Repetition

Now, I'm a huge fan of Being Human, the BBC TV series created by Toby Whithouse, revolving around the everyday lives of a ghost, a vampire and a werewolf, so I'm very pleased that it's back for a fourth series. It lost Aiden Turner at the end of series 3 (so he could go off and portray a dwarf in The Hobbit), it lost Sinead Keenan in between series 3 and 4, then lost Russell Tovey (again, to the lure of Hollywood) during the first episode of series 4. Considering Tovey was the only holdover from the pilot episode, that means than Lenora Critchlow is now the longest-serving member of the cast, despite not playing Annie in the pilot. Wow.

The original (series) trio had such an amazing rapport (I refuse to use the word 'chemistry') that I was initially very dubious about the series continuing beyond Mitchell's departure, let alone that of George (and Nina). So much of it seemed to key on the interplay and mannerisms of Turner, Tovey and Critchlow - possibly one of the finest ensemble casts in a British sitcom/drama - that it seemed doomed to fail after their departure, like one of those awful manufactured pop bands with the continually changing lineup (Sugababes, I'm looking at you!). I'm happy to say that series 4 has been just as good as the previous three so far, successfully introducing a whole new ghost/vampire/werewolf trio - Pearl, Hal and Leo - then whittling them down and returning the series to something like to original format.

Of course, it's not really the same... Hal and Tom don't share the same bond as Mitchell and George, and probably never will. Hal had a similar bond with Leo, but Leo died. Tom's never had that kind of bond with any vampire, so it's likely to be more than a little tense all the way. Hal has Mitchell's struggle with 'addiction' coupled with George's neuroses and has been keeping himself away from people for so long, he's forgotten how to deal with them. Tom seems to be aiming for 'noble savage' - he knows (and, unlike George, accepts) exactly what he is, but doesn't see that as a reason for being impolite (except to vampires), and yet he's essentially socially retarded and doesn't blend into a crowd in the same way that George would. Hal doesn't seem to 'fit in' anywhere - too posh in some ways, but generally too insular. Tom doesn't 'fit in' anywhere either - he's essentially feral, thanks to his upbringing. You can see how these two are eventually going to hit it off because they are so different, and yet in the same place in their lives - and very much in need of each other in exactly the same way that Mitchell and George needed each other, whether they know it or not. Their arguments over Tom's seemingly endless supply of stakes can be hilarious. And Annie has it harder than ever, trying to get these two mortal enemies to cohabit safely while protecting George and Nina's baby from the rest of the vampires and - possibly - from either Hal or Tom as well.

The dialogue and the incidental characters are as brilliant as ever, and the situations the characters find themselves in - both the mundane and the dangerous - are believable. I'm not sure what I make of the 'future' scenario, in a world supposedly ruled by vampires... but only a glimpse has thusfar been seen.

However, sometime during the last couple of episodes, I realised that certain elements of the story had been recycled from earlier series... and I'm not yet sure how I feel about such obvious - and unnecessary - patterns.

Mitchell first met George when the latter was working in a café. George was attacked by a group of vampires, who were then called off by Mitchell, suggesting that he was renowned and respected in vampire circles. Mitchell saw George as his chance at escape and redemption. George saw Mitchell as a kindred spirit and protector.

Hal and Leo met in the vampire underground 'dog fighting' circuit. Hal - renowned and respected in vampire circles - saw Leo as his chance at escape and redemption. Leo didn't see Hal as a protector - he was happy to throw a fight and end it all, rather than be the killer the vampires wanted - but he did see him as a kindred spirit, and someone in need of acceptance - both of others and himself.

A very similar café situation was set up in series 4, seemingly for the sole purpose of bringing Hal and Tom their similar moment. Hal was instructed to find a job. Tom brought him into the café he'd been working in (which already seems to be frequented by vampires, since Tom keeps weapons in the back, and will quite happily 'take a break' to chase them down, get information out of them and, usually, kill them). Hal learned that the vampires were planning to attack Tom at the café and tried to get him away before it happened. When that failed, he helped Tom fight them off.

It doesn't help that Hal is occasionally comes across as a hastily rewritten Mitchell, but why the fixation of cafés? OK, what could be more mundane than a greasy spoon... but, still...

The thing is, it's so well written and performed that it's easy to just sit back and enjoy the show, so perhaps none of this is important... there's just this nagging sensation that it's spending too long setting up the familiar situation, rather than forging on with its own story.

In other news, one of my neighbours (or one of their visitors) managed to throw up - over the balcony, I'd guess - right near the entrance to the main staircase. I suppose I should be glad it was out in the open, rather than actually in the stairwell, but I'd have been more glad if they'd done it in the nearest lavatory - and flushed - rather than puking on the floor and leaving it alone... because, sure as hell, none of our neighbours is going to clean it up.

It's looking like a nice day today... I may pop out for a wander...