Here We Go

The Here We Go Again family filling their boots at dinner. (Picture: © BBC)

Here We Go shows the wonders of family life, with all its quirks, flaws, and failures with acute precision.

Here We Go, created and written by as well as starring After Life’s Tom Basden, the BBC comedy series portrays the finer storytelling that often sitcoms neglect to show.

Across the six-episode series, the show has each of the main household members go through their own redemption arc, finding their identity not least in the home, but also in wider society.

Additionally starring some of the finest comic actors across British sitcoms: Katherine Parkinson, Jim Howick and Alison Steadman the cast adds the finer missing element to the show’s exceptionally written and performed comedy.

Filmed in a documentarian style by the youngest of the family, Sam (Jude Morgan-Collie), we are treated to a spectator performance that weaves storylines across months, episodes and weeks as the editing jumps between them all matching the intellectual wit.

Yet, it is in fact eldest child Amy (Freya Parks) whose dry sarcastic angst performance elevates the show harmonising with Howick and Parkinson’s known delivery.

Amy’s storyline is also the most interesting, with across the series, audiences see snippets of her relationship with girlfriend Maya (Mica Ricketts) go through turbulence and confrontation, yet only ever from Amy’s perspective allowing us to fill in details ourselves or form doubt.

Unfortunately, her relationship with Maya doesn’t seem to be the show’s attention, instead opting to painfully force together Robin (Tom Basden) with Cherry (Tori Allen-Martin), who is exploitative vain individual milking Robin for the pitiful joy he’s worth.

Yet, between the interpersonal relationships, the moments that best mark this show as worth watching are the ways that characters react to the scene around them.

For instance, in episode six of Here We Go, Amy makes a cheeky remark to her father at his expense after a failed performance to erect a tent. After Parkinson’s facial, and awkward audible cue, many directors may cut or choose to pan away, but we linger. Amy’s face contorted with repulsion and regret.

The moments of family life where the camera lingers a second longer are those that are worth treasuring and using for ridicule.

Here We Go is exactly what it sets out to be. A comedic commentary on family life, and if it gets renewed for a second series I would be utterly delighted.

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By Conor Riley

Conor is the Founder and Editor for Cinamore, a publication focused on giving power back to journalists. As a portmanteau of the word 'Cinema' and the Italian word for love 'Amore', Cinamore aims to highlight the love that we all carry for the art of the moving image.


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