This life's return: a decade-defining drama still buzzing

Thirty years ago, a drama about young lawyers, sex, drugs, and messy relationships swaggered onto British television, and changed the game. This Life, returning to BBC Four this week, wasn’t just a show; it was a cultural earthquake. And the tremors are still felt today.

A rebellion against the courtroom

Amy Jenkins, the show’s creator, wasn’t aiming to write a legal procedural. “Fuck, so boring,” she admitted, recalling the initial BBC brief. Jenkins, fresh from a brief stint as a lawyer herself, envisioned something far more raw and honest: a glimpse into the chaotic lives of post-university graduates, navigating love, careers, and the temptations of London’s underbelly. Michael Jackson, then BBC Two controller, wanted to emulate Channel 4's edgy programming, and Jenkins delivered a show that was both cool and shockingly relatable.

The hook that launched a generation

The series followed a group of law graduates sharing a dilapidated house near Southwark Bridge, where booze flowed freely, witty banter filled the air, and debauchery was a regular pastime. The show’s brilliance lay in its unflinching portrayal of a generation grappling with identity and consequence, a generation that hadn’t seen itself reflected on television before. Andrew Lincoln, as the charmingly flawed Edgar (Egg), and Daniela Nardini, as the fiery Anna, became instant icons, their will-they-won't-they romance captivating audiences.

Beyond the buzz: therapy and taboo subjects

This Life wasn’t just about romance and revelry; it tackled previously taboo subjects with remarkable candor. Warren’s therapy sessions, portrayed with surprising depth, predated HBO’s groundbreaking series like The Sopranos and In Treatment. The show also fearlessly addressed issues like eating disorders and HIV scares, pushing the boundaries of what was acceptable on mainstream television. “Therapy makes for great scenes,” Jenkins quipped, a testament to the show’s willingness to delve into complex human emotions.

A proto-fleabag and its enduring legacy

Anna, as portrayed by Nardini, was a complex, self-sabotaging character—a precursor to Phoebe Waller-Bridge’s Fleabag. Nardini’s BAFTA-winning performance cemented Anna’s status as a groundbreaking television heroine. “One of my proudest moments was getting a letter from a young gay man. He said: ‘I want to thank you because your show changed my life’,” Jenkins recalls, underscoring the show’s profound impact on audiences.

The bbc’s tight reign and a near-naked moment

The BBC, while largely hands-off creatively, did impose some restrictions. “They cut three seconds off a blowjob,” Jenkins revealed with a wry smile. And there was a limit to the number of “fucks” permitted per episode, with Anna, naturally, receiving the lion’s share. The show even flirted with a controversial scene—a bath-time encounter—that Davenport ultimately refused to film.

From late nights to prime time: a word-of-mouth phenomenon

Initially airing on late-night BBC Two, This Life gained traction through word-of-mouth and repeat broadcasts. Promoted to a prime-time slot, it drew a substantial audience and spawned a soundtrack album curated by a then-unknown Ricky Gervais. The show’s success paved the way for a wave of similarly edgy dramas, influencing everything from Cold Feet to Life on Mars.

Thirty years later, This Life remains a testament to the power of bold storytelling and relatable characters. It’s a reminder that sometimes, the most groundbreaking television is born not from grand ambitions, but from a simple desire to portray life, with all its messiness and imperfections, as it truly is.