Tv Review: Misfits
By Kirsty Leckie Palmer
The concept of new and implausible British drama Misfits at first glance appears to do little to invigorate the current procession of high-concept, low-insight programs on the viewing schedule: a freak lightning storm blasts five yoof-yobs on community service and imbues them with superhero powers, as well as having mysterious effects on their probation officer, and later, more peripheral figures. Seems a little Skins meets Buffy on a dark night after a little too much imagination-juice and gets an ASBO, but Misfits has much to boast of, thanks to the way it’s tailored precisely to accommodate a British audience. The superpowers that the highly-conductive criminals contracts are temperamental, frustrating and ingeniously ironic in assignation. Kelly, a misunderstood female with Croydon facelift and woeful expression can hear the thoughts of others, but most of what she hears is negative or assumptive derision for her chavvy persona. Simon is an elusive, quiet figure, vulnerable to exclusion or maltreatment from the other characters - accordingly his power is to become invisible, though nobody notices him anyway. Spoilt beauty Alisha is defined by an ability to manipulate men with her attractiveness - so her power dictates that when she is touched by a male he immediately tries to have sex with her. Curtis, a disgraced Olympic runner, faces the dissatisfaction of being able to turn back time, but without the control to decide when, and Nathan, the twinkly green-eyed comedian (with, by a long shot the best lines) ticks every stereotype in the twinkly green-eyed comedian checklist – curly hair, exasperated facial expressions, Irish – but as of the second episode is the only character who hasn’t yet discovered his power.
The writing is outrageous and original; it disregards the standard self-centred philosophising which is used too often in not-so-superhero narratives, and any serious moments of reflection or anguish are soon remedied by the character of Nathan who is always on hand with an inappropriate quip or comment. Although the misfits aren’t quite as delicately defined specimens of British youth as may be discovered in comparable dramas as Skins, such a portrayal would be inappropriate to its comic-book worthy subject matter and pace, not to mention that not taking itself seriously is one of Misfits’ greatest virtues. Shocking as a lightning bolt, rapidly peppered with laugh-out-loud moments and engaging both in characterisation and setting, Misfits might just be irrevocably addictive.
The writing is outrageous and original; it disregards the standard self-centred philosophising which is used too often in not-so-superhero narratives, and any serious moments of reflection or anguish are soon remedied by the character of Nathan who is always on hand with an inappropriate quip or comment. Although the misfits aren’t quite as delicately defined specimens of British youth as may be discovered in comparable dramas as Skins, such a portrayal would be inappropriate to its comic-book worthy subject matter and pace, not to mention that not taking itself seriously is one of Misfits’ greatest virtues. Shocking as a lightning bolt, rapidly peppered with laugh-out-loud moments and engaging both in characterisation and setting, Misfits might just be irrevocably addictive.