It's hard to parody something that's already a parody of itself, so W1A (BBC2) – the BBC's bizarre and surreal mickey take of its own corridors of power – must be viewed in context. Yes, no, yes, a ha, yeah, cool, no worries. Our review of Olympics comedy and W1A predecessor Twenty Twelve. After a while, I just watched the episodes on an "ad hoc" basis to provide padding for my binge watching of other series that I did not wish to finish too quickly because they were so good. Reply Retweet Favorite. Often. Goodness knows the BBC makes a good target for this kind of satire and is a good proxy for many similar corporate settings. W1A is a spoof documentary about BBC employees, ... (20 May), with a nod to the show’s hapless intern character in its description box: “Will, when you upload this remember to click ‘Private Hugh Bonneville, the patronizing lord of Downton, redeems himself while bathing in the complete absurdity of corporate culture. I just find it wears thin after a while. Ian has his own troubles. Ian Fletcher of 2012 fame joins the BBC as its head of values. Thus "W1A" continues very much in the footprints of its predecessor, with Fletcher at the centre of the middle of things at the Beeb, quickly becoming the spokesperson and whipping boy for a number of topical-at-the-time scandals at the corporation, involving regional discrimination and pay levels. I watched the first few episodes of the first season and giggled appropriately. With the Olympics over Ian Fletcher joins the BBC as its new head of values and has trouble finding his office. Such a great series I watched it twice. Don't know why Netflix didn't recommend this to me, instead of all the junk. Will watch the final two episodes in the hope of seeing better things but wont hold my breath at this stage. What a treat to have this in a iPlayer Box-Set '. One could use this program as a mental torture device but it would be cruel and unusual punishment and probably illegal. W1A: Hugh Bonneville as Ian Fletcher, Head of Values at the BBC and keen urban cyclist, Does it work? It's a daft task, but I couldn't help but think, "I can't mess this up as badly as Intern Will Humphries." Twenty twelve (also reviewed) was IMO the best comedy since the first series of I'm Alan Partridge. The clip also includes a nod to W1A's hapless intern character in its description box, with the caption reading: 'Will, when you upload this remember to click 'Private' Advertisement. Brilliant. And it hits them with reasonable frequency. The meeting rooms named after comedians, which cause important decisions to be … I really ended up caring about these characters. W1A is written by the same team who brought us the brilliant Twenty Twelve. And it hits them with reasonable frequency. The show does capture the uselessness of corporate culture, its incessant meetings, and predictable committee members. The show ran for … So many scenes in W1A have been horribly plausible: the episode in which an intern sits through four years worth of Top Gear to count how many … W1A first debuted in 2014 and was a follow-up to the comedy series Twenty Twelve which lampooned the Olympics in London. Yes, Cool, No. Absolutely crammed with great characters, many of whom, in the British manner, have their distinctive and increasingly wonderful catch-phrases. This works as a short sketch only. When I went to start the next season and discovered there was none, I was heartbroken. She and her foil, Tracey, played by Monica Dolan, turn group scenes into absurdity rivaling "Monty Python" genius. | | But after a while fatigue set in. Dim young intern Will introduces him to Simon Harwood, the director general's right hand man and he attends a meeting along with senior communications officer Tracey Pritchard, head of output Anna Rampton and Neil Reid, who believes the BBC should be more Cornwall-friendly. The two areas in which writers are always told never to set comedies are firstly, the past, and secondly, television. I don’t know if there’s a connection, but apparently ever since Blackadder there’s been no point writing a historical sitcom (also it’s expensive) and, well, you can only set your show in the world of TV if you’re Ricky Gervais (dramas are different, which is why BBC’s recent The Hour was set in both television and the past). W1A: Hugh Bonneville as Ian Fletcher, formerly the Head of the Olympic Deliverance Commission, now Head of Values at the BBC, Melania Trump says Joe Biden's 'socialist agenda' will 'destroy America', 10,000 people a day could receive false positives in Operation Moonshot, researchers say, Nothing should come for free but charging for current accounts isn't the way forward, Questor: bank shares have been terrible for income investors – so buy their bonds instead, 12-year-old tourist and guide lose limbs in Egyptian shark attack. Dim young intern Will introduces him to Simon Harwood, the director general's right hand man and he attends a meeting along with senior communications officer Tracey Pritchard, head of output Anna Rampton and Neil Reid, who believes the BBC should be more Cornwall-friendly. At times, the show could be mocking any large company: Hynes’ PR is more Soho PR than BBC - she doesn’t have the odd complacency and comfortable uselessness of her real life counterparts - while very few of the highly-educated and likewise ambitious interns at the Beeb are as dim and silly as Will. Siobhan Sharpe is stirring up trouble with her controversial and extremely ambitious ideas that send the Damage Limitation Team scrambling. The scene in the second episode where Ian Fletcher has to take the train to Manchester to appear on Woman’s Hour sparks off a brilliant debate about just why someone has to leave the BBC in London to go to Manchester to appear on the radio. The setting for the programme is the BBC but it could be any big company. It is genius in that way but if you suffer from anxiety or depression or anger management i warn you this will ruin your day and you'll run screaming to your therapist for more meds. It's just a shame that the number of episodes per season is small even by UK standards. It was tenuous in Twenty Twelve but just about kept within the lines as an unlikely but feasible documentary. But it does convey a world in which bizarre things are allowed to happen. External Reviews 4. In which respect, come to think of it, it accurately mirrors the real life BBC. He now returns as the bumbling Head of Values at the BBC since he managed to deliver the Olympics successfully. Awards Wonderfully acted and written, the single word interplay between the characters is a marvel. In reality,the national broadcaster is smug,self - regarding,self - regulating,incestuous,and exerts far too powerful an influence on its audience whom it regards as a malleable amorphous mass who blindly pay out their licence fee in order to be patronised,ignored and have their intelligence insulted at regular intervals. With the exception of disallowing jokes about Alan Yentob, the BBC has always been willing to be the hand that gets bitten by those it feeds, so we can assume the programme makers have other points to make than just mocking Auntie. 3. The BBC's Olympic Legacy seems to consist of re - cycled scripts and hackneyed ideas,I'm afraid. Sarah Parish is particularly good, bringing her sardonic, deadpan character to life. Interviews — W1A, Series 1. Several scenes are just a waste of time and banal in the extreme. On the creative side, you might think the show was cruel. You know what the characters are going to say before they say it. The Hynes character whilst pretty much ott in twenty twelve but still funny to watch this time is a parody.

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