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You can tell that somebody’s gone round and sprayed everyone’s forehead to look sweaty, straight out the mines. I just really wanted it to feel artful, which sounds so pretentious and w**ky, but I really just didn’t want it to be like… I’m really trying not to sound shady – but sometimes when I watch stuff about like working-class culture, everyone looks like they’re fresh from their job. There isn’t this like, big shebang necessarily. There’s this bit in episode two that I love when it’s just Jack and Peggy on the sofa … that for me was beautifully done. When working-class people go through something traumatic, or when they go through grief, or when they go through loss, it can still be very beautiful. I wanted Big Boys to feel like a working-class culture that is accessible and tappable. You’re totally right, the New Labour class, the whole shebang. Working class doesn’t necessarily have to mean food stamps and rations like some kind of like Second World War mentality or whatever.
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There’s a way to do working class that’s not poverty porn. And they look a bit like you were saying… Like, this is my naff.īut my naff is still valid and quite beautiful and you can still find really lovely, heartfelt moments in the nastiness of it. I wanted it to look like an indie cinema piece but it’s set in Watford and they’re wearing River Island clothes. I didn’t want Big Boys to look like what I see a lot of working-class comedies look like, which is – I don’t want to sound shady – but I just wanted it to look glamorous. Me and him get on like a house on fire and he’s my favourite ever collaborator really. My naff is still valid and quite beautiful and you can still find really lovely, heartfelt moments in the nastiness of it.
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The director, a guy called Jim Archer, is more of a film director than a TV director. I really wanted Big Boys to feel quite cinematic. It was hot but also like interesting and had a really specific style. I particularly loved Bridget Jones’s mum. Oh, I’d want it to be more God’s Own Country.
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Not compared to something like God’s Own Country… Because, yeah, Heartstopper and Call Me by Your Name were really great – but I never really gelled with those because growing up as a working-class queer kid those worlds just felt so alien to me. So I found it all an incredibly intense experience.Īnd that’s why what you say about the working-class lens in Big Boys is really important.
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I’m the only one in my family that’s got A-Levels. I’ve never dropped anybody off at uni before. What often happens is that the first people in their family to go to uni, they get there and they’re like: ‘What the f**k is this?’ I’d never had any frame of reference. That’s like, if we want to go heavy chat type thing, a real New Labour education policy – let’s get more kids going to uni, let’s get more people accessing those routes to higher education. A lot of people my age – well, our age – are the first people in their families to have gone to uni. I felt like I wanted people to celebrate the nastiness of what it is to go to uni. It almost made me reminiscent of my uni days even though I know they were kind of terrible. But what I really wanted with Big Boys is for it to feel like a very small, sweet world where those characters are still funny, but we know them.Īnd I do think that’s also reflective of being a fresher and going to uni, being 18 and being like, ‘F**k, I’ve got to look after myself, got to figure myself out, I’ve got to learn who I am all of a sudden.’ Big Boys creator Jack Rooke with stars Dylan Llewellyn and Camille Coduri (Channel 4) I love those shows and I love the scale of ambition. It stars Derry Girls‘ Dylan Llewellyn as Jack following the death of his dad Laurie, when he was 15-years-old, through to his time at university, where he strikes up a friendship with mature student and atypical straight lad Danny, played by Jon Pointing. Written and produced by comedian and mental health advocate Rooke, Big Boys is a semi-autobiographical journey through his coming-of-age years exploring grief, sexuality, mental health and friendship. But while Channel 4’s funny, moving and quite frankly beautiful new comedy-drama Big Boys may be a show about coming out, losing your virginity, poppers and lube, it’s equally a love letter to working-class culture and, in creator Jack Rooke’s own words, “celebrating naffness”. The runaway success of It’s a Sin and Heartstopper makes it difficult not to use them as points of comparison when a new episodic TV show with queerness as its heart comes along. For some of us, the best we had for representation while clumsily navigating our first blowjob was John Paul and Craig in Hollyoaks. EastEnders even has its own gay bar, for f**k’s sake.