This is England ’90 Review: Episode One ‘Spring’

It’s been a long wait since October 2014 when shooting for Shane Meadows‘ next installment on the THIS IS ENGLAND franchise began filming in Sheffield, but after sneak peaks and rave-packed trailers, finally THIS IS ENGLAND ’90 graced our screens on Channel 4 last night, as our favourite gang of one time skinheads burst back into our lives with the same gusto they brought all the way back in 2006. 

Following on from the 2011 series THIS IS ENGLAND ’88, the next chapter sees the gang at the beginning of the 90’s era as we’re treated to a trademark Meadow’s montage of all things 90’s. With the bright and cheerful There She Goes by The LA’s accompanying footage of Thatcher’s resignation, the Strangeways riot, Gazza’s football fallout’s and the last influx of the pre-digital working class generation. The song not only sets the time brilliantly, tapping into that nostalgic feeling on pure joy, but also juxtaposes with the gritty realism of a 90’s broken Britain; a mixture that Meadow’s is no stranger to and has perfected so wonderfully.

After surviving the horrors of last season’s drama, it’s so comforting to be confronted with the friendly face of Gadget (Andrew Ellis), introducing the era with his already warped wardrobe of 90’s neon as he visits Kelly (Chanel Cresswell), Chrissy (Katherine Dow Blyton) and Lol (Vicky McClure) as they work in a local school kitchen. With Lol in charge of the familiar dinner ladies, Woody (Joe Gilgun) resides at home with Milky (Andrew Shim) as the two act as a parental team to Lol’s child with Milky and a baby of their own. Seeing the two of them back together is a stellar treat for fans after the trauma within their relationship back in ’88, it aids to the feeling on contentment that settles audiences back into the lives of the gang as they too settle into the new era. 

There’s no doubting that this sense of contentment won’t last for long, as we eagerly await the arrival of drama and so the season’s comedic relief is quickly introduced in the form of double act Higgy (Joe Dempsie) and Flip (Perry Fitzpatrick). While the boys are familiar from their quick stint in THIS IS ENGLAND ’86, there’s hope that they’ll play a bigger role in the latest series and the comedic chemistry between them brings a joyous sense of juvenile humour, with  last night’s ‘sniff-banging’ scene standing out among one of the very best. With such intense themes of drama running throughout all of Meadows’ work and in particular the THIS IS ENGLAND franchise, it’s so important to have the relief of lighthearted, silly comedy and he really does treat us with the extended inclusion of Flip and Higgy. 

Continuing to piece together this once broken family, it’s wonderful to see Lol and Woody together again as the fiercely loyal and natural couple they were always destined to be. As we see them working their way towards domesticated bliss, their smooth sailing boat threatens to be rocked as Woody’s parents have not only taken in his ex-girlfriend as a lodger, but also propose that she cares for their children while Woody returns to work at the factory as junior partner with is one time boss Mr. Squires (William Travis). Woody loses his temper at his parents judgmental nature and we once again see Lol act as his moral compass in calming him down.

This 90’s rave culture gets a brilliant introduction as we’re thrown into a haze of cheap disco light, sticky disco floors and casual dance floor drug use as Meadows represents the birth of the clubbing culture. It’s here that we get a real glimpse at our once forefront character, Shaun (Thomas Turgoose), as he struggled to deal with the dramatic end to his relationship with Smell (Rosamund Hanson) after his infidelity. Shaun is clearly not over Smell as fists fly at the local disco when Smell’s new mega-goth boyfriend introduces himself. Our gang revert back to their original roles as we see Shaun lashing out, Harvey (Michael Socha) acting as protector and Lol continuing to play the mediator. 

There are moments within the episode that hint at how the series will pan out. Meadow’s makes note of the aftermath of Mick’s death as Kelly’s emotions slowly creep the surface of the narrative and subtly hint at the issues to come. There are many lingering shots of Kelly herself, including footage from the trailers and it’s clear that this series will follow her dealing with the previous series dramatic ending. The episode ends with Shaun crying alone in the street, piano keys chiming in the background; echoing  a tune so wonderfully familiar to the original films beautiful score, acting as a haunting reminder that the real drama is yet to come. 

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