The entertainment world is buzzing with mixed reviews surrounding BBC Three's latest comedy series, Smoggie Queens. Created and written by Phil Dunning, the show strives to address themes of identity and acceptance, spiced with good humor and absurd situations. Recently, episode five aired, centering on the character Stewart's birthday, with his friends devising cunning ways to celebrate quietly as Stewart grapples with his sexuality.
Judging by the commentary circling the show, it's evident it's not all fun and games. TV critic Ally Ross has publicly expressed his opinion on the current state of BBC comedy, coining it as needing "a life-saving blood transfusion." He deftly points out the irony of the BBC's call for bolder comedy voices—yet many recent offerings, including Smoggie Queens, haven't quite met the viewers' expectations.
The Guardian's review of Smoggie Queens gives the series three stars. They acknowledge it promotes nice values but lament the lack of humor, asking where the jokes are—an ironic observation coming from critics who laud BBC’s bold initiatives for humor. Ross notes, "What’s my beef? Well, Petrie passed on my five-star-rated comedy series Hapless, which is absolutely thriving on Amazon Prime." His remarks lay bare the conflict at the heart of modern BBC comedy, where genuine comedic ambition feels sidelined.
Historically, series like Not Going Out and Fawlty Towers set the comedic gold standard, leaving many contemporary efforts, including Smoggie Queens, feeling lacking. Commenting on the series’ performance, industry magazine Broadcast indicated it managed to garner 0.4% viewership, which has clearly left critics like Ross astounded. He remarked, "Tim Davie has allowed comedy to become an aside; it’s almost like we’re trapped between mediocrity and cowardice."
The connection between comedy and cultural identity echoed strongly with Ross when he shared how Hapless had gained considerable traction, racking up millions of views, displaying the public's appetite for relatable, inclusive humor. Ross argues against niche comedy, which is often seen sidelining diverse voices. "Inclusivity doesn’t mean making solely Muslim sitcoms, it means creating humorous content everyone finds funny, no matter their background," he insists.
This perspective draws attention to the crux of the issue: widely accepted humor should be inclusive rather than specific, breathing life back to segments of society craving cohesive comedic experiences. Therefore, how do we reconcile this longing for inclusivity with the disappointing performance of newer shows like Smoggie Queens? The answer may lie not just in the execution but how the BBC approaches satirical comedy outright.
Ross's embrace of bold satire feels like a battle cry. He proposes possible solutions for the BBC, including recognizing the importance of comedy within UK culture and apologizing for past failures. His recommendations even extend to reevaluations of budgetary constraints, encouraging collaborations primarily with comedians rather than executive producers who seem out of touch with the audience’s cravings for engagement.
Even if Smoggie Queens finds its footing over time—a possibility Ross holds onto—the series embodies the current comedic landscapes' requests for attention and reform. Viewers long for laughter born of collective experiences rather than isolated narratives. Ross' proposal of putting all comedy on high-profile platforms, like BBC One, aims to attract diverse audiences and rekindle their faith in British comedy's vitality.
The narrative surrounding Smoggie Queens is not merely one of critique; it poses challenging questions about the Greater UK comedy ethos. How do programs fit within the larger comedic sensitive webs of today? Will Smoggie Queens manage to call on laughter through its portrayal of same-sex relationships, societal norms, and personal fears?
Just as audiences digested the comedic prowess of past classics, there stands the hope Smoggie Queens can unearth elements of humor yet unexplored. It’s clear, though, if it’s going to separate itself from the pack, bolder stakes must be claimed, not just limited plots cloaked under nostalgia for outdated customs. The best laughs, after all, often rise from disruption rather than preservation.
It remains to be seen if Smoggie Queens can rise to the challenge of changing perceptions and finding its audience collectively. Following the winds of critique echoed by Ross, it may just have potential to emulate the expansive legacy it seeks to create, tapping humor from even the most personal struggles.