Being Human: Bad Moon Rising

George: “You shouldn't have gone for Mitchell. It got my -- attention.”

Everyone came of age tonight. Mitchell took responsibility for his past sins and agreed to a fight he could never win; Annie turned down death and developed some gnarly new powers; and George fooled us into thinking he was running away -- only to confront Herrick alone, and save Mitchell and Annie. Like we ever believed he'd desert them.

Being Human: Where the Wild Things Are

Annie: “Owen's won. I can't touch him. He just keeps killing me.”

Disillusioned with mankind, Mitchell almost went over to the dark side tonight. Convinced that Herrick's plan of voluntary recruitment could work, he returned to the fold -- only to find he didn't belong there any more. Despite past indiscretions, Mitchell's no monster. Unlike Herrick. His secret stash of humans was the final straw for Mitchell. The façade finally crumbled. Just in time for the cavalry of gay ninjas to arrive.

Misfits: Episode Six

Kelly: 'What is up with that?'

My thoughts exactly! Alisha looked completely different with her hair pulled back and dressed in normal clothes. Her whole demeanour changed. Even her face looked different. She looked almost normal. Ditto Kelly. What a chilling glimpse of an unimaginable future. Kelly checking out a university prospectus? Are we in hell or something? Rachel's idea of a perfect world was all virtue and purity. Thank goodness she died. What a boring world that would be.

Misfits: Episode Five

Sam: 'You're dumping me with a line from Spiderman?'

Sally spent most of tonight's episode trying to ingratiated herself with Simon. She took advantage of his loneliness, appealed to his sensitive nature, and in the end, gave him the attention he so desperately craved. He didn't stand a chance. It was a foregone conclusion that he'd fall for her. She even used her shygirl18 alias to dupe him into asking her out. Did she ever feel anything for him? Probably not—although, in hindsight, a few things did make me wonder.

Misfits: Episode Four

Nathan: 'Come on. Get in there, you beautiful bitch.'

Curtis saw an opportunity to turn his life around tonight. After an unexpected visit from Sam, he tried to use his powers to change the past, and predictably got more than he bargained for. Trying to alter time is a tricky business, and in the end it took him three attempts to get it right. Sadly, he killed virtually everyone in the process. Too many variables, see? Thankfully, Howard Overman resisted the urge to push the reset button. Well, almost. The misfits survived, but things are subtly changed in ways that Curtis should've, but didn't, foresee.

Misfits: Episode Three

Kelly: 'If you laugh at me, I will kick the shit out of you.'

Alisha used her powers for unscrupulous sexual gain tonight. Not that she needed to, I dare say she could've pulled without them, but it certainly dispenses with the formalities of drinks and a kebab.

Misfits: Episode Two

Nathan: 'I'm not waiting around for Granny Fuck Me to make another appearance.'

In hindsight, it was probably a mistake to let the misfits loose at an OAP's tea-dance. None of them seemed particularly interested in dancing, in fact no one seemed to like pensioners at all; except of course Nathan, who ended up knobbing one of them. True, Ruth didn't look 82, but at least we now know that the misfits weren't the only ones affected by the storm.

Misfits: Episode One

Simon: 'What if we're meant to be, like, Superheroes?'

Misfits is most often described as an English Heroes, and it's a comparison not entirely undeserved. Its main characters do have superpowers, but Misfits is undeniably grittier than its American cousin. It has the same inner city grimness that made Skins such compelling viewing back in 2007, but what really sets it apart is its black humour. It's an acquired taste, certainly—the language is sometimes coarse, with sexual chit chat bordering on the excruciating—but it's this meld of seemingly disparate ingredients which makes it unique. There's nothing else quite like it.

Sherlock: The Great Game

Moriarty: “Twelve hours to solve my puzzle, Sherlock. Or I'm going to be so naughty.”

If last week's episode had a weakness, it was the puzzling absence of some of the show's major characters. Lestrade was inexplicably AWOL, Moriarty was reduced to a faceless cameo, and even Mycroft was conspicuous by his absence. So it was only fitting that tonight's episode attempt to redress the balance by bringing them all together in one story. Well, in reality it was five stories—but tonight saw Holmes' unique talents stretched to the limit. And, finally, we got to see Moriarty step out of the shadows and face his arch-nemesis.

Sherlock: The Blind Banker

Watson: “Me, Sherlock. In court. On Tuesday. They're giving me an ASBO.”

Tonight's episode was a loose adaptation of Sir Arthur Conan Doyle's 'The Dancing Men'—and when I say 'loose' I mean pants falling down, baring your arse loose. If Steven Moffat hadn't mentioned it on Twitter, I probably wouldn't have noticed. The only similarity I picked up on was that both stories have a secret code as their central theme. In 'The Dancing Men' it was a code based upon a system of hand-drawn stick men, in 'The Blind Banker' it was a system of graffiti style Hangzhou numerals. Apart from that, and a couple of possible references to 'The Sign of Four' and 'The Valley of Fear,' I caught nothing.

Sherlock: A Study in Pink

Sherlock: 'The game, Mrs Hudson, is on!'

Sherlock is a reboot of the Sherlock Holmes franchise and is the brain child of Doctor Who head-writer Steven Moffat and The League of Gentlemen's Mark Gatiss. It's also set in modern day London. Sounds awful? That's what I thought. In fact, I was completely prepared to hate this programme. How can anything good come of moving an iconic 19th century detective to the 21st century? Is the character of Sherlock Holmes even relevant these days? More importantly, can his unique brand of deductive reasoning cut the mustard in this modern age of GPS, computers and forensics?

Doctor Who: The Parting Of The Ways (2).

Rose:  'You are tiny. I can see the whole of time and space. Every single atom of your existence and I divide them. Everything must come to dust. All things. Everything dies.'

This was such a good episode that I'm not sure where to begin. For a start, it was a very emotional episode, similar in tone to 'Father's Day'. And I have to admit, I did shed a tear or two at the end (and maybe in the middle somewhere, too). Too much heroism. Too much loss. And maybe I'm a big softie, too.

Doctor Who: Bad Wolf (1).

Doctor: 'Rose.'
Rose: 'Yes, Doctor?'
Doctor: 'I'm coming to get you.'

I didn't see the trailer for this week's episode, so I was totally caught off guard by the re-emergence of the Daleks. So what started out as a fairly innocuous poke at popular British television, suddenly, and rather deliciously, transformed into something quite wonderful. I was chuffed at the prospect of seeing one Dalek this season—but to see half a million of them? I must be dreaming!

Doctor Who: Boom Town.

Mickey: 'What are you captain of? The innuendo squad?'

After three top notch stories in a row, this week felt like something of a letdown. I'm not against the slower, more reflective episodes—it's nice to take time out to explore the knock-on effects of prior events—but, after three of the most cleverly plotted/realised stories of the season, this felt like something of a dud. The moral dilemma faced by the Doctor was genuinely engaging—or at least it would have been had they not fudged it. I was curious as to how the Doctor would respond to Blon's plea for mercy. Would he send her back to Raxacoricofallapatorius and certain death, or would he come up with a more humane solution? Unfortunately, we never got to find out. She shed her skin and turned into an egg.

Doctor Who: The Doctor Dances (2)

Doctor: 'Go to your room. I mean it. I'm very, very angry with you. I'm very, very cross. Go to your room. [Pause] I'm really glad that worked. They would have been terrible last words.'

Not only would they have been terrible last words, they were a slightly ropey resolution to last week's cliffhanger. I suppose there was a modicum of logic to it, but it still feels like we were cheated. Still, not to worry—there was enough good stuff in tonight's episode to make up for its somewhat shaky start.

Doctor Who: The Empty Child (1)

Rose: 'Not very Spock, is it? Just asking.'

Well, Rose finally got to meet her Spock—and kind of went to pieces over him. I'm not gay, but I suspect that if I were (or a woman for that matter), then I'd probably go to pieces over him, too. Captain Jack Harkness (played by the impossibly handsome John Barrowman) is clearly one fine looking human—and he's everything that the Doctor isn't. He has a sexy spaceship, better (not to mention bigger) sonic equipment—in fact, he has all the trappings of a intergalactic hero. Even the way he wears his criminality is oddly charming.

Doctor Who: Father's Day

Pete: 'Who am I, love?'
Rose: 'My daddy.'

This episode shouldn't have worked! It had too many things wrong with it. It was more soap opera than sci-fi, the special effects were naff, and some of the science was truly appalling. (Where the hell did that glowing TARDIS key bollocks come from?) Yet it was my favourite episode of the season so far! How the did that happen? I'll tell you how—because despite its many shortcomings, on an emotional level it did everything right.

Doctor Who: The Long Game

Adam: 'It's going to take a better man than me to get in between you two'.

Okay, well that was pretty blunt. Clearly, it's now obvious to all and sundry that something is developing between Rose and the Doctor. Adam can see it, the Dalek last week could see it, Jackie knows it, and even Rose looked distinctly unfazed at the thought of there being something less than platonic about her relationship with the Doctor. Maybe next week they should just be done with it and have someone singing 'Rose and the Doctor sitting in a tree, K.I.S.S.I.N.G.'

Doctor Who: Dalek

Rose: 'It wasn't your fault. Remember that, okay? It wasn't your fault. And you know what? I wouldn't have missed it for the world.'

Rob Shearman did an interesting thing this week. Using Rose as the show's moral compass, he managed to elicit sympathy for the Dalek, whilst making the Doctor look like the bad guy. That's some pretty cool writing. When the Doctor saw the imprisoned Dalek, all he could see was a creature devoid of pity and compassion—a monster, fueled by hatred and the need to conquer and dominate all who stand in opposition to the Daleks. Yes, the Doctor hates the Daleks, but what makes his hatred different from theirs is that it's based on experience. It's personal. He doesn't hate them purely for the sake of it, he hates them because he knows what they're capable of.

Doctor Who: World War Three (2)

Rose: 'Mum, if you saw it out there, you'd never stay home.'

Well, at least Jackie believes in aliens now. That's just made Rose's life a whole lot easier. Or maybe more difficult—I can't decide.