The other night, I was randomly trawling Netflix for something to watch while I couldn’t sleep, and I stumbled across a BBC show I’d never seen before called W1A. I later discovered that this was the follow-up to Twenty Twelve (which I also haven’t seen yet), and is one of the most effective “fake documentary” series I’ve seen since the original British version of The Office.
W1A focuses on the BBC itself, which is a pretty ballsy move given how scathing the show is of BBC corporate culture. Casting Hugh “Downton Abbey” Bonneville in the role of Ian Fletcher, the BBC’s new Head of Values, the show follows Fletcher’s efforts to make sense of the waffling business-speak world that one of the world’s most celebrated broadcasters has become in the last few years. Fletcher is by no means a blameless character in all this, but he, by far, comes across as one of the most “normal” and relatable characters in the cast.
The reason for this is that the rest of the cast members are exaggerated parodies of various office archetypes. I would say that they are exaggerated to the degree of absurdity, but not far through the first episode I realised that I had met and interacted with each and every one of these archetypes at various points in my professional life — in education, in office work and in retail — and suddenly it didn’t feel quite so absurd after all. It was still amusing, but in a tragic sort of way; the realisation hit me that this is what the world has become these days.
One of the most frequent character traits on display is relentless, unnecessary positivity, even when it’s completely inappropriate. It’s not unusual to see serious issues being raised in meetings, with the only responses from around the table being a chorus of “Brilliant.” “Great.” “Well then.” “Marvellous.” and “Okay then.” Likewise, to my chagrin, I’ve caught myself using some of the character traits of intern Will, most notably his blind agreeing (and declaration that it’s “cool” and “no worries”) with everything that people say, only to admit that he didn’t actually hear what he just agreed to just a moment later.
While I find W1A pretty excruciating to watch — particularly when Jessica Hynes and her painfully millenial PR company “Perfect Curve” are on screen — it’s nonetheless rather compelling and almost reassuring in a strange sort of way: a viewer’s initial reaction to these seeming caricatures — their repetitiveness and their relentless, inappropriate cheerfulness — as them being absurd in some way is entirely deliberate. The writers of the show know how ridiculous and absurd the situation is, along with all the nonsense that goes on in modern corporate culture — which more often than not cares more about outward appearances than actually making life good for its employees and clients — and the show itself acts as a means of people who are tired of this aspect of modern life to come together, point and laugh, then perhaps go and have a little cry in the corner.
You’re not alone in hating the way the world has turned out, says W1A. We hate it too; we’ve just decided to laugh at it, because what’s the alternative?