A sub-genre has emerged, especially in British series, which continues the tradition of the naturalistic view of the profane magic of everyday life with calmness and a precise eye. Far away from earth-shattering events and away from those murderous crises that protagonists** of other genres have to struggle with, the focus is on the intimate dramas of everyday life.
The rarely cheerful and often “strictly working class”-like kitchen sink approach of Ken Loach, Shane Meadows and Stephen Frears wanders leisurely into the terrain of the sitcom and always holds surprises. Also because the often dialogue-heavy and character-driven format that results from this gives authors leeway to develop beyond the plot. Performers of stature are also drawn to the chance to immerse themselves in stories that tend to have softer tones and nuances.
The series Roger & Val Have Just Got In follows Alfred Molina and Dawn French through that half-hour of a married couple returning home after a long day at work. Between the trivial challenges of everyday life, what it actually is with which we spend our lives between the big, drastic and unforgettable moments flashes through again and again: the completely profane. The chamber play-like “Him & Her” digs through the relationship of a couple in their mid-twenties, which despite some humorous exaggerations in their ultra-normality represents a blatant contrast to sitcoms of the American tradition: the uneventfulness as the actual event. Now Sean Bean and Nicola Walker dissect the anatomy of a 27-year marriage in the brilliant “Marriage” (coming soon to Magenta TV).
Now in its third season, Martin Freeman and Daisy Haggard take us through the lives of Paul Worsley and Ally Grant in “Breeders”. Somewhere in the suburbs of London, they both struggle through their jobs – he almost phlegmatic in his professional unambitiousness, she driven by ambition and talent – while raising their two children Luke and Ava. Paul’s penchant for choleric outbursts over the smallest of problems seems to be part of the humor at first: finally a father who dares to let his pent-up feelings run free in the face of the frustrations of family life.
But like so much in “Breeders”, the reality is much more nuanced and unexpected than we – trained by years of series clichés – initially expect: relationship problems do not escalate into glaring crises but rather smolder with restraint, problems cannot be avoided forever through courageous discussion create in the world, undermine disturbing character traits through self-help.
What may sound quite serious on paper is not. “Breeders” not only develops the voyeuristic pull of looking into other people’s lives. The series succeeds with a harmonious mixture of dry humor, brutal honesty and tenderness for its characters. In what is now the third season, it also becomes clear what wide narrative arc Martin Freeman spans as creator and producer. As a dramedy from the depths of everyday life, it is a welcome change from the art worlds of “family”, which are otherwise to be found in many places in series.
“Breeders” can be seen in seasons 1 to 3 on Sky Go and WOW. Season 1 & 2 currently on Disney+
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