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Being Human UK 3.01 “Lia”

The roommates move to Barrie Island, Wales. George and Nina run into problems with their first transformation in the new place, but they’re not the only werewolves around. Mitchell goes to purgatory to find Annie and has to face up to his past.

Previously on Being Human, everything went to shit. Mitchell killed a lot of people after being betrayed by his girlfriend, George and Nina almost died and Annie was sent to purgatory. The remaining roommates were forced to leave Bristol and go on the run.

As season three opens, the roommates look through a house. One wall is entirely wallpapered to look like a beach scene. It was a bed and breakfast. The realtor asks how many will be moving in and it’s not just the three of them; a fourth will be joining them soon, Mitchell insists. There’s a basement gym which Nina and George are very interested in. As Mitchell watches a TV report about the Boxcar Massacre, he sees Annie calling for help. Down in the basement gym, George thinks it’s the perfect place to transform, for one of them at least. Nina confides that she’s uncomfortable around Mitchell now, she thinks he’s changed. Annie tells Mitchell they’re building a special room just for her: hell, they’re taking her to hell.

Two men talk about werewolves in a pub, just the Benicio Del Toro movie, though. The older of the two says it makes it seem trivial. Anyway, they can’t afford two tickets. The older man eventually agrees, but they have to eat a good meal tonight, big day tomorrow. The older man heads to a local fun fair that shut down, looking for copper wire, something to sell. He doesn’t know, but he’s being watched by an unsavory batch of characters in a van. One of them howls as they get out. The man is suddenly surrounded by the gang, but holds his own as he fends them off. Until he doesn’t. An older man, with fangs, demands to know where “the other one” is: “We heard there were two of you.” The young man comes running out as the gang of vampires puts the older man, his dad, into the van.

Don't you love it when pretty people have sexytimes awkwardness?

At their new home, Nina shows off some sexy new lingerie to George. She had a little left over after paying some bills so… George says she made absolutely the right decision. It’s so nice to see George and Nina uncomplicated again, especially once their sexiness turns into calamity as Nina gets her hair stuck in George’s glasses. It turns into even more awkward comedy as Mitchell interrupts to ask for a radio. The moment is lost and Nina turns over to sleep. Downstairs, Mitchell is gathering together electrical things to try to tune Annie in better. It doesn’t work.

George and Nina have found a new hospital to work at and Nina is briefing Mitchell on a patient that’s about to die, but George thinks it’s too close to the full moon to chance anything funny. They need to take this chance for a door to open, though, and Nina agrees. Mitchell and George wait at the bedside, George singing a Jewish prayer. Mitchell reminds George that he’s not big on religious rituals, but George replies “tough.” As they do a crossword, the man, Sean, dies. He appears at his bedside and Mitchell talks him through the door process, tells him he’s coming with him. The door appears and Mitchell psychs himself up to go through. Sean opens the door and takes Mitchell’s hand as they step through. He asks “Is this it? Is it all over now?” Mitchell tells him that he did good and can rest now. Mitchell turns back and tells George that this isn’t his fault; everything that did happen would have happened sooner and worse if they hadn’t met. George tells him to find Annie and come back as Mitchell steps through.

On the other side, a woman greets Mitchell. Her name is Lia and she is not shy about hitting on Mitchell. Lia explains that Sean’s already gone on to his own stuff. Mitchell asks if they’ve met before; she cryptically says “Age 12,” but it’s a riddle he has to figure out. They’re in Mitchell’s purgatory. A corridor, filled with all the good things and the bad and he has to choose a door. It’s like a quiz show and tonight’s prize is a soul, Lia jokes. Mitchell steps through to France. July 17, 1917. There’s a corporal who’s dead– poisoned. Mitchell goes to leave, but he can’t. He wants to go get Annie, but Lia tells him maybe there’s something they need to learn and asks who the dead man was. He was Mitchell’s first, Arthur. He’d been with the vampires a month, but didn’t want to believe that’s what he was and ran back to his regiment. And then he ran away again after killing his friend. As Lia comes on to Mitchell (for the umpteenth time. I’m not slut shaming, I just find it really awkward and creepy, but I can’t pinpoint exactly why), Annie’s voice comes over a radio. They’re about to move her; there’s going to be a parade. Lia finds the door is opened as Annie stops talking again.

George heads out to the woods to prepare for the full moon, but soon finds he isn’t alone. The young man from before is out there. And he has a chicken on a string, just like George. The boy goes running off and George runs after him. He runs past Rhys from Torchwood, who asks if he’s going to “Watch or Play?” They’re a friendly bunch, Not-Rhys explains, gesturing to all the cars parked around them. Oh, no, what is going on here? He can’t explain much more, though, because the police turn up and pull all the people who were hanging around there in. They take George’s phone away from him as he unsuccessfully tries to call Nina.

Mitchell is getting frustrated now and demands that Lia take him to Annie. She tells him that’s not the way it works and directs him to pick another door. Behind this one is Sheffield. December 24, 1960. There’s a woman, bloody and dead next to the bed. Sally. They met in a pub, came back there, got drunk. Lia’s confused. He’s less in control the older he gets as a vampire. With Arthur, it was kind for him and torture for Mitchell. For Sally, there were drinks and seduction, Mitchell enjoyed it. Mitchell sees Annie crying out from the TV and the door opens. “What happens next is your choice,” Lia warns.

In a dingy basement somewhere, the older vampire from the gang before is now the ringleader of a small, disturbing circus of vampires and he’s getting the crowd riled up for a dog fight. They bring the father out and place him in a cage in the center of the room. The ringleader announces the other contestant: Paul James, an ordinary human. He gets put into the cage, too, and a knife is slid to him from the outside.

At the police station, George is put in a cell with Not-Rhys. He starts changing and apologizes to the other man. Back in the cage, the ringleader tells Paul that he bets he’ll last two minutes as Father starts to change. George tells Not-Rhys to kill him, it’s the only way Not-Rhys can live. Nina turns up, demanding to see George. She’s his doctor, she explains, he has a serious medical condition. She’s fighting back her own transformation as the officer says that maybe they should let her have him. They pull George out and Nina gathers his stuff as they leave quickly. They find a gated stone wall and duck in it, hoping it’s a good place to transform. George worries that they’ll kill each other if they transform together, but they have no choice. He apologizes for all this and as they transform, she looks at him and tells her she loves him. They transform and the effects for it have gotten even more agonizing since the last time we saw them. In the cage, the father transforms, too, and the stunned Paul drops his knife.

Mitchell stands at another door and Lia says that he can just go back, say he tried, but it was impossible, they’ll understand. “No,” Mitchell says, “I need to do this.” This door is the Boxcar and all his victims, bloody and gross as they are, stand up and begin to surround him. He goes to seat 12 and finds Lia. She was a bit sad that he didn’t remember her, given how much he remembered about the other two. She introduces Mitchell to his other victims: a teacher, all her students have been having nightmares; the driver, who had five kids; Mary, just recovered from breast cancer. Mitchell asks Lia to stop. She tells him he’s lying to himself and he protests that he’s trying to change. “You want forgiveness every day,” she spits at him. “You get a smile from me and it proves you’re not completely evil. You do a thousand small nice things and you put them against the bad. You actually do the sums in your head, don’t you? Why did you come here? For Annie or for you?” Mitchell insists he came for Annie, and goaded by Lia, lashes out, admits that he’s an animal, a murderer, without conscious. “I hacked my way through the world, I left a trail of blood a thousand miles long and I loved it.” He apologizes and after a moment, Lia lets him know that he can have Annie back, but there’s a price. Mitchell asks what it is and offers to be taken to all his victims, he wants to suffer. Lia says that it’s not that simple. His time and place of death are already set as parts of someone else’s story: a werewolf, a wolf shaped bullet. Lia lets him go, with that punishment, knowing that he has an inevitable fate.

George wakes up and hears the sweetest sound, Nina admiring his ass. He’s so glad they’re both okay. He goes to put his clothes back on and wonders if they… Nina realizes they definitely did. “Nice.”

Lia goes to visit Annie. Annie thinks she’ll be going to the other room now, but Lia tells her she’s free to go. She’s still dead, of course, and someday she’ll come back through the right door, but for right now, Mitchell’s waiting. Lia asks if there’s anything between them, but Annie says they’re just friends. Lia tells Annie that she thinks that they’d be cute together; it might be fate. As Annie leaves, she asks Lia what happened to her. “A very bad thing. It’s okay. We play the long game here.” Annie runs out and down a corridor, she sees Mitchell. She runs for him. “You saved me.” “You saved me, too,” Michell replies. She asks if there was a trade-off and he says nothing. As they’re suddenly outside, Annie wonders where they are and Mitchell explains that they moved. To Wales. Barrie Island. Annie jokes that she wants to go back to purgatory.

Break my heart, why don't you, Russell Tovey?

George and Nina sit quietly as Mitchell comes in. George cries, thinking Mitchell came back alone, but tea is poured for him and he looks up and sees a tearful Annie. He jumps up to hug her and Nina runs over to hug her and it’s just a beautiful moment. She can touch things again and they dance around and play in front of the terrible beach wall as she voices over:

My name is Annie Clare Sawyer. And two years ago I died. But in so many ways that’s when my life began. In the company of horrors, I learned about friendship and loyalty, sacrifice and courage. Humanity isn’t a species. It’s a state of mind. It can’t be defeated. It moves mountains, it saves souls. We were blessed as much as we were cursed. In this little enclave of the lost, I witnessed the very best of being human. We were safe here. While outside, the monsters prowled.

Back at the cage, the ringleader tells Father that he just lost him fifty quid, but he’s got talent. They’ll look after him, he promises, get him toys. He speaks, for the first time since they’ve had him. His name is McNair, he informs the ringleader. Behind the vampire, someone comes up and stakes him in the back. It’s the son. Before his body turns to dust, he takes a gold filling out of the vampire’s mouth. The son lets McNair out and tells him that it wasn’t his fault. McNair calls for his son, Tom, and Tom informs him that he saw another one of them. Another wolf.

This is such an amazing first episode of the season. From the moments of ordinary comedy (Nina not getting the call because she was on the toilet; Annie wishing to still be in purgatory) to the moments that break your heart (George’s everlasting remorse and Nina’s new-found acceptance; Annie’s closing monologue that brings tears to my eyes just reading it), this is Being Human at its top form. The new characters bring some freshness without feeling like a retread of stories gone by and it’s interesting to see a subplot similar to one in the U.S. version (the U.S. writers reportedly hadn’t seen anything beyond season 1 of the U.K. series), but done with a slightly grittier edge. Lia, though, I don’t quite know what to make of yet. “Age 12″ doesn’t seem to mesh with her being in seat 12 on the train. I feel like there’s something more to her and I don’t like it.

Can't they just be this happy forever?








Transcript quotes courtesy Planet Claire.

By Crystal Coleman

Florida girl living on the west coast. During the day, I consult in social media and community management. I have a really cute puppy (Elphaba) and a British husband (I keep him for his accent) as well as an unhealthy relationship with parentheses.

3 replies on “Being Human UK 3.01 “Lia””

Hi Crystal, just wanted to say that I love your re-caps (and ‘Being Human’), and that I think you will find that Lia is saying ‘H 12’, which was her seat number on the train, ie. the location where she first met Mitchell. It’s her accent that’s getting you, pronouncing ‘H’ ‘haitch’. So, ominous and creepy, yes, hinting at another meeting earlier in her life, sadly I think not.

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