A Liverpool-based sitcom, G'wed, is attracting attention for its distinctive approach to comedy, which intertwines traditional adolescent humour with nuanced explorations of significant social issues. Now in its third season, the show, whose title is Scouse for 'go ahead', has been noted for its willingness to delve into topics often unaddressed in mainstream comedies, such as class dynamics, male anorexia, and neurodiversity.
Initially drawing comparisons to Channel 4's The Inbetweeners due to its premise of a middle-class boy, Christopher, navigating a working-class secondary school in Liverpool, G'wed quickly distinguished itself. While it shares a similar vein of immature antics and 'knob jokes', the series has consistently woven in deeper narratives, including discussions around grief and the complexities of class, extending beyond a simple 'fish-out-of-water' narrative.
Unlike its comedic predecessors, G'wed features a diverse central friendship group, encompassing various genders, races, and sexualities. Yet, the show deliberately avoids 'woke pieties', opting instead for authentic portrayals. Past storylines have tackled challenging subjects such as Personal Independence Payment (PIP) assessments and harm-related Obsessive Compulsive Disorder (OCD). The new series further broadens its scope, exploring themes like the corporate influence on the Premier League and even a 'Mamma Mia-style' paternity mystery with a unique, lap dance-based twist.
The series is bolstered by strong performances, particularly from Leanne Best, who plays Reece's single mother, Jodie. Her portrayal is noted for its bracing sarcasm balanced with an undeniable warmth, creating almost 'unbearably lovely' scenes with her on-screen son. Newcomer Jake Kenny-Byrne, as the orphaned Christopher, is credited with bringing a significant emotional depth to the show, conveying themes of loneliness and fragile hope through his sensitive performance.
While G'wed is acknowledged to have some tonal shifts and relies occasionally on 'only kidding' punchlines, its ambition is consistently praised. Reviewers suggest that while the show might not always achieve perfect tonal consistency, its willingness to tackle a wide array of ideas and challenging subjects, even when stretching the boundaries of a 30-minute comedy, sets it apart from more conventional offerings. It is described as 'its own beast', promising tears as reliably as laughs, alongside its signature 'filth'.