of anti-psychotic drugs in her bathroom, which she says she uses to treat a mood disorder she’s been keeping under control, and keeping secret, for many years. Perhaps the most remarkable moment comes when she returns home to find a disappointed Saul waiting for her, saying that he’ll have to report her surveillance operation to the authorities, and she makes a terribly desperate and unsuccessful attempt to seduce him. That night she goes out, wearing a wedding ring so she can pick up a guy who doesn’t want a relationship, and suddenly comes to a realisation. As she watches the fingers of the jazz band in the bar, she sees that Brody was tapping out a pattern with his fingers every time he was on TV. She takes this to Saul who agrees that this is just enough to buy her a bit more time.

The episode ends with Brody out on an early morning jog, as we see flashbacks that reveal that he was the one who had beaten Thomas Walker to death as Abu Nazir looked on. Menacingly, as he finishes his jog, he looks up and stares at Washington’s Capitol building.

This was a compelling start to the series, utterly absorbing from the start and full of twists and turns that took me from believing Carrie’s suspicions to doubting them and back again. It’ll be interesting to see how many more twists follow in the weeks to come.

Sketch characters included Dondelion, who paces his zoo cage while having some rather dark mood swings, and Roy Circles, a talking chocolate finger war veteran widower and PE teacher. These were all linked by Fielding in his treehouse base, eating cereal and drawing pictures of Pele holding a cup while kicking a ball (or is it a saucer?). Whether or not the last couple of sentences raised a smile will show how much you’d enjoy this series. Perhaps the best of these characters was a bright yellow New York City cop named Sergeant Raymond Boombox who solves crimes with the help of his talking wounds, while the definite lowlight of the episode was Renny and Gaviskon, two characters who just crash around a kitchen for a bit. There was also a “guest” appearance from the Boosh’s Moon character, which only made me miss the BBC Three series more.

Luxury Comedy seems to highlight what Julian Barrett brought to the Mighty Boosh. His musical talents have been replaced here by those of Serge Pizzorno from Kasabian, but Barrett’s writing appears to be missed. In particular, it feels like the corduroy and jazz-flavoured balance he brought to the Boosh was missing. Without this balance, Fielding’s flights of fancy had nothing to keep them tied down and while this can be fantastic in small doses, half an hour’s worth left me feeling like I’d gorged on too many sweets.

It’s a shame that it wasn’t anywhere near as funny as it was colourful. Giving Fielding free rein to be utterly self-indulgent without any quality control could have been an interesting experiment as a one-off special, but I have doubts about it having much mileage as a series.

First up, Bad Sugar, a 30-minute pilot starring some of the country’s best comic actresses – Olivia Colman, Julia Davis and Sharon Horgan. It’s written by Sam Bain and Jesse Armstrong, creators of Peep Show and Fresh Meat, both of which will return later this year. Bad Sugar is described as “a peculiarly British take on telenovela style melodramas” focusing on a dysfunctional, wealthy mining dynasty, with an ailing patriarch and some greedy siblings. Directed by Ben Palmer, fresh from helming the hugely successful Inbetweeners Movie, the pilot will guest star Reece Shearsmith, Peter Serafinowicz and David Bradley. With these talents in front of and behind the camera, this looks like it’ll be worth waiting for.

Sky 1′s line-up of home-grown comedies continues to grow, with one of the latest being A Touch of Cloth, a feature-length spoof of British crime dramas written by Charlie Brooker and Daniel Maier. Starring John Hannah as maverick, boozing DCI Jack Cloth, Suranne Jones as his plucky partner DC Anne Oldman and Julian Rhind-Tutt as their boss, A.C.C. Tom Boss, it follows an investigation into a series of increasingly grisly murders while taking in all of the regular locations seen in detective shows, from the leafy forests and luxury homes of Sunday afternoon fare to the sinister lock-ups and cold forensic labs of the more gritty dramas. It sounds like it’s taking a more silly route than most of Brooker’s scripts, which would be ideal for this sort of thing – as Maier says, “It’s like Airplane! for a detective series except for not being Police Squad”.

No air dates for either of these shows yet, but as soon as I find out I’ll let you know.

Bad Sugar will be on later this year on Channel Four
A Touch of Cloth will be on later this year on Sky 1 HD

Incidentally, time travel of some form plays an important part in this show. We start by being told that while we think the prisoners and guards of Alcatraz moved elsewhere when it shut down in the 1960s, some of them disappeared. Garcia plays Dr. Diego Soto, a comic book writer and expert on the infamous prison who is basically the same character as Hurley – loveable, geeky and the only person able to see the absurdities of what’s going on from the audience’s point of view. He’s recruited by Rebecca Madsen (Sarah Jones), a San Francisco cop investigating a murder by an ex-inmate and they both stumble across a secret FBI operation being run by Emerson Hauser (Sam Neill, yes, from off of Jurassic Park) and Lucy Banerjee (ER’s Parminder Nagra). It seems that the prisoners are starting to reappear fifty years after they were last seen, looking no older than they did then, and Hauser is attempting to round them up before they start getting up to their old criminal ways.

The format has been very carefully constructed so that fans of Lost’s mysteries have a puzzle that will slowly unravel throughout the series, while those people who prefer to jump in and out of the show will have a self-contained story in each episode, as every week the team go after a different prisoner. So, one week you have a sniper on the loose, the next it’s a child abductor who needs to be tracked down. Throughout each episode are flashbacks to the 1960s, as we discover from their time on the Rock what motivates the criminal-of-the-week as well as sometimes getting a step closer to discovering who brought them to the present day, how and why.

Now, it certainly isn’t a bad show and it’s a joy to see Jorge Garcia back on the screen (who doesn’t love Hurley?) but the first couple of episodes didn’t grab me as being particularly outstanding. There are a few things that especially bugged me, such as the way the prisoners seem utterly unperturbed by the changes in technology over the last half century (although this admittedly might be partially explained at some point) and the fact that Rebecca and her team seem to be able to turn up at a crime scene and be sure that it must be the work of another Alcatraz prisoner, as if there are no present-day criminals around.

It also remains to be seen how well the balance between the series-long arcs and stand-alone stories will work. There’s still a chance that people who infrequently dip in and out of the show could get confused by the ongoing time travel plots while, speaking as someone who is more intrigued by watching the overall mythology of the show unfold, I can imagine that the focus on the hunt for a different criminal each week might soon get tiresome for someone like me. Besides, if I wanted to see a Lost-related police procedural, I’d have preferred a spin-off featuring Saywer and Miles as a good cop/bad cop, or Locke and Ben setting up some sort of paranormal detective agency.

It’s still worth a look, though, and as a lighter mix of action, sleuthing and sci-fi mystery it’s better than a lot of other shows out there.

Alcatraz starts in March on Watch

Tomorrow: Bad Sugar & A Touch of Cloth

Lenora promises that fans of the show need not be disappointed, “I missed Aidan and Sinead a lot, but the essence of Being Human, the love, enthusiasm and integrity of the show, is still there. We still have the same crew and production team behind it, but a different dynamic now we have had some changes in cast. Episode one is high, high drama. Think huge tears, and huge shocks, but it is also very exciting. It will have you on the edge of your seat!”

It looks like there is plenty to look forward to in this series, including new type of supernatural creature and the introduction of baby Eve into the household. Guest appearances this series include Mark Gatiss, Ellie Kendrick, Mark Williams and most excitingly of all, Craig Roberts (star of Submarine, one of my favourite films of the last year) returns as Adam, the middle-aged vampire stuck in a teenage body seen in an episode last series and the online spin-off Becoming Human.

Michael Socha’s werewolf Tom gets a deserved upgrade from guest character to a part of the main cast. He gets a job at a local cafe and slowly fits into the “family” with Annie taking on a motherly role as he adjusts to living in a house, a very different lifestyle to his travelling days. As Michael says, we’ll see Tom going through something akin to an adolescence, “He’s experiencing things probably a 13 or 14 year old would. He tries to adjust to these changes while at the same time is having a hard time coping with different emotions that he has never experienced before. You will discover Tom is quite an emotional character. Tom lost his dad in the last series so now he has to grow up. He copies McNair in a lot of ways, there are a lot of similarities, a lot of things Tom has taken with him, but I think Tom now is his own man.”

And, of course, there has to be a new vampire to fill Mitchell’s shoes. Irish actor Damien Molony, in his first television role, plays Hal, a rather posh legendary vampire of old who has managed to keep away from blood for decades but is coming perilously close to falling off the wagon when he arrives on Barry Island. Damien says he was conscious of not being a clone of his Aiden’s character, “Mitchell was such an iconic vampire, so it was nerve-racking joining a show to replace this fantastic actor and fantastic character. But the more and more I read the scripts and the more I realised where Hal was coming from, I realised they are so different, so the pressure was taken off slightly. I spoke to the directors and writers in length about it, and it was great to be given the freedom to pursue an entirely different character.”

Just like Misfits, Being Human is having to go through some major cast changes that are making some fans worry about the show’s best days being in the past, but with the same creative team being behind the show and some well-chosen replacements in the cast, it looks like it can continue to be one of the most exciting and original British dramas on television.

Need more to whet your appetite? Here’s a prequel introducing you to Hal, the new vampire…

Being Human returns to BBC Three soon

Tomorrow: Alcatraz

Danes stars as CIA officer Carrie Mathison, who we first see in Iraq bribing her way into a jail to try to get some information about a possible attack from a bomb maker who is due to be executed. He whispers in her ear that an American prisoner of war has been turned, something she immediately discredits because there are no Americans being held. Ten months later, Sergeant Nicholas Brody, a US Marine who went missing in Iraq eight years ago and has long been presumed dead, is rescued in a Special Forces raid. Carrie immediately puts two and two together, suspecting Brody of being the convert to al-Qaeda she was told about. Because she has little evidence and Brody is being greeted by America as a returning war hero, she knows the CIA will not support any investigation. Instead, she carries out her own unauthorized surveillance work in an attempt to see if her suspicions are correct and prevent a terrorist attack.

In a few ways, this feels like a more grown-up version of 24, and not just because being made by a cable channel rather than a network means it can have nudity and swearing. As much as I absolutely loved 24, it did often help to switch your brain off while watching, while Homeland seems a lot more intelligent and based in reality. It’s also got a tremendously interesting lead character in Carrie Mathison, who takes anti-psychotic medication and is only interested in men who want one-night stands, a stand-out performance from Danes. Damian Lewis is also excellent as Brody, a man who, whether a terrorist mole or not, clearly has gone through hell for the past eight years. There are no shoot-outs or explosions (in the opening episode, at least) but there are a few things that would be familiar for fans of 24 – the sense of a ticking clock towards a terrorist attack, the surveillance operation with cameras and microphones around the suspect’s house, and our hero having to secretly do their own investigations because their superiors won’t listen to their instincts.

The first episode is one of the best debuts I’ve seen for a while, it drew me in very quickly and introduced the characters in some depth early on. As Brody arrives home to a hero’s welcome, we meet his wife Jess (V’s Morena Baccarin) who, despite tying a yellow ribbon, telling the world she won’t give up hope and even shunning the wife of another missing Marine for remarrying, has been finding solace in the arms of (of course) her husband’s best friend. We’re also introduced to his rebellious teenage daughter Dana and sweet-natured son Chris, who grew up without really knowing his dad. There’s something about this family that made me hope things go well for them and at times I started to doubt Carrie’s suspicions and wonder if Brody really is just a traumatized kidnap victim, before being sent back in the other direction again. I’m sure I’ll be sent back and forth some more as the series goes on.

There are twelve episodes in this first season, meaning it’s not the 20-plus week commitment some American series are, and a second has already been ordered. I’d say Homeland definitely goes in the “don’t miss” category.

Homeland starts in February on Channel Four

Tomorrow’s preview: Being Human

Mark Heap is brilliant in everything he’s in, from Spaced to Big Train, and here made a brief appearance as of psychic Jonas in his typically eccentric style. He was a charlatan who, of course, has been affected by the storm and given the power to not just commune with the dead but also to bring them back to resolve whatever is preventing them from moving on. He brings back Sally (Alex Reid), the second probation worker, who was accidentally killed and not so accidentally left in a freezer by Simon.

Kelly is annoyed at Seth for continuing to buy and sell superpowers after that palaver with the zombies last week. The next time she returns to his den, he’s shut up shop, wanting to do the right thing for her. All is well, except that she wishes he’d kept the desk…

The gang confront Jonas about Sally’s return and he attempts to bring Sally to the room, but instead he summons Rachel (Jessica Brown-Findlay), the virtuous girl responsible for brainwashing dozens of teenagers and temporarily killing Nathan at the end of the first series. She tells the group that there is no God, her chaste life was in vain and she thinks she’s come back to finally get drunk, take drugs and have sex. Rudy is happy to oblige, but it’s Curtis she’s interested in.

What follows is a rather wonderful throwback to a pivotal scene in the very first episode, as Kelly is chased by the original probation worker Tony (Danny Sapani) while Rachel writhes on Curtis and the rest of the gang sit in wheelchairs, all to the sound of LCD Soundsystem’s Get Innocuous. After Tony gets lamped by a fire extinguisher, the gang realise that he’s his normal (if ghostly) self, rather the murderous hulk from after the storm. As the gang breezily recap the body count of probation workers they’ve got through, Tony tells them that they’re out of control, they have no morals, they’re “feral”. Alisha tells him that they’ve only been protecting themselves. The truth is probably somewhere in between.

Just as in a troubling vision he earlier had, Simon is seduced by Sally, who tells him that them it is what she needs to move on. But her real motivation is revenge, videotaping their kisses and sending them to Alisha’s phone. Alisha is devastated and goes to the rooftop, that rooftop, where she sees Sally, who tries to push Alisha off of the roof, telling her that she wants Simon to feel how she felt when Tony died. But Tony appears just in time to tell her what really happened, that they killed him in self-defence. This is the first time they have seen each other since death, and they embrace, disappearing into the afterlife. It turns out that what Tony and Sally needed to move on was to find each other, an incredibly touching resolution to their story that other shows might not have bothered with.

Rudy cheerfully tells an unfulfilled Rachel that it turns out Sally didn’t need revenge in order to move on, planting a deadly seed in her mind. Because revenge is exactly why she is there, and as soon as she chillingly picks up a stanley knife we know something terrible is about to happen. As Rachel rants at Curtis, Kelly and Rudy for killing her and then turning her into a “nasty little slut”, Simon and Alisha emerge from their make-up sex in the changing rooms and Rachel slashes Alisha’s throat, immediately moving on. Despite all the get-out clauses and rewinding time we had in the past, this time it’s permanent and it’s heartbreaking. Curtis has the power to bring her back to life but that would make her a zombie and nobody wants that.

Simon realises this is why he goes back. He explains to the rest of them that he was Superhoodie, first his future self and then, when he died, he took over. Kelly gets Seth, who explains that Curtis’ time travel power died with Iggy the iguana but there is another power out there, but it’s just a one time thing. He can go back but it’s a one-time thing, he can’t return to the present. With the help of Kelly, Seth gets the power back from a man who plans to go back and become a pirate. I had fully expected Simon to take Rudy’s power so that while half of him went back, the other half could stay, but sadly it’s not the case – his story concludes here.

There’s one more thing to tie up – how was future Simon able to touch Alisha and not get affected by her hypersexual power? It turns out that Simon was Seth’s very first client, buying the ability to not be affected by others’ powers, and present day Seth gives him the money to pay for it. After saying his goodbyes at Alisha’s shallow graveside and locking up his secret base, he puts on the same orange hoodie he wore when rescuing Nathan on a bike back at the end of series one. After telling his friends that he’ll see them soon, he goes back in time and sees himself, Curtis, Kelly, Nathan and Alisha, having a conversation we first saw back in 2009. He visits the disused room that would soon become his base, goes to buy that power from Seth. “What are you going to do with it?” Seth asks. “I’m going to make a girl fall in love with me”, replies Simon. The circle is complete.

Back in present times, we are left with Kelly, Curtis and the two Rudys. As Kelly says, it’s time for them to “keep our heads down, finish community service and live happily ever after.” The end. Except it’s not, because they will return next year.

In the end, we were shown that this was a kind of a happy ending for Simon and Alisha – they will be going in a constant loop through time, falling in love with each other again and again forever. But also a sad one, as they’ll be dying again and again too. It’s a real shame to see these two characters who have been there from the start reach the natural conclusion to their story. Iwan Rheon and Antonia Thomas have been great in the show and will be much missed in series four.

It’s hard to ponder where the next series will take us. While the last eight episodes has seen Rudy easily fit into the group, Curtis grow in stature and Kelly cement her place as a wonderful character, Simon in particular has proven to be the core of the show and will be so much more difficult to replace than the ever-popular Nathan. I am optimistic that the fresh faces that will presumably come will bring something new and exciting to the show and that creator Howard Overman will continue to come up with great ideas, but it does feel like a chapter has closed and Misfits won’t quite be the same again.

Series three has featured some great moments and the fantastic addition to the cast of Joe Gilgun but overall was more of a mixed bag than the previous two series. It did slowly build to a great conclusion, though, and this final episode was a wonderful example of how to tie up loose ends (some of which we didn’t even know existed), look back on where we’ve come from and bring a story to a conclusion in a satisfying and incredibly dramatic fashion.

Simon and Alisha, farewell. Kelly, Curtis and Rudy, see you in 2012.

Available now: Misfits series 1, 2 and 3 on DVD and on Blu-ray.

We started where we left off last time, with Seth bringing Curtis to the cemetery to bring his girlfriend Shannon (Charlene McKenna) back to life. But things don’t seem quite right about her. Kelly finally finds him and he tells her why he can’t see her any more, leaving her heartbroken.

At the community centre, the gang watch some cheerleaders practising – oh, the look on Simon’s little face! Curtis enjoyed it too but, due to a rather grim traumatic experience he suffered as a thirteen year old, Rudy is disgusted and terrified by them.

The next day, Curtis sees an old lady upset about her cat, Mr Miggles, being run over. He uses his new power to resurrect the kitty and gets a cake in return. But when he goes back to return the cake tin, he finds that the cat has gone crazy and is eating the old lady’s face. The rest of the gang come to the rescue, tooled up with hammers and a Cornetto but while they’re more than happy to bump off probation workers (who don’t count, according to Alisha – which felt like the only misstep in the episode, a little TOO big a wink to the audience) and the old lady when she wakes and tries to bite Rudy, none of them can bring themselves to kill zombie Mr Miggles so they keep him in a cat carrier.

Kelly tries to warn Seth that Shannon is about to turn into a zombie, but he doesn’t listen. Little does he know that she’s been eating poor Iggy the iguana to stave off her bloodlust. So, that means Curtis’ old time travel power is gone for good.

Kelly also works out that if Curtis brought Mr Miggles back from the dead, it means he’s the one who brought Seth’s ex back too. No hard feelings, though, and Curtis agrees to help her to what she realises she has to – kill Shannon before she eats anyone. But, it’s too late – Seth’s neighbour Jack (Gareth Farr) comes round to bring back a DVD and Shannon takes her chance and bites a lump out of his arm, turning him into a zombie too. The gang arrive, armed with baseball bats and, in Rudy’s case, a sledgehammer. Seth hides her in the neighbour’s flat, but the neighbour attacks him and is killed by Shannon by an iron. Seth realises that it’s true, she is a zombie. She tells him about the hunger she feels and he tries at first to placate her with ideas about finding another power somewhere to cure her and buying her meals from the local pet shop. But then he sees the way she hungrily looks at a young boy and realises she has to be killed. But he just can’t bring himself to do it.

Back at the community centre, the gang decide they have to kill the cat because feeding it mice would only lead to, in Rudy’s words, a “zombie Noah’s Ark.” They draw lots and, to Rudy’s delight, Simon draws the short straw but discovers that Mr Miggles has escaped and infected the cheerleaders. The gang get together to kill all of the zombie cheerleaders (except for Rudy, who hides) and then the new probation worker turns up. Obviously, she gets bitten within seconds and has to be killed. This time it’s Rudy who draws the short straw, giving her a whack to the head after giving her a short speech about how they’re not bad kids, just in the wrong place at the wrong time. Repeatedly.

A vengeful zombie Shannon tries to get Kelly, but Seth comes to the rescue telling his recently deceased girlfriend that he loves Kelly and kills her. Kelly asks if he meant what he said, Seth says yes and Kelly replies “I fooking love ya too!”

So it’s all over, thanks to our heroes the zombie plague has been stopped and the world has been saved… except.. what happened to Mr Miggles? Cue a mid-run freeze-frame ending!

There was so much to enjoy about this episode, from the metaphor of an ex-girlfriend coming back from the dead being made literal, to the obligatory Romero references as well as several to Shaun of the Dead (Rudy’s Cornetto and his idea to “keep a low profile, let it all blow over”). I was wondering if Simon would comment on the fact that these were running zombies, and sure enough:

I’m trying to explain to Alisha why Romero-speed zombies would have been better than Boyle-speed zombies. I think I’m a zombie purist.

December 12, 2011 12:07 pm via TweetDeckReplyRetweetFavorite

@simonmisfits

Simon B. (MISFITS)

But what made this episode the best of the series so far was that it was a proper ensemble piece, the whole gang working together for the first time as a unit rather than being scattered across various stories. I’d say that Rudy stole the show but looking back, every character had some great moments in this episode, even Alisha who has felt a little in the background this year. It was classic Misfits, with plenty of gore, smut, action and plenty of heart too, plus, of course, another probation worker coming a cropper.

Next week is the series finale, which sees the excellent Mark Heap guest star alongside some very familiar faces from the ASBO Five’s past who we’ve not seen for quite some time.

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Black Mirror: 15 Million Merits airs Sunday at 9.30pm on Channel 4