DRAMA & COMEDY
accompanies her to report the assault and make a statement at the local police station, where Aimee becomes so anxious that she farts. The second is in episode five, when Otis
goes on an awkward country walk with his father Remi and his friend Eric. When they get lost and end up in a hotel, he sees Remi flirting with one of the hotel staff. The pay- off, when Remi breaks down, is at once both funny and utterly excruciating. Both are great examples of the Sex
Education tonal register, Campbell says. And they demonstrate where – and how far, at times – the series can go powered by the juxtaposition of open-hearted drama and broad-based comedy. “I wouldn’t say that any subject is
Campbell explains. “The balance between the dramatic and the comedic makes for a tonal register that fits very well with the themes it sets up with issues that can be thorny, at times painful, and demand a degree of self-reflection. I think that’s what makes the comedy Sex Education’s beating heart.” He cites two cases in point from season
two, in which new students arrive and the Moordale status quo shifts as Otis (played by Asa Butterfield) and Ola (Patricia Allison) get together, as do Eric (Ncuti Gatwa) and Adam (Connor Swindells), and there is a chlamydia outbreak at school where Jean (Otis’ mother, played by Gillian Anderson) becomes
resident sex therapist. The first is in episode three when Aimee
is sexually assaulted on the bus to school – a storyline which he says he is especially proud of for its dark and light and has been widely praised for playing out not just in one episode but over time as the repercussions and mental health after-effects play out.
I WOULDN’T SAY THAT ANY SUBJECT IS TABOO WHEN IT COMES TO THE COMEDY IN SEX EDUCATION
After the assault, Aimee confides in her friend Maeve (Emma Mackey), who
taboo when it comes to the comedy in Sex Education. But what I would say is that, though wide-ranging in type and tone, because it can be at times open-hearted, vulnerable, and sometimes self-aware, the comedy is quite old-fashioned,” he adds. “Comedy of the past 20 years in Britain
and elsewhere can be quite self-reflective, and at times more theoretical. In contrast, comedies in the 1980s and 1990s – think of John Hughes movies of that period – tend to be more unabashed and wear their heart on their sleeve and, in a way, they are kind as the comedy doesn’t have to be at others’ expense.” It’s a fine line to tread, Campbell
admits: “Laurie has set something up that deliberately has some high-risk elements.” But all involved, one suspects, would not have it any other way.
Post Production SPS Post can deliver to virtually any brief, with a staggeringly broad slate showing we can turn our hands expertly to scripted comedy, powerful documentary, quick-turnaround sports, beautiful and engaging promos, and shiny floor studio shows – we’ve got the kit and the talent to deliver on your production.
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The Russell Howard Hour S5 SPS Talent Involved Editors: Chris Hay, Luke Smith Audio: Marek Bielski Post Producer: Vickie Mansell
www.productionservices.sky televisual.com 09 BD
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