It's all about truth, justice, and the supernatural (?) way, or, how to win friends and influence people. Silly, big-eared George Sands, is a real animal. I love how the writers empower George. He screams like a girl, has emotional fits, and stutters when he's nervous but ultimately, becoming a monster has humanized the man. Same with Mitchell.
For Mitchell, it wasn't until after he lost his humanity that he appreciated it most. Like with all of us, when we lose something we've taken for granted, intense gratitude can be suddenly awakened. Mitchell tries to survive against all odds...and the audience often wonders why. He seems so angst-ridden and has had more than 100 years of life as a 25-year old--and in that time, seems to have learned very little, as seen in the episode where he turns a dying child to "save" the boy's life.
After more than 100 years of being a vampire--and recognizing how miserable it is--you'd deliberately place that curse on another? And not just another adult, a pre-teen boy??? No. At least, not the Mitchell the audience has become invested in. Because of the writers' boredom or perhaps to move along another plotline--we're hit with this atrocity--it was just plain odd, and threw off the cohesion of not only the character, but the ensemble for the rest of the season.
Killing a train-full of people and lying about it isn't inconsistent with the Mitchell character but that moment, even in the deepest pool of human remorse, was simply something even the least discerning audience member couldn't buy. It didn't make sense with the Mitchell character, and Aidan Turner clearly struggles with this strange conflict by using acting-crutches like constantly running his hands through his greasy hair...which brings me to my next complaint: Why can't the writers include Mitchell being showered for once???
All of that aside, to clear Mitchell's bad-air, the writers bring the three friends to a familiar scene...in the midst of a crisis, can they still be true to themselves, and, each other?
Mirroring the scene from Season 2 where Annie is faced with a decision to go through her door or stay and help the newly staked Mitchell, she chooses to help panicking George save Mitchell's life. In the final episode of Season 3, a similar scenario emerges where Annie and George, faced with another Mitchell-spurred crisis, must rise to the challenge, putting their own best interests aside.
Friends like that are rarer and more valuable than the rising price of diamonds.
Perhaps Mitchell will mature in his second death; I have a feeling the audience will get to find out in Season 4, which has been given the green-light and is currently in pre-production.
I liked the Annie and Mitchell connection and wished the writers had found a way to defy their own fictional physics and allow the two to get their shag-on.
Nina is a great character--the actress, Sinead Keenan, looks like she could start snarling and growing hair on her back at any moment--in a good way. Tough, smart and strong, Keenan plays a tremendous she-wolf. It leaves the audience wondering how Being Human North America's version of Nina--Nora--played by the too-pretty Kristen Hager, is going to pull it off.
Season 3's finale leaves the audience wondering, which is what all good cliff-hangers are supposed to do. The one thing the audience can be assured of, however, is that the winds of change are blowing through BBC America's Being Human.
On the Housel-scale, the finale earns a healthy 8/10.
Looks like we have a fight on our hands....