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The new comedy series Breeders explores the paradox that every parent knows but never admits: you would willingly die for your children, but quite often you also want to kill them. Martin Freeman stars as Paul, a caring father discovering he's not quite the man he thought he was. His partner in this impossibly steep parental climb is Ally (Daisy Haggard), who runs a recording studio, makes Paul laugh and has the ability to read a story to their children while she's technically asleep. In this honest and uncompromising comedy Paul and Ally are juggling full-time careers, aging parents, a mortgage, upheavals in their relationship and the unenviable curveballs of parenting their young children, Luke and Ava. (HBO Europe)
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Season 1 – 80% – I was afraid this would be a series of dry, obvious situations about "a child screaming/crying/talking when it shouldn't". And that's exactly what the parents are like – but luckily only in the pilot episode. There are plenty of moments in there that naturally arise from the premise. The kids are alternately pitiable and annoying, the mom is indifferent, the dad is not, and he constantly shouts and swears at the kids. And then the later episodes come, with longer storylines, unexpected seriousness, honest dramatic moments, and twists, and from an average start this suddenly becomes a likable and seemingly recognizable piece of genre TV. Over time, Martin Freeman plays more and more himself instead of a bundle of nerves, which adds to his likability, and I can immediately empathize with the main character almost unconditionally. The only thing was maybe that his colleague Darren could stay at work next time and not get involved, because he ended up seeming like he was coming from a different series. Season 2 – 85% – Thanks to the modified dynamics, it's even more creative, (melo)dramatic, and simply better. The foundation remains more of the same, but perhaps due to more space for the parents of both main characters (especially Alun Armstrong as Jim), I enjoyed the second season even more. Just like before, it surprises with an unexpectedly forceful final seriousness, but as long as it also brings Freeman's brokenness and tearful smiles (his strongest acting role by far), there is nothing else to do but watch the events on the screen in fascination. Season 3 – 90% – Probably a mature show at its peak, funnier than ever before, and so dramatic that it can almost shake me when the right moment comes. This was a surprising staple of spring evenings that cannot continue indefinitely, and that's why it is more valuable in today's times, which force TV series to achieve their greatest triumphs right from the start. Besides, Freeman has never been better, which counts for even more when the viewer can't always support him, maybe even the opposite.
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