In the latest offering from writer John Morton, BBC Two’s *Twenty Twenty Six*, beloved actors Hugh Bonneville and Hugh Skinner return to the screen, delivering a blend of charm and chaos as they navigate the complexities of organising the next World Cup. The series, a spiritual successor to *W1A*, brings its trademark satirical wit, but not without a few hiccups along the way.
A New Chapter for Ian Fletcher
Hugh Bonneville reprises his role as Ian Fletcher, the perpetually bemused executive who previously helmed the London Olympics in 2012 and was the BBC’s Head of Values in *W1A*. This time, Ian finds himself in a new role as the Director of Integrity for the Twenty Twenty Six Oversight Team, tasked with overseeing the football World Cup in the United States. The show introduces a clever twist: the tournament’s name is bleeped out throughout, a humorous nod to the sensitivities surrounding FIFA.
David Tennant once again lends his voice, guiding viewers through Ian’s challenges as he attempts to acclimatise to a distinctly American corporate environment. The ensemble cast includes a mix of characters, each embodying diverse national stereotypes, from the assertive American legal expert Nick Castellano to the overly accommodating Canadian Owen Mitchell. While Morton excels at crafting British humour, some of the international characters come across as somewhat clichéd, making the comedy feel uneven at times.
A Mixed Bag of Characters
While some new characters are delightful additions, they struggle to match the sharpness of the original *W1A* ensemble. The show’s attempts to highlight its international cast lead to mixed results. For instance, Jimena Larraguivel shines as Gabriela de la Rosa, the Mexican character brimming with enthusiasm, but others, such as the European F*fa attaché, feel less fleshed out.
The Gen Z social media team, composed of “sentiment creators” and “thought analysts,” lacks depth, often resorting to dated slang that detracts from the overall narrative. One particularly cringe-worthy moment involves the viral hashtag #PowerOfPoop, a plot device that feels like a rehash rather than a fresh take.
However, Morton still manages to capture the essence of British humour through characters like Phil Plank, a literal-minded former footballer navigating new responsibilities. Skinner’s return as Ian’s bumbling assistant Will is particularly notable; his physical comedy and cluelessness provide much of the show’s comedic relief, especially in scenes that showcase his inept interactions with office equipment.
The Show’s Comic Potential
Despite some uneven characterisation, *Twenty Twenty Six* thrives during its lighter moments, especially when capturing the absurdities of corporate life. Ian Fletcher and his assistant Will share a dynamic that is both endearing and entertaining. A standout scene involves Will’s clumsy exploration of the office coffee machine, providing a dose of physical comedy that resonates well with viewers.
While the series may not hit every mark, the chemistry between Bonneville and Skinner compensates for its flaws. Their interactions are immersive and relatable, embodying the charm that fans of *W1A* have come to love. The show ultimately invites audiences to revel in the hilarity of workplace mishaps and the absurdity of global sporting events.
Why it Matters
*Twenty Twenty Six* serves as a timely reminder of the complexities and foibles inherent in global events like the World Cup, all while delivering a dose of much-needed humour. As the world grapples with the implications of corporate culture and international collaboration, the series cleverly encapsulates these themes through the lens of comedy. It’s a testament to the enduring appeal of satire in addressing contemporary issues, encouraging viewers to reflect on the absurdity of it all while enjoying the laughter that comes with it. In a world that often feels divided, the show provides a space for connection, reminding us that amidst the chaos, there’s always room for a good chuckle.
