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Hit & Miss 

Follows the life of transgender contract killer Mia, who travels to West Yorkshire to seek out her ex girlfriend.


Paul Abbott




1 win & 3 nominations. See more awards »


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Series cast summary:
Chloë Sevigny ...  Mia 6 episodes, 2012
Roma Christensen Roma Christensen ...  Leonie 6 episodes, 2012
Jorden Bennie Jorden Bennie ...  Ryan 6 episodes, 2012
Karla Crome ...  Riley 6 episodes, 2012
Reece Noi ...  Levi 6 episodes, 2012
Ben Crompton ...  Liam 6 episodes, 2012
Jonas Armstrong ...  Ben 6 episodes, 2012
Peter Wight ...  Eddie 6 episodes, 2012
Vincent Regan ...  John 5 episodes, 2012
Jordan Hill Jordan Hill ...  Aaron 5 episodes, 2012
Laura Greenwood ...  Sophie 5 episodes, 2012
Ethan Griffin Ethan Griffin ...  Andy 4 episodes, 2012
Erin Shanagher ...  Penny 4 episodes, 2012
Rosina Carbone Rosina Carbone ...  Wendy 4 episodes, 2012
Steve Money Steve Money ...  Wayne 3 episodes, 2012
Carly Harris-Sutcliffe Carly Harris-Sutcliffe ...  Girl in bar 2 episodes, 2012
David MacCreedy David MacCreedy ...  PC Richardson 2 episodes, 2012
Giles Ford Giles Ford ...  Teacher 2 episodes, 2012
Liz Hume Dawson ...  Nurse 2 episodes, 2012


Follows the life of transgender contract killer Mia, who travels to West Yorkshire to seek out her ex girlfriend.

Plot Summary | Plot Synopsis


A lethal killer at the heart of a troubled family in the middle of nowhere.




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Release Date:

2012 (UK) See more »

Also Known As:

Hit & Miss See more »

Company Credits

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Technical Specs




Aspect Ratio:

1.78 : 1
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Did You Know?


Chloe Sevigny caused controversy after she left Manchester, where the series was shot. She said the city was a "grim place", where it "rained every day" and that it was "full of chavs". She claimed that the place was very mainstream, "where they all go out wearing their huge fake Louboutins hoping to bag a footballer." She also stated that English cities were full of drunks and that there had been a "weird confrontational vibe" in the air ever since she visited London in the 1990's. See more »

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User Reviews

Evolution of television on our doorsteps
14 January 2013 | by jacques77See all my reviews

I am not sure if I would have necessarily watched and reviewed this series was it not for reading the derogatory sweeping statement in a previous review that gay audiences "just because the character is a transsexual is making this a good show in their eyes." This along with other sweeping statements, misleading stereotyping and selective memory aspects of other reviews made me very curious about the truth of this series. I am a 35 y.o. gay cinema and television professional with an extensive reference base.

The mistake is often made, but transgender and homosexuality has very little to do with each other except that we often share representation by the same minority group activists. Transgender people often don't change their sexual preference after they have completed their journey and quite often they remain with their partners, be it heterosexual or homosexual. To the point, Hit and Miss.

The show has very good points as well as a few flaws. The script is sometimes slow and it is directed a little more sombre than is necessary. The angst that the characters display would be far better suited for a 2 hour cinema production rather than a TV series. Though the characters are well rounded and defined, I don't yet feel any need to care about them. Since none of the characters are gay, I did not care for them from this premise, then again, I did not care for any of the characters in the L-Word or the American version of QAF either. Jonas Armstrong is possibly the only actor that has show a sense of movement and inner conflict that leads to change in his character.

The young son, Brian, does not try wearing woman's clothing in every scene as has been suggested, but this is rather a small C plot in one single episode.

The show has tremendous potential because the plot and characters has all the base work done for great development and the casting is excellent with good performances from the actors. The cinematography is exceptional and I have recently worked on a production that uses a similar style of camera-work. It is notable that European styles along with other global trends seem to indicate that because of the introduction of wide screen televisions into our homes we are also moving into a more cinematic style of shooting TV series rather than the old 4:3 ratio style (regardless of lens scope) with useless close-ups and shots that create a sense of false intimacy rather than telling the story. There have been countless arguments with producers and writers that are stuck in the old ways of doing things, but alas, if there is one universal truth I have come to accept it is that "the times will always be a changing".

The use of colour and frame, movement and shots in this series is definitely on par with the next level of television storytelling that we can expect over the next few years.

At times it seems that Chloë Sevigny is getting her character from Felicity Huffman in Transamerica and the plot hints very slightly towards a rip off of the American series Weeds. The execution is well thought through and once the producers and writers can decide where these characters are going on an interpersonal level, I am looking forward to see where this journey will be taking our heroin and her family (hopefully not copying Weeds).

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