I’ve just finished watching the first season of E4’s Misfits, which I sought out following Richard Morgan’s recommendation a few months ago. It had, I confess, flown entirely beneath my radar, but it’s also a show whose pitch doesn’t sound terribly promising: a bunch of ASBO kids on their first day of community service get caught in a mysterious storm that gives them all superpowers. Wackiness ensues.
An obvious reference point, you might think, is Heroes, and to start with Misfits does seem a bit like a version of that show self-consciously revised to be “young”, “edgy”, “urban”; or, less kindly, crude and juvenile. Each character’s power turns out to be related to its owner’s desires: Kelly (“the chavvy one”, as the Guardian puts it) can hear other people’s thoughts, Simon (“the weird one”) can become invisible, Curtis (“the angry one”, although I’d have gone for “the guilt-stricken one”) can turn back time, and Alisha (“the slutty one”) drives people into a sexual frenzy when she touches them (or, if you prefer, Wikipedia’s chaste description: “sex pheremone manipulation”). That leaves Nathan, “the Irish one who talks too much”, whose only powers seem to be creative obscenity and an inability to ever take anything seriously. Each gets a turn in the spotlight, over the course of the season’s six episodes, during which they start to come to terms with their changed circumstances; in each episode, too, the gang have to deal with someone else who’s been affected by the storm. But there’s no deliberate heroism involved, no forming a super-team: the five of them are pretty much just trying to get by, hanging around the community centre, partly because they don’t want to attract attention, having been forced to kill their original probation worker when he went into a murderous rage after the storm, but mostly because they’re not heroic types. There is, of course, more to them than their initial cliched flaws, but with the arguable exception of Curtis they discover no great reserves of inner virtue — admirable behaviour comes in brief flashes, if at all — and those flaws remain a part of who they are in ways that suggest we’re meant to understand, but not forgive. Socially inept, lonely, bullied Simon, for instance, attracts a certain amount of sympathy, but when a woman shows some interest, it doesn’t occur to him that he shouldn’t sneak into her house at night and, in a thoroughly creepy scene, film her sleeping. All of them demonstrate a basic lack of empathy when assigned to help out at a pensioners’ social. And so on.
It’s quite refreshing, actually. The whole thing also has a low-key aesthetic that seems clearly driven, at least in part, by a lack of budget, but the casual, character-led style works for the show. (And arguably the least successful episode is the finale, which attempts to stage a more traditionally large-scale confrontation.) It helps a great deal that the writing is both reasonably clever — Curtis’ time-travel-centric episode is a lot of fun — often very funny, mature when it needs to be and all in all not nearly as Torchwood as the premise suggests. In fact, as the season wore on, much more than Heroes I was put in mind of Buffy — high praise indeed, but it becomes clear the show’s fantastical engine is the sort of metaphor-driven coming-of-age exploration that Buffy made its own, and there are moments, particularly in the Nathan-centric second episode and the Simon-centric fifth, when Misfits shifts from drama to comedy to horror and back again with a familiar agility. It’s such moments that make it less of a surprise that Misfits beat out Being Human, The Street and Spooks to win a BAFTA for Best Drama earlier this year; and it’s such moments that’ll have me tuning in for the second season later this year.