Following its 2006 release, few thought that the film This is England would have a sequel. However, over the past nine years, Shane Meadows’s drama has documented seven years of British history.

The first face we see in the film is Margaret Thatcher’s, and it is not lost on Meadows what a fitting year 1990 would be to conclude his story. The opening episode’s introductory montage is scored by The La’s ‘There She Goes’, and ends with Thatcher’s resignation. It is a series seen by many as a document of life in Thatcherite Britain, its political potency arguably a result of its apolitical approach.

Where This is England soars is in the naturalism of its performances, the believability of its characters, and the emotional devastation which it explores. However, beneath the period politics and dark drama, what is frequently forgotten about This is England is how funny it can be; something that these first two episodes remind us of.

Like the film that preceded them, the two mini-series to date have started light, before inevitably descending into darkness. The opening episode of This is England ‘90 is no exception. Each episode is a season of the year and the only real drama in ‘Spring’ is a scuffle between Shaun (Thomas Turgoose) and the new boyfriend of his ex, Smell (Rosamund Hanson).

It is during ‘Summer’ where the fuse is really lit. An attempt to take part in the rave scene naturally doesn’t go well for our characters. This is first played for laughs as the gang gets lost, and they are forced to turn to the thankfully upgraded and even more hilarious Flip (Perry Fitzpatrick) and Higgy (Joe Dempsie). However, after they stumble across an alternative gathering, an extended sequence begins that, while joyously disorientating at first, culminates in one of the more uncomfortable television scenes of the year.

Meanwhile, the imminent return of Combo (Stephen Graham) threatens to derail the domestic bliss that Woody (Joseph Gilgun), Lol (Vicky McClure), and Milky (Andrew Shim) are currently enjoying. Whilst often credited for his dialogue and the performances he can inspire, Meadows is rarely cited for his visuals or for the atmosphere he can create. ‘Summer’ is a striking demonstration of what a complete and versatile director he is.

The performances have been as good as ever, and undoubtedly each major cast member will be given even more material with which to show their worth over the next two episodes. Particular standouts over the first two episodes have been Chanel Cresswell as Kelly, and Andrew Ellis as Gadget. Whilst the former has been sidelined in the series to date, and the latter has been used principally as comic relief, at the end of ‘Summer’ both are given an opportunity to flex their dramatic muscles. It is apparent both will be more significant characters as the series reaches its end, and their work helps strengthen what must be one of the finest ensembles in British drama.

The coming of ‘Autumn’ and ‘Winter’ is sure to bring with it much emotion, and it is a testament to the work done by Meadows and his cast that longtime viewers are filled with a genuine sense of dread about what is to come. This is England ‘90 is certainly no place to start for the newcomer. An understandable criticism levelled at the first two episodes of This is England ‘90 has been its slow pace and self-indulgence. It’s all Stone Roses, drugs, and barbecues... where’s the drama? What’s happening? Whilst very much reliant on your goodwill, the next two episodes are sure to deliver on those more apocalyptic expectations and when they do, we will long for the carefree days of spring and summer.