Barry in Britain: A Hidden Gem Worth Finding

BEN AUDLEY | CONTENT WRITER

Seasonfour of Barry, Bill Hader’s critically acclaimed dark comedy series, has now finished filming. Whilst an official release date is yet to be announced it surely will not be far away. Despite the imminence of the next batch of episodes, and the array of awards that the show has already won, there seems to be little anticipation or noise for the next series instalment in the UK. It seems worthwhile, then, to review the series so far, and to consider why the show has failed to gain the audience it deserves in Britain.

Season one of Barry, whilst critically acclaimed, is something of a chore to get through. Perhaps this is just a British sensibility. The show is after all a comedy, particularly in its first season, and the differences between American and British senses of humour are welldocumented. For whatever reason, much of Barry’s first outing falls flat. There are flashes of the brilliance that would come to define the show, but the season largely leaves a lot to be desired due to lazy stereotypes and two-dimensional characters, which are frustratingly prevalent. This is not to say that the first season should be skipped: it is simply a word of warning for any first-time viewers, and a promise of improvement.

The fifth episode of season two, ronny/ lily, marks a real turning point in the show. Seasons two and three add deftness to the comedy, and Hader dials up the cinematic qualities in his direction. The show also leans more into its drama. Those stereotypes hanging over from the first season are dealt with head on, making for some of the most interesting and well-rounded characters on modern TV. The tone is better balanced too, with humour woven into character interactions and the overarching themes of the show, rather than being haphazardly thrown in. Any viewer that makes their way through the first season is handsomely rewarded by what follows.

The show is not only technically brilliant, but also deeply original and modern. Barry is a fascinating reflection on shows such as Breaking Bad and The Sopranos, where the male lead is drawn to violence and power. In Barry, this trope is inverted. Barry himself wants to escape his violent nature, not tap into it. Moreover, the depth and development of both the female characters and the compelling queer subplot is admirable, particularly from the second season onwards. It is a wonder how Hader and co-creator Alec Berg create such compelling characters and story with only half-hour episodes.

So, why is no one talking about Barry?

It is principally HBO’s exclusive partnership with Sky that has limited the impact of Barry within the UK. The show is only available to stream via packages available with Sky or Now TV subscriptions, or to buy on Prime. If the show were available on more popular services such as Netflix or Disney+, it would stand a better chance at being receptive of the same public attention which the likes of The Boys or Ted Lasso have received. As it stands, Barry’s fourth season looks set to be just as compelling as its last and, sadly, just as underappreciated.