Even here I’ve managed to squeeze heraldry in. The shield of Rudge Park Comprehensive School is about as generic and uninspiring as you’d expect, but at least it conforms to the rules of heraldry unlike so many in real life. The blazon is most likely “Azure on a bend Argent three oak trees of the field”.

The Inbetweeners is a televisual franchise that can be considered, if not actually dead, then at least dormant, in as much as it’s been eleven years since the release of the second film and fifteen years since the end of the TV series. Neither the audience nor, it seems, the cast and crew, can entirely move on and yesterday there was an announcement that the four lead actors had signed up to a revival. Most of the news articles I could find were behind paywalls and those few which were readable still didn’t betray much in the way of detail despite about what form this new instalment would take. Presumably nothing of substance has been decided yet. From fans and commentators there is excitement, but also a lot of dread.

My academic cohort were a few years behind that of the character, and I think we discovered the program en mass around 2011-12* — after the series proper had ended but before we reached sixth-form ourselves. While the jokes (and indeed the catchphrases) circulated widely, I’m not sure it was ever regarded as more than fiction. Nobody saw it as a reflection of their own lives at the time, much less an aspiration for the future. A lot of cultural histories of this period refer to The Inbetweeners as the way sixth-form really worked for most people in Britain, in opposition to the fantasy version presented by Skins**, but curiously I don’t remember anyone at my school talking about Skins at all. As to whether it’s representative now, I’m obviously too old to say (and likely wasn’t qualified even back then), but I remember these articles from the end of the last decade noting how hard the format had proven to recapture.

Even so, we know we are in for some kind of comeback, and the scepticism of the long-time fans is well-founded as bringing back a property like this after such a long time always runs the risk of sullying rather than enhancing its reputation. Even this series’ own tenth anniversary special in 2018 was widely regarded as a damp squib. The problem most critical to a story of this kind is the age of the characters: Dawson Casting is routine for productions like this and right from the start the leads played characters a few years younger than themselves*** without straining credibility. Now, however, if you tried to pick up remotely close to where the second film left off they’d be about twice as old as the people they portrayed, and even with digital de-ageing it would be hard to pull off, with the added complication that the setting itself would have to be more than a decade in the past rather than contemporary^. Clearly, if the cast are to unite onscreen again, it would need to be in a “Where Are They Now?” sort of way, catching up with them at about age 35. This is tricky, as inevitably their situation in life will be very different, and that tends to cause existential problems for what is formally called situational comedy. Of course, other genres can also have this problem in their own ways, so here I will briefly change tack.

Dr Philippa Gregory has written a great many novels about English royal history, including a long string of them about the Plantagenets and Tudors. Starz has adapted some of these into TV series: The White Queen in 2013^^, The White Princess in 2017 and The Spanish Princess in 2019-20. TWQ covered the life of Elizabeth Woodville from 1461 to 1485, TWP followed her daughter Elizabeth of York until 1499. Gregory said that these parts of English history were underserved in mainstream fiction beyond Shakespeare, which may be correct. Season 1 of TSP was about the life of Catherine of Aragon from 1501-1509. This part could still qualify since Catherine’s time with Henry in their youth before their marriage broke down is also frequently neglected. When it was announced that TSP would get a second season, fans on their forums wondered just how long Starz intended to string this out, noting that the story couldn’t go much further before becoming a rehash of Showtime’s series The Tudors or myriad other productions including Gregory’s own The Other Boleyn Girl.

When it comes to this proposed revival, the comparison of which to be most wary is, of course, Peep Show, that other Channel 4 cult classic of the noughties. The exact diagetic timeline of that series is not always consistent, but the final episode has Jeremy turning 40 and the first series seems to have them both just shy of 30. The Inbetweeners, if renewed now, would land around the middle of this range. What’s more, a lot of the story ideas floated for the new script — whether by ordinary fans or by people connected with the franchise, feel very PS-esque: I saw musings about quirky flatshares, wedding disasters, failed partnerships and juxtaposed career outcomes. As I mentioned in last month’s post, PS had to end once the main characters got too old for the situation to continue, and any revival now would need to radically change its approach to adjust to the times. There might well need to be a new setting, and the characters to be written in a new way. This would also be the case for The Inbetweeners, and indeed more so given the even greater time gap both absolute and proportionate. It would not be possible to write the characters as the same personalities we remember from 2010, nearly half their lives ago. For sure, you could make arrested development an explicit feature of the story (as it also was on PS, and which would be entirely expected for at least two of the main four) but even then it would come off with a different tone.

My intention here is not to come of as overly pessimistic: I know from Futurama and Red Dwarf that an old franchise can be successfully brought back many times across several decades. It is eminently possible to get an interesting story out of a late sequel, albeit one which will need to be quite distinct from what was written the first time around and with the high risk that a large proportion of the audience will feel disgust at the outcome rather than delight. There is life here still, just not necessarily as we used to know it.

NOTES

*As the whole series ran to only eighteen episodes it was quite easy to finish the whole run on 4OD in a few days.
**I refer readers to this video essay by Stuart “Stubagful” Hardy, in particular where he says “I never got to live a life like the kids on Skins. Most of my teenage years consisted of being made to sit in a series of rooms with adults glowering at me… alright, a drama based on my teenage years probably wouldn’t have exactly made for a compelling piece of television but, in my defence, that was real! You people want real, don’t you.“ and, while it’s actually reviewing a completely different Channel 4 program, Charlie Brooker’s famous line in this Guardian article: “The biggest teenage taboo is being strait-laced. It’s easy to tell a researcher you went to a house party that turned into an orgy. It’s less easy to say you like eating toast and watching QI.”
***The four lead actors were born 1982-87 whereas the characters would have been born 1991-92 in order to start sixth-form in 2008.
^The second film already has this problem, being set in 2010-11 but made in 2014.
^^Co-production with the BBC.