The careers the show has launched over the years is also something to note, with Nathan Stewart-Jarrett currently starring in Utopia, Iwan Rheon on Game of Thrones and Robert Sheehan moving to teen fantasy romance in the Mortal Instruments franchise (among other, better, things) just to name a few. We can also thank the show’s success for giving us Howard Overman, who has since given us series like Dirk Gently, Vexed, episodes of Merlin and, most recently, Atlantis. New talent is always a good thing, and Misfits has given us more than its fair share.

The mainstream success of Misfits, as in most cases, faded away once the novelty had worn off, but a hardcore base of fans remained with it through some decidedly rocky patches. It was these fans who saw the difficulties once the cast started to leave the series one after the other, but they were also able to witness the direct impact Misfits has had on both TV and cinema screens. Would anarchic, genre-defying movies like Kick-Ass and Super (both released a year later) have existed without Misfits? What about Attack the Block? Quite possibly, but the show being what it was, it’s hard to imagine it didn’t contribute a small amount to that particular wave of superhero films and adaptations.

What made Misfits so interesting, and so ripe for new stories, was how well it married the dual parts of its ‘dramedy’ label. The comedy was biting and the powers were often very silly, but the show was also dark and could often get quite twisted. Similarly, you had fun, comic characters like Nathan existing in the same world as dark and complicated ones like Simon, and yet those two elements of the show never collided in a way that wasn’t charming. A seemingly harmless power like being able to control dairy products could easily kill our entire gang, but a traditional supervillain might prove completely innocuous.

The fact that Heroes was put forward so often for comparison was because of how few original superhero characters we actually get to see on screen. We live in a world where properties are only greenlit if they have a proven fanbase and, aside from the marketability to existing Skins fans and the cinematic track record for comic book movies like X-Men and Spider-Man, there was no obvious reason for E4 to take a chance on Misfits. One glaring thing about the show’s departure is the fact that E4 is now a genre-free zone and nothing has managed to make the impact that series like Skins and The Inbetweeners did during the same period.

So why hasn’t anything tried to take Misfits’ place? The easy answer is that nothing could, and that the success of the show was one of those lightning-in-a-bottle moments. But history teaches us that everything has its successors, and that’s what makes the absence of any youth-targeted British science fiction following Misfits so disconcerting. Like Being Human last year, could the end of Misfits signal the end of an era for British television, with both shows existing as products of their time? Distinctive and unique, Misfits is something that you’d imagine would refuse any notion of a remake (though that’s not to say one won’t be attempted).