"Let's kill Hitler!" said the Doctor Who title sequence, back in August, then locked him in a cupboard and forgot all about him. Misfits, on the other hand, takes things much further, with an apparantly throwaway line back in the Christmas special leading to a full-blown Nazi-fest in the current series. Misfits whole raison-d'etre seems to be to take episode concepts as far as it possibly can, as one elderly, time-travelling Jew messes up his mission to assassinate Adolf, irrevocably changing history. The idea that the Nazis would have won WWII if they'd have got hold of more advanced technology from the future isn't a new one (Doctor Who did it, amongst others, although this was in the Big Finish audio range, not on telly). The moral of the story is: if you're going to go back in time to kill Hitler, take a proper plan and not your mobile phone.
Misfits has gone from strength to strength this year, each episode stronger than the last, and each with a different feel and atmosphere. The series is still missing Nathan, it's true, probably due to Rudy not making a major impact once his introduction was over. Yet the remaining characters are getting more focus now, whereas they were often overshadowed by Nathan in the second season. Curtis got an overdue chance to shine in episode two (played by both regular Nathan Stewart-Jarrett, and by guest star Kehinde Fadipe), while last week's ep brought Simon and Alisha's ongoing story back to the fore. However, I can't help but feel that Lauren Socha is the star of the show, making a bolshy, violent dropout like Kelly impossible not to love.
While the whole cast gets their chance to shine in this Nazi infested episode, it's Socha who carries the emotional weight, although she's supported by Matthew McNulty as Seth. Part of this episode's purpose is the ongoing development of Seth's character from dealer and borderline villain to hero and love interest for Kelly. Of course, nothing he does in this episode still exists in the restored timeline, but Kelly remembers it, and this is the important thing.
Enough of the serious analysis. This is about Nazis! Evil Nazi overlords of Britain! You have to take the new reality with a pinch of salt - it's highly unlikely any of our heroes would be born in the new timeline, let alone come to live in very similar circumstances to the original reality. That's not really the point, though. With the reset switch blatantly there to be punched at the episode's end, Howard Overman gets the chance to play with the characters as much as he wants, making them fugitives in a totalitarian state, and throwing in some major character deaths along the way. There are some beauitful touches. Curtis leads the local resistance, proving that he has more worth and importance than his usual self would ever accept or believe. Simon is conscripted into the Nazi Youth, yet still emerges as a hero in the end. Alisha is viewed as a sex object, but breaks free from this when she finds that there's more to life than just surviving. There are some nice little cameos by familiar faces from the last three series. And, most wonderfully of all, Shawn the probation officer remains virtually unchanged by Nazi rule, becoming the laziest, most apathetic Nazi in any history.
The whole episode is a tense, emotionally draining affair, with a convincing feel of life in a totalitarian state, in spite of barely moving beyond the confines of the pub and community centre at the centre of the series. It develops into a gripping prison break adventure, energetically directed and supported by a storming soundtrack, yet retains the series' signature humour throughout. Then Kelly nuts Hitler, and gives him a kicking for good measure. You've got to love this series.
Misfits has gone from strength to strength this year, each episode stronger than the last, and each with a different feel and atmosphere. The series is still missing Nathan, it's true, probably due to Rudy not making a major impact once his introduction was over. Yet the remaining characters are getting more focus now, whereas they were often overshadowed by Nathan in the second season. Curtis got an overdue chance to shine in episode two (played by both regular Nathan Stewart-Jarrett, and by guest star Kehinde Fadipe), while last week's ep brought Simon and Alisha's ongoing story back to the fore. However, I can't help but feel that Lauren Socha is the star of the show, making a bolshy, violent dropout like Kelly impossible not to love.
While the whole cast gets their chance to shine in this Nazi infested episode, it's Socha who carries the emotional weight, although she's supported by Matthew McNulty as Seth. Part of this episode's purpose is the ongoing development of Seth's character from dealer and borderline villain to hero and love interest for Kelly. Of course, nothing he does in this episode still exists in the restored timeline, but Kelly remembers it, and this is the important thing.
Enough of the serious analysis. This is about Nazis! Evil Nazi overlords of Britain! You have to take the new reality with a pinch of salt - it's highly unlikely any of our heroes would be born in the new timeline, let alone come to live in very similar circumstances to the original reality. That's not really the point, though. With the reset switch blatantly there to be punched at the episode's end, Howard Overman gets the chance to play with the characters as much as he wants, making them fugitives in a totalitarian state, and throwing in some major character deaths along the way. There are some beauitful touches. Curtis leads the local resistance, proving that he has more worth and importance than his usual self would ever accept or believe. Simon is conscripted into the Nazi Youth, yet still emerges as a hero in the end. Alisha is viewed as a sex object, but breaks free from this when she finds that there's more to life than just surviving. There are some nice little cameos by familiar faces from the last three series. And, most wonderfully of all, Shawn the probation officer remains virtually unchanged by Nazi rule, becoming the laziest, most apathetic Nazi in any history.
The whole episode is a tense, emotionally draining affair, with a convincing feel of life in a totalitarian state, in spite of barely moving beyond the confines of the pub and community centre at the centre of the series. It develops into a gripping prison break adventure, energetically directed and supported by a storming soundtrack, yet retains the series' signature humour throughout. Then Kelly nuts Hitler, and gives him a kicking for good measure. You've got to love this series.
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