On a Monday morning in Miami, Ian Fletcher, portrayed by Hugh Bonneville, finds himself in a meeting that is merely a precursor to another meeting, the results of which will likely be discussed at yet another gathering—or perhaps even a seventh. This meeting holds a deeper significance for Ian, who has recently taken on the role of “incoming director of integrity” at a global football organization (the narrator, David Tennant, notes that the name cannot be disclosed for legal reasons). It serves as an introduction for Ian into a corporate environment that is described as “irretrievably American.”
“Shall we get started?” Ian prompts his colleagues, but is met with an exaggerated response from Sarah Campbell, the sustainability officer played by Chelsey Crisp. “Oh my God, so British!” she exclaims, dramatically placing her hand over her heart.
This is just one of the many challenges Ian faces in the six-part mockumentary series, “Twenty Twenty Six.” He navigates a sea of irretrievably American colleagues, along with a few unyielding Mexicans, several rather dull Britons, and a Belgian named Eric who frequently makes cryptic statements and sports a beard resembling sand.
As the head of the oversight team, Ian’s task is to guide this eclectic group toward success, or at the very least, to silence their incessant queries of “What is the story here?” long enough to ensure the upcoming World Cup runs smoothly. Good luck with that, as they say.
Viewers may recognize Ian from previous series; he was previously the head of deliverance at the Olympic Deliverance Commission in the acclaimed “Twenty Twelve” and later the head of values at the BBC in the self-referential “W1A.” Now, in John Morton’s latest installment, Ian finds himself “in Miami, somewhere in Florida,” where corporate jargon is served alongside fresh orange juice, and potted palms abound. Despite the new setting, the humor retains its mildly satirical edge.
The premiere episode showcases the team debating which cities should host the “soccer semi-finals,” with the terms “Fifa” and “Cup” bleeped out due to legal constraints. Subsequent episodes delve into absurd topics such as wooden condoms and David Beckham.
Much like its predecessors, “Twenty Twenty Six” portrays a team that lacks clarity about their purpose. While “W1A” featured characters like Simon Harwood and Siobhan Sharpe, this series presents a collection of roughly drawn caricatures, each equipped with a signature joke delivered with heavy-handedness.
Some of these comedic attempts land better than others. Alexis Michalik excels as Eric Van Depuytrens, a self-important figure who exudes a fog of complacency. Additionally, the return of Hugh Skinner as the beleaguered assistant Will Humphries is a welcome sight, portraying a man visibly burdened by his own foolishness. However, the character Gabriela De La Rosa, played by Jimena Larraguivel, relies on the stereotype of an angry Mexican woman, a joke that feels outdated and misplaced within the context of this comedy.
The series employs the traditional mockumentary style, with the camera shakily focusing on trivial whiteboards and circling the heads of the oversight team like a concerned relative at a somber gathering. The humor feels somewhat stale, with several scenes dragging on without delivering a punchline, possibly distracted by the decor. Although Tennant’s narration is spot-on, the absurd energy characteristic of Morton’s earlier works appears diminished. Additionally, the series seems uncertain about its targets; while “W1A” boldly critiqued the BBC, “Twenty Twenty Six” takes a more meandering approach, skirting the direct issues related to Fifa and football itself, instead dwelling on vague corporate absurdities and American quirks.
“What is the story here?” one might ponder during a meeting. If only there had been a gathering to discuss the outcome of that question, “Twenty Twenty Six” might not come across as such a missed opportunity.
“Twenty Twenty Six” has premiered on BBC Two and is currently available for streaming on BBC iPlayer.
