Big Mood, a boisterous comedy created by playwright Camilla Whitehill, brings together the talents of Nicola Coughlan from “Bridgerton” and Lydia West of “It’s a Sin” to explore the intersection of mental illness and friendship. With Fremantle at the helm of global distribution, this project will be presented at Cannes as part of its Mipcom lineup, commenced on October 16.
This forthcoming Channel 4 series offers a brilliantly sardonic and enthralling comedic experience while providing a heartfelt portrayal of mania and the impact of biologically-induced despair in a world where mental health is often commodified and sanitized for mass consumption. Whitehill skillfully crafts a deeply nuanced character in Maggie, portrayed by Coughlan, whose bipolar disorder leads to erratic swings as she strives to regain control over her vanishing autonomy, all while clinging tightly to her lifelong friend Eddie, played by West.
We’ve patted ourselves on the back for addressing mental health concerns, but the reality is that we’ve barely scratched the surface. We tend to be comfortable with issues that aren’t too unsettling or that remain hidden behind closed doors. Mental health conditions that come with side effects or manifest differently still trigger our fear of the unknown. Expanding our comprehension of mental illnesses beyond depression and anxiety, and gaining insight into how people around us might be influenced by their medication, is a crucial step towards a more informed and compassionate society, Whitehill shared with Variety.
I’ve seen people with mental health challenges get treated like they’re on the outskirts of society, often getting arrested or just seen as troublemakers. Observing someone leading a functional life while grappling with profound struggles is not only significant but also prevalent within our generation. This show’s timing is impeccable; it serves as a platform to reignite those discussions and destigmatize talking about mental health, West emphasized.
Directed by Rebecca Asher, known for her work on “Dead to Me” and “Brooklyn Nine-Nine,” the series kicks off with Maggie navigating the streets of London on an electric scooter. Clad in a striking matching jumpsuit, her blonde hair elegantly wrapped in a chic scarf, and sporting oversized sunglasses, her charisma shines through. Upon reaching her destination, she nonchalantly sells the scooter to onlookers and dashes into a pub to meet Eddie, who promptly calls her out on her impulsive behavior. The episode swiftly establishes the co-dependent dynamic between the two characters, with Maggie persuading a hesitant Eddie to momentarily leave behind his responsibilities as a bar owner to accompany her to a speaking engagement she impulsively arranged at her former high school. Mischievous adventures ensue.
“Authenticity is key when portraying this friendship. If the connection between Maggie and Eddie felt strained or insincere, the audience wouldn’t buy into it, and their investment in the story would be compromised,” West emphasized.
The authenticity of their friendship, and the entire ensemble, indeed shines through in a way that swiftly endears the audience to the entire cast. From the central characters with their captivating qualities to the peripheral figures who inject their own quirky storylines into the already compelling narrative, every member of the cast contributes to story arcs that practically demand a binge-watching experience.
The show’s cast is stacked with talented actors, including “Ukweli Roach (Wolf), Kate Fleetwood (Wheel of Time), Sally Phillips (Veep), Amalia Vitale (Willow), Niamh Cusack (The Virtues), Luke Fetherston (Flowers in the Attic: The Origin), Eamon Farren (The Witcher), Rob Gilbert (Big Boys).”
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Coughlan highlighted the pivotal role of supporting actors in shaping the show’s world, emphasizing the importance of creating a welcoming and supportive environment on set. She expressed how she and Lydia aimed to foster such an atmosphere, ensuring that everyone felt valued and encouraged.
Coughlan added, “I don’t want to get overly sentimental, but it was an exceptionally warm and considerate set. Everyone displayed remarkable support for one another.”
Episode two unfolds with Eddie coaxing Maggie, who is almost catatonic and confined to her couch, into embarking on a brief birthday errand. This errand takes an unexpected turn as it transforms into a surprise “Love Actually”-themed celebration at Eddie’s bar. Friends conspire to ensure that Maggie doesn’t escape the costume-clad event, encouraging her to endure the pleasantries of her family, friends, and special guest Joanna Page. The tug-of-war with her mental illness permeates every scene, while the bar contends with a pest problem, and Maggie resorts to hallucinogens to cope with the anxiety stemming from an impromptu social interaction. Her tentative approach to navigating the world becomes increasingly evident.
Whitehill, who penned the six-part script, underscores the importance of adult friendships, especially in a generation where it’s no longer a given that individuals will be married with children by the age of 30. Instead, many are pursuing their dreams, and these friendships are among the most crucial and delicate relationships. Each episode reflects Maggie and Eddie’s journey as they navigate the complexities of her disorder and the limitations it imposes on her ability to reciprocate Eddie’s unwavering loyalty when it is needed most.
In today’s world, the traditional support network often consisted of one’s family. However, that dynamic is shifting, and friendships have become increasingly vital. Despite their importance, friendships are not always accorded the same level of reverence as romantic or familial love. Female friendships, in particular, are a cornerstone of my world, and they’ve been instrumental in helping me navigate many challenges. However, when these friendships falter, it can be just as heart-wrenching as a painful breakup,” Whitehill shared.
Big Mood transcends the prevailing ignorance surrounding mental illness, interweaving high-octane one-liners with the stark realities of the disease. Unapologetic and unfiltered, every scene challenges tired stereotypes. The series avoids painting with broad strokes and eschews the need for escapism, striking a delicate balance between heart-wrenching and hilarious. Running jokes are strategically placed throughout the script, serving as a reflection of real-life coping mechanisms and highlighting how laughter can help people process and digest profound traumas.
“Whitehill reflected, ‘Comedy is a powerful medium for storytelling.It can aid in our comprehension of challenging subjects without the sensation of receiving a lecture. I’ve consistently possessed a rather dark sense of humor, and I hold the belief that, when presented appropriately, almost anything can be humorous.'”
“In the writing process, I felt strongly supported in crafting humor out of subjects that many might have hesitated to tackle humorously. Being able to fully commit to the tone I envisioned has brought me immense joy,” she added.
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Coughlan, who has maintained a close friendship with Whitehill since their time at drama school, effortlessly established a strong chemistry with West. While West, known for her outstanding performance in HBO’s “It’s a Sin,” initially didn’t consider comedy her strong suit, she found herself in the company of Coughlan, whose role as Clare in “Derry Girls” catapulted her remarkable comedic talents to a global audience. Their collaboration created a harmonious and humor-filled partnership.
“From the get-go, it just felt right. That’s something you always hope for, that you don’t have to fill in a lot of gaps. With this show, there weren’t really any gaps to fill in. I thought, ‘Yes, this is all going to come together just as it should,’” Coughlan shared.
She also acknowledged that playing a deeply depressed character with a strong sense of humor presented its own set of challenges. While the writing was undeniably humorous, finding the right balance was crucial.
West, who has primarily worked in drama, found herself somewhat nervous about taking on a comedy role. She expressed that while she had previously appeared in an American comedy, it lacked the distinct British sensibility and was not as sarcastic or dry. However, the confidence and support from the “Big Mood” team helped ease her transition into comedy.
Observing the editing process and the show’s evolution from the first episode was a remarkable experience for West. She appreciated the emotional spectrum the series explored, allowing it to seamlessly navigate between humor and deeper, more profound moments.
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The series is brought to life by a team of accomplished professionals in the industry. It’s executive produced by Laurence Bowen (“The Responder”) and Chris Carey (“Crossfire”) at Fremantle’s Dancing Ledge Productions, along with Lotte Beasley Mestriner (“The Young Offenders”). The production is skillfully overseen by producer Georgie Fallon (“The Following Events are Based on a Pack of Lies”).
Jens Richter, CEO of Commercial and International at Fremantle, emphasized the show’s unique appeal and its ability to address a profound and important topic while infusing it with genuine humor and entertainment. He praised the incredibly talented cast for their stellar performances, noting that their chemistry played a vital role in achieving the right on-screen balance.
Furthermore, Richter underscored the importance of the show’s underlying subject matter, highlighting its global relevance and its capacity to shed light on a common yet often misunderstood issue.
