Honestly, most family sitcoms feel like they were written by people who haven't actually spoken to their parents in a decade. They're glossy. They're polite. Everyone learns a lesson by the thirty-minute mark while soft acoustic guitar plays in the background. But Here We Go on the BBC is different. It's sweaty, awkward, and deeply uncomfortable in that specific way only a British family holiday or a disastrous trip to a trampoline park can be.
It started as a pilot called Pandemonium back in 2020. Remember that? We were all stuck inside, washing our groceries with bleach, and Tom Basden—the creator and star—captured that collective cabin fever perfectly. Since then, the show has evolved into a powerhouse of cringe comedy. It follows the Jessop family. They aren't "quirky" in a manufactured TV way; they are chaotic in a way that feels dangerously familiar. If you've ever had a relative insist on a "fun day out" that ended in a low-speed car chase or a public argument about hummus, this show is your life story.
The Jessop Family Chaos Explained
What makes Here We Go BBC stand out in a crowded field of comedies like Motherland or Not Going Out is the filming style. It’s a "found footage" sitcom. We see everything through the lens of Sam, the youngest son, who is constantly documenting the family's various failures for his media studies project. This isn't just a gimmick. It gives the show a claustrophobic, frantic energy. You feel like you're trapped in the back of the car with them. You see the eye-rolls, the subtle grimaces, and the moments of genuine, albeit aggressive, love.
The cast is stacked. Jim Howick—who you probably recognize as the scout leader from Ghosts or from Sex Education—plays Paul Jessop. He’s a former Olympic archer. Well, an Olympic reserve. That distinction is important because Paul is a man built entirely out of fragile ego and good intentions. He's desperate to be the "cool dad" and a successful instructor, but he usually just ends up stuck in a tree or accidentally insulting a neighbor.
Then there’s Katherine Parkinson. She’s a legend. As Rachel Jessop, she is the glue holding the catastrophe together. She’s the one trying to force "family bonding" while her own life feels like it’s fraying at the edges. Parkinson has this incredible ability to convey a total nervous breakdown using only her left eyelid. It's masterclass acting hidden inside a show about a family getting lost in the woods.
Why the Non-Linear Timeline Works
One thing that trips people up—at least for the first ten minutes—is the timeline. Tom Basden is a clever writer. He doesn't just tell a story from A to B. Most episodes of Here We Go jump between different points in the year. You might see the family in the middle of a disaster in October, then jump back to the "planning phase" in February to see exactly how they messed it up.
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It shouldn't work. It should be confusing. But it’s actually brilliant because it mirrors how families remember things. We don’t remember a year chronologically; we remember it in flashes of embarrassment and "do you remember when Dad did that thing?" This structure allows the jokes to have incredible payoffs. You see a character with a black eye in the first scene and spend the rest of the episode waiting for the inevitable, hilarious moment where they lose a fight with a garden gnome or a wayward frisbee.
Alison Steadman is a National Treasure
We have to talk about Maya. Or rather, Gwen. Alison Steadman plays the grandmother, and she is quite simply the secret weapon of the series. If you loved her in Gavin & Stacey, you’ll recognize that same energy here, but it’s sharpened. Gwen is unfiltered. She’s the type of grandmother who will casually mention a dark secret from her past while asking where the biscuits are kept.
Steadman brings a level of authenticity that grounds the show. Even when the plots get absurd—like trying to sneak a dog into a holiday park or dealing with a backyard swimming pool disaster—her performance keeps it real. She represents that generation of British parents who are baffled by the modern world but absolutely certain they know best.
And then there's Tom Basden himself as Robin. He’s Rachel’s brother. Robin is the guy who always has a "new business venture" or a "life-changing epiphany" that lasts about four days. His relationship with his partner Cherry (played by Tori Allen-Martin) provides a perfect foil to the Jessops. They are trying so hard to be sophisticated and trendy, which only highlights how messy and loud the main family is.
Realism Over Polish
British comedy has a long history of "cringe," from Fawlty Towers to The Office. Here We Go on the BBC fits into this lineage but adds a layer of warmth that those shows sometimes lacked. You actually like these people. You want them to have a good day, even though you know the laws of sitcom physics won't allow it.
The writing avoids the "joke-joke-punchline" rhythm of American multi-cam shows. Instead, the humor comes from the pauses. The silence after someone says something truly horrific at a dinner table. The way a character stares into the camera when their parent says something soul-crushingly embarrassing. It’s observational comedy at its peak.
Take the episode about the family vouchers. We’ve all been there. You have a coupon for a theme park or a restaurant that’s about to expire, and you force everyone to go even though nobody wants to. The show takes that universal experience and cranks the tension until it snaps. It’s not just about the voucher; it’s about the underlying resentment, the competitive parenting, and the fact that the car's air conditioning is broken.
The Evolution from Pandemonium
It is worth noting how much the show improved after the initial pilot. While Pandemonium was great, it was very much "a pandemic show." Making a full series required moving past the lockdowns. The transition was seamless. The creators realized that the Jessops don't need a global virus to be in a state of constant emergency; they carry the emergency with them wherever they go.
Season 2, which aired more recently, really leaned into the ensemble. We see Sam and Amy (the kids) growing up and becoming increasingly horrified by their parents' behavior. Amy, played by Freya Parks, is particularly great as the cynical voice of reason. Her deadpan delivery is the perfect antidote to Paul’s frantic optimism.
How to Watch and What to Expect
If you are in the UK, you can find every episode on BBC iPlayer. For those outside the UK, it’s sometimes licensed to various streaming platforms, but the iPlayer is the primary home. There are two full seasons plus the original Christmas special/pilot.
What should you expect? Don't go in looking for a deep plot or a serialized mystery. It’s a classic episodic sitcom. You can jump in almost anywhere, though watching from the start helps you appreciate the running gags, like Paul’s obsession with his archery career or the recurring neighborhood feuds.
- Runtime: Each episode is roughly 30 minutes.
- Vibe: High stress, high reward. It’s the kind of show that makes you feel better about your own family.
- Comparison: If you liked Friday Night Dinner or Outnumbered, this is essentially the spiritual successor to those shows.
The Cultural Impact of the Jessops
It’s rare for a show to capture the "average" British experience without being patronizing. Here We Go manages it. It captures the beige food, the rainy holidays, the awkward small talk with neighbors you don't like, and the weirdly specific obsessions we all have. It’s a show about the middle-class struggle to appear normal while everything is falling apart.
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The show has been a hit for the BBC because it fills a gap. We have plenty of edgy, dark comedies and plenty of old-school studio sitcoms. We don't have many shows that feel like a home movie of our own worst moments. It’s refreshing to see a family that actually yells at each other. Most TV families are so nice it’s nauseating. The Jessops are loud, they are selfish, and they are constantly annoyed with one another. In other words, they’re a real family.
Why Critics Love It
The reviews for Here We Go have been consistently strong. The Guardian praised its "pin-sharp" writing, and The Times noted that it’s one of the few shows that actually understands the dynamics of modern family life. Critics often point to Tom Basden’s scripts as the highlight—they are dense with jokes. You can watch an episode three times and catch a new bit of background dialogue or a subtle facial expression you missed before.
There is a specific Britishness to the failure in this show. It’s not about grand tragedies; it’s about the tragedy of a forgotten birthday present or a botched attempt to build a garden shed. It’s the "smallness" of the stakes that makes the comedy so big.
Actionable Steps for New Viewers
If you're ready to dive into the world of the Jessops, here is the best way to do it. Don't just put it on in the background while you're scrolling through your phone. The "found footage" style means there is a lot of visual storytelling you'll miss if you aren't looking at the screen.
- Start with the 2020 Special: Even though it’s set during the height of COVID-19, it introduces the characters perfectly. It sets the tone for everything that follows.
- Pay attention to the background: Because Sam is "filming," there are often hilarious things happening in the corners of the frame or in the reflection of windows.
- Watch with family: This is one of those rare shows that actually bridges the generation gap. Teenagers will relate to Sam and Amy’s embarrassment, while parents will feel Paul and Rachel’s pain.
- Look for the guest stars: The show often features great cameos from the world of British comedy. Keep an eye out for familiar faces from Peep Show and The IT Crowd.
The show is a reminder that while your family might be a nightmare, at least you aren't trying to film them for a school project while your dad accidentally sets fire to a rental cottage. It’s comedy as a form of therapy. And honestly, we all need that right now.
The genius of Here We Go is that it doesn't try to be anything other than what it is: a messy, loud, hilarious portrait of a family that can't get out of its own way. It’s one of the best things on British television, and it deserves every bit of the praise it’s getting. If you haven't started it yet, you're missing out on the funniest half-hour on the BBC.
Once you finish the first season, take note of how the dynamics shift. The second season moves away from the "event of the week" and focuses more on the long-term weirdness of the characters. It’s a rare example of a show that gets more confident as it goes on. Stop waiting for a "good time" to watch it and just hit play. You'll thank yourself when you're laughing at Paul Jessop trying to navigate a simple social interaction and failing spectacularly.