The BBC's sharp corporate satire returns with Twenty Twenty Six, a new series that continues the mockumentary tradition of Twenty Twelve and W1A but transplants the action to the United States for a fictional World Cup. The show's central joke remains the absurdities of management speak and institutional incompetence, now viewed through the lens of international football politics.
A Familiar Face in a New Setting
Hugh Bonneville reprises his role as Ian Fletcher, the eternally bemused bureaucrat who has somehow climbed the ladder of meaningless titles. Formerly Head of Deliverance for the London Olympics and Head of Values at the BBC, he now serves as Director of Integrity for the upcoming US soccer tournament. Little has changed in his demeanor; he remains portlier and more grizzled but still offers his trademark conditional agreement to everything, murmuring 'Well, yes, I mean no-yes' when pressed.
The FIFA Factor
The series opens with a pointed jab at football's governing body. Narrator David Tennant repeatedly says 'FIFA', only for it to be bleeped out each time—supposedly for legal reasons, but the effect turns the word into something far ruder. This sets the tone for a show that isn't afraid to mock real-world controversies, including last year's fictional awarding of a FIFA Peace Prize to Donald Trump.
Ian finds himself in 'Miami, somewhere in Florida', tasked with tidying up minor details like where the matches will actually be played. The writing, once again by John Morton, remains pin-sharp in its parody of corporate clichés, cramming as many management buzzwords as possible into every exchange.
Cast Changes and Character Concerns
Notably absent are previous stars like Jessica Hynes, Sarah Parish, and Jason Watkins, and their absence is felt. The opening episode feels decidedly lightweight without them, though Hugh Skinner does make a late appearance as the gormless Will Humphries, who may or may not be there to offer mentorship.
A Transatlantic Gamble
Setting the show in the United States represents a significant risk. The previous series succeeded by satirizing a very British type of incompetence—nervous, self-deprecating, and getting away with uselessness because everyone is too polite to complain. As one character notes, when Ian opens a meeting with 'Can we make some sort of start?', an American colleague gasps, 'Oh my God, so British!'
But the shift in location raises questions about whether the new characters are well-observed or merely lazy stereotypes. An angry Mexican woman who lapses into Spanish, a laidback Canadian who scorns all things American, and a 'mostly Belgian' boss defined by a silly accent—these portrayals risk feeling one-dimensional compared to the nuanced British incompetents of earlier series.
High Points and Cultural Clashes
The best moments come from the classic fish-out-of-water scenario, as Ian flounders in the New World. A highlight sees him grappling with how to behave during the US national anthem, settling on clenching his fist over his heart—a gesture that could be read as fiercely patriotic or a sign of angina.
Ultimately, Twenty Twenty Six delivers the same sharp writing and corporate satire that fans expect, but the move to an American setting brings both fresh opportunities and potential pitfalls. Whether it can capture the same magic as its predecessors remains to be seen, but for now, it offers a witty, if slightly uneven, return to the world of bureaucratic absurdity.
