These are what we call the 'YMMV items.' Things that some people find in this work. We call them 'your mileage might vary' because not everyone sees these things in the same way. This starts discussions in the trope lists, a thing we don't want. Please use the discussion page if you'd like to discuss any of these items.
Also "Girlfriend In A Coma" by The Smiths in 1x3 and "Sad Eyed Lady of the Lowlife" and "Too Sick To Pray" by Alabama 3 in 1x4.
Johnny Cash's cover of "Hurt" at the end of the first series' Episode 1 is not only a fantastic song choice, it encapsulates the mood and tone of the episode, the characters and the series to come.
Detroit Social Club's cover of "God's Gonna Cut You Down" from 3.7. It's perfect for the episode.
Any time music is used in this series it is awesome. Whoever does the sound editing is a genius.
Ass Pull: At the end of Season 2, Annie coming back briefly from the other side to save everyone from Kemp.
In Series 4, the fact that Werewolf blood is not only toxic, but highly corrosive to Vampires. At what point was this ever a concern before hand? How many Vampires threatened to drain George dry despite knowing he was a Werewolf? And if this really was a huge weakness, why didn't someone like McNair weaponise it?
By that logic, Tranquiliser Guns with Werewolf Blood would equate to the perfect vampire slaying weapon, so how are the people in 2037 losing the war?
Probably because they send 10,000 Vampires to wipe out a small handful of humans.
Broken Base: The series finale is swiftly causing one. A third of the fandom believes that the ending really was that they became human and are now living happy lives. Another third believes that that they're in some sort of heaven or purgatory. The last part believes that Hatch trapped them in an alternate reality in which they only think that they're living happy lives.
The Series 5 DVD has confirmed that Hatch's defeat was just an illusion.
William Herrick, John Mitchell's sire, is a truly nasty piece of work. Initially hiding under a Friendly Neighborhood Vampire facade, Mitchell learns the truth when he sees that Herrick has kept a larder for the vampires consisting of homeless people and teenage runaways where they are fed on relentlessly with no time to recover. When Mitchell protests, Herrick puts him firmly in the 'minus' column and decides to kill him and everyone he loves. Later, Herrick casually slaughters a police station save one woman...then kills her as well because he doesn't want anyone to think he's gone soft. Even before he became a vampire, Herrick was a piece of work and was turned by his sire Hettie while trying to sell her to a brothel. Hettie looks ten.
Kirby is the ghost of a serial killer whose favoured method of killing was to seduce women by pretending to be great with kids and then murder the families once they trusted him. He turns the housemates against each other through manipulation an shatters Annie the ghost her into pieces, before performing a celebratory Happy Dance and immediately attempting to murder a baby.
Finally, we have Mr. Snow, the de facto leader of The Old Ones, the ruling class of vampires. Snow is so ancient he claims to have looked upon 'pharaohs and the son of the carpenter.' First introduced when he forces a ship's crew to feed him a luckless young man with the chilling tonight "Someone Or Everyone," Snow planned to launch a full war to enslave humanity and in the timeline where he isn't stopped, personally drained the British Prime Minister on live TV. Snow would preside over a regime where humans were enslaved and drained, all with nothing more than cheery good humor.
Hal and werewolf Lady Catherine Glass in a flashback.
Ho Yay: Between George and Mitchell, and later Hal and Tom.
Cutler seems rather fixated on Hal, and desperate for his approval.
Jumping the Shark: The transition from series 3 to series 4. Herrick and Mitchell die in the series 3 finale, Nina dies off-screen between series, George dies in the series 4 premier. The whole premise goes from "monsters coping with ordinary life" to apocalyptic plot-lines.
And then, arguably, jumped right back over it for series 5, which is something of a return to form.
Magnificent Bastard: Herrick, after he almost played all the housemates off against each other.
Kirby easily counts he manages to break up the friendship between Hal, Annie and Tom by turning them against one another, and then belittling them when they were alone. That's not even taking into account that he used to be a toy salesman who would sleep with and then kill the mothers of the children he sold his things to.
Season 4 Episode 8 really drives the Horror Hunger vampires in this universe have to deal with when the normally Neat Freak Hal finds himself compelled to lap up congealed maggot ridden blood from the floor.
They Wasted a Perfectly Good Plot: George's death. They could easily have had George be stuck in werewolf form and chained him up in the basement, providing an impetus to finding out whether or not Eve had any special qualities that could fix the problem and allowing Russell Tovey to be largely absent. It would certainly have allowed the plot to give him a better send off instead of the abrupt end to his storyline which came across as a rather Stupid Sacrifice.
How is it a stupid sacrifice. He took down a club of Vampires, you think Tom could have done that all by himself? Or that the Recorder could have done more than delay the others?
If he could trick his body into beginning the transformation (and lets not get started on that, what is this, Fangface?), why couldn't George go all the way? From the way he phrased it, he actually intended to only partially transform, which is what makes it stupid as he knows this would have been lethal.
Most likely, he wanted to change enough that he was physically capable to take on all the vampires in the building, but retain enough humanity so that he wouldn't just target everyone indiscriminantly (like, say, Eve).
Alex worrying about becoming insane if she doesn't go through her door before too long. It would have been such a twist for the ghost to be the one who loses control and worries about the monster inside of them, yet they decided to make Hal the one to fall back on his darker ways.
Unfortunate Implications: The original trio, at least, are meant, or were, to be symbolic for an addict (Mitchell), an HIV-positive person (George), and a shut-in with an abusive past (Annie). And Mitchell's over-arcing plotline has him eventually turning into a complete Jerkass and dying because he's a Complete Monster. Considering he was considered symbolic of an addict... (Real Life Writes the Plot is what caused it, but still, Unfortunate Implications all over the place.)
Considering the show often beats us over the head with the comparison to drug addiction, it's somewhat unsettling that the end result of both Hal and Mitchell's decades-long attempts to remain on the wagon, is the realisation that they simply cannot beat their addiction and it's all been futile, despite all the help and support they've had from those around them and believe the only options are either surrender to it or end their lives. In other words, the message we end up with is that recovering addicts are mostly just deluding themselves and might as well either continue to binge or simply kill themselves. Wonderful.
Wangst: Used for very comical effect over Mitchell and George's disproportionate reaction to the scheduling and missing of the latest episode of The Real Hustle. Perhaps a Take That Us by BBC Three?
What Do You Mean, It's Not Symbolic?: Despite all the supernatural goings-on the show is actually a symbolic look at people trying to reacclimate into normal society after events that turned their worlds upside down. Mitchell is a recovering drug addict with severe mood swings, George is HIV positive with rage issues, and Annie is a former shut-in trying to reconnect with the real world after leaving an abusive relationship. The metaphors become especially prevalent during season 2, when Mitchell begins a blood addicts support group, George accidentally infects his girlfriend, and Annie, so long invisible to normal people, becomes giddy at the prospect of working at the pub down the street.