This Is England '86

What an incredible follow up to the movie which was also excellent.

This Is England '86 is even more moving and gripping. It was also in turns intense, tragic, funny and incredibly sad. The characters are engaging, fascinating and original. Their friendships and relationships are so well portrayed, there is nothing Hollywood about this, it's real life. The stories that weave them together through this short series are real and believable. Some moments I was holding my breath in anticipation of what was coming - there is nothing predictable in this story line. I lived through this period and felt the series captured it authentically. I want to especially pay tribute to the music chosen in this series. Some absolutely astonishing songs that add to the pathos of the story and characters, in particular songs by Paul Weller, The Jam and Fleetwood Mac that I had not actually heard before. This series has sent me down a few rabbit holes trying to find more about the soundtrack.

Thank you to Shane Meadows for writing and creating this and to all involved in it, it's tough and gritty but real and rewarding, it's eye opening and it's art damn it!!

I am so looking forward to watching the next series This is England '88.

I was a 16 year old skinhead in Sydney Australia back then in 1986 and this pretty much sums it all up. A heap of kids from broken homes coming together. Rather than drugs it was drinking, music and each other. Skins, Rudy's, Mods, Rockers we all came together. There used to be soccer matches with all the sub-cultures it was a great time. This is perfect because it shows skinheads as they were not seig hailing nazi boneheads. I hope this series is extended it is a prefect reflection of that era. The characters are perfect and the different sub- cultures portray. Even in 2011 bands from that era are enjoying more success today then back then.

I'm an ex-pat Brit living in the us.

and i can tell you most American viewers wouldn't last past five minutes into this show.

the cast is below average in looks, some are deformed, they talk funny; the characters are a mixture of the depressed, depraved, the thick and the stupid. the acting can only be described as a work in progress, and they lead dead end lives in dead end places. there ain't no glamor here.

all this will repel viewers whose identity is cast by fashion and t.v. programming. this show could never find a spot anytime on a us network. episode four would send middle America into a terminal tale spin--but it's not their fault. we don't get this kind of material because the money men who run us television only care about the cash--the baby faced producers would say, "who wants to watch a show about ugly losers?".

and if you want to hold up PBS as a daring non-commercial network, then drink some more koolaid. their emphasis is Lawrence welk for the primary, grey haired donors, and pimping a brainwashing liberal agenda through their political programming. they might find the balls to show a program like this around the 23rd century.

but i love it.

the original film, and this following series, seems to take a cast of mostly inexperienced actors, who may have lived the parts, and coaches them through a working class reality which at its core is full of camaraderie, loyalty, forgiveness and love. not the prettified sitcom love, but a love grown through lifelong community and shared pain, a love of real sacrifice.

these people are flawed like the rest of us, but they are not us. at first we reject their world as alien, but we see, through time, they share all our fears and traumas. we too are all common.

and thank god someone is making something about real people.

the great shame is: only a few Americans will ever see this show. we need to raise the bar, and flush out the cobwebbed hierarchy at PBS. i just hope we don't have to wait until the 23rd century for our programming to catch up. i don't think i can wait that long.

Just finished re-watching This Is England '86 and I completely forgot how utterly brilliant it is. I've laughed and cried, just raw emotion throughout. Ludovico Einaudi's scores made the series truly magnificent. Such a phenomenal bit of telly - 10/10. If you haven't seen this, watch it followed by '88 and '90 and if you have seen them, watch them again!

The father/son element took on contemporary resonance in the earlier work: its exposition made clear that Shaun was fatherless due to his father being killed whilst serving in the Falklands War, and though grossly misguided, Combo's anti-war rant to Shaun provokes a great anger and frustration in the youngster because of its essential truths – that the war itself was being fought under false pretences, fed to tame the same working classes that Margaret Thatcher had openly waged war on. The film's release, at a time in which the UK was once again involved in an escalating imperialist war – this time in both Iraq and Afghanistan – gave it an extra political edge.

This material, even in the hands of a limited cinematic storyteller such as Shane Meadows, proved quite powerful at points. Meadows himself apparently saw much further potential in the work: "When I finished This Is England, I had a wealth of material and unused ideas that I felt very keen to take further," he said in August 2009. "Not only did I want to take the story of the gang broader and deeper, I also saw in the experiences of the young in 1986 many resonances to now – recession, lack of jobs, sense of the world at a turning point. Whereas the film told part of the story, the TV serial will tell the rest." Though these sentiments ring true for the film, the mini-series, we should say before anything else, is a mostly vacant work, with no significant attention paid to a recession, to unemployment, to a sense of political and social upheaval. If the central relationship between Combo and Shaun offered a potentially rich examination of political disillusionment amongst the young in both the England of the Eighties and of the present day, its television follow-up, co-scripted with Meadows by Jack Thorne, makes an industry out of fashionable miserablism, forced humour and a moral viewpoint that can only be described as confused at best.

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