Seamus (Johnny Flynn) works a close resemblance to Alan Partridge in his pieces to camera, not so much Andrew Marr but with more than a touch of Robert Peston. He is a vain and immature jovial TV presenter, a ditz, in other words, but a nice ditz. I doubt the BBC would inflict him on us but one never knows these days. Perhaps that's the joke. Plenty of verbal jokes: "Campbell to my Blair, Ingham to my Thatcher, Goebbels to my...." or "Life is random and meaningless..." Seamus (AKA John/Jon Snow -slightly laboured) is fundamentally kind, if a bit simple, easily baffled by his producer Ndidi who is (nice joke NOT overplayed) significantly taller than him and highly intelligent with bat-like hearing. Incidentally Seamus reveals nerves about interviewing pollies etc which I don't buy for a minute. Alan Partridge thinks he can do it and so should Seamus. Ongoing in-joke that Seamus wears terrible clothes when he's NOT before the camera. Some adlibs. And we are in the land of farce where anything goes.
Interestingly for a rom-com, it's Janet that pushes the relationship forward all the time, Seamus not exactly holding back but demonstrating that he's been well-schooled in the rules of feminism (presumably by Frankie, who is very bossy) and his Mum who probably brought him up nice even if it was in the wilds of North East London. Janet, played by the remarkable Roisin Gallagher, makes all the running in this affair, Seamus trailing a beat behind. Definitely the proactive one, she's also had more slings and arrows in her life, giving a bit of depth at the end. Depth at the beginning would have been welcome too. Janet has a confidante in her co-worker, but Seamus has no one to chew things over with except for the professionals in his business; Janet's co-worker sees the romance, Seamus' producers see the icebergs ahead. Opposites attract - she's constantly sending him up.
The denouement of Janet's trauma hidden under a very black and dirty sense of humour (the trauma political rather than emotional, although the writing makes clear how intertwined they are) is quite quickly polished into nothingness by Tim, the other producer, who says at least she's not the Taliban. So definitely lots of options for a series 2!
Hugh Grant moments are skirted but mainly averted. There are moments where JF's comic flair is exploited, trying to prove he's famous, doing moonwalks, pratfalls, a fun display of actors' tricks. The Richard Curtis vibe fights with the political reality vibe, teetering on that edge. The script definitely knows how to borrow. One FATHER TED joke (the fighting couple who manage the shop and their sudden cessation of hostilities in front of others) is ventured. What sort of evangelical malarky is being peddled in that church Seamus wonders? But on further viewing it seems perfect for the ex-members of L. U. V. Who really DO have to learn to love themselves a little more.
The support cast is good and it looks lovely. It's more adult territory than the fondly-remembered LOVESICK; for example, Seamus dodges telling girlfriend Frankie about Janet at first but when he grasps that particular nettle it's a far more adult scenario - there's little sorrow but a considerable hurt pride on Frankie's part; ego damage that he's ditched her for a trolley dolly which she somehow transfers back onto Seamus. But she's good at weaving that into her own future narrative. Now that's sophistication and reality!
The weakest section is the wrap - he's standing in the rain, a crowd gathers..... And there's that Richard Curtis vibe again, especially the final emotional embrace in the rain and the pullback to the admiring applauding crowd, thankfully trumped by the shots in the supermarket where he lends a hand while Janet finishes her shift. Performative feminism to the end!
BUT why do I have that faint sense of Deja Vue?
Interestingly for a rom-com, it's Janet that pushes the relationship forward all the time, Seamus not exactly holding back but demonstrating that he's been well-schooled in the rules of feminism (presumably by Frankie, who is very bossy) and his Mum who probably brought him up nice even if it was in the wilds of North East London. Janet, played by the remarkable Roisin Gallagher, makes all the running in this affair, Seamus trailing a beat behind. Definitely the proactive one, she's also had more slings and arrows in her life, giving a bit of depth at the end. Depth at the beginning would have been welcome too. Janet has a confidante in her co-worker, but Seamus has no one to chew things over with except for the professionals in his business; Janet's co-worker sees the romance, Seamus' producers see the icebergs ahead. Opposites attract - she's constantly sending him up.
The denouement of Janet's trauma hidden under a very black and dirty sense of humour (the trauma political rather than emotional, although the writing makes clear how intertwined they are) is quite quickly polished into nothingness by Tim, the other producer, who says at least she's not the Taliban. So definitely lots of options for a series 2!
Hugh Grant moments are skirted but mainly averted. There are moments where JF's comic flair is exploited, trying to prove he's famous, doing moonwalks, pratfalls, a fun display of actors' tricks. The Richard Curtis vibe fights with the political reality vibe, teetering on that edge. The script definitely knows how to borrow. One FATHER TED joke (the fighting couple who manage the shop and their sudden cessation of hostilities in front of others) is ventured. What sort of evangelical malarky is being peddled in that church Seamus wonders? But on further viewing it seems perfect for the ex-members of L. U. V. Who really DO have to learn to love themselves a little more.
The support cast is good and it looks lovely. It's more adult territory than the fondly-remembered LOVESICK; for example, Seamus dodges telling girlfriend Frankie about Janet at first but when he grasps that particular nettle it's a far more adult scenario - there's little sorrow but a considerable hurt pride on Frankie's part; ego damage that he's ditched her for a trolley dolly which she somehow transfers back onto Seamus. But she's good at weaving that into her own future narrative. Now that's sophistication and reality!
The weakest section is the wrap - he's standing in the rain, a crowd gathers..... And there's that Richard Curtis vibe again, especially the final emotional embrace in the rain and the pullback to the admiring applauding crowd, thankfully trumped by the shots in the supermarket where he lends a hand while Janet finishes her shift. Performative feminism to the end!
BUT why do I have that faint sense of Deja Vue?