The realism of ‘The A Word’ makes it so brilliant

‘The A Word’, a highly successful BBC One drama, returned to our screens for its third series this May. Set in the beauty of the Lake District, the drama follows the story of Joe Hughes (Max Vento), a boy diagnosed with autism. Through each of the episodes, he and his family go through many struggles and challenges. From his failure to respond to others, lack of boundaries and inability to live up to ‘normal’ expectations of a child, his diagnosis takes its toll on both him and his family. What I loved about the previous two series was their willingness to be honest, even when this caused audiences discomfort. It makes me extremely pleased to say the third series followed the excellence of those two series. 

As viewers, we have to gain a sense all the characters are evolving and going through new challenges

Every programme has to involve change and development between series. As viewers, we have to gain a sense all the characters are evolving and going through new challenges. This was certainly the case as series three commenced. It was with sadness that we learnt Joe’s mother Alison (Morven Christie) and father Paul (Lee Ingleby) had separated after over 20 years together. I had suspected this might take place; throughout series two their relationship had been strained as Joe attended a specialist school in Manchester, which left one parent in the city and another in the Lake District. But I had assumed that they would carry on, if not for themselves for the needs of their son. 

The realities of life facing a family, with or without an autistic child, are stark and realistic. Whatever the personal tensions between Alison and Paul, I admired their determination to do the best by their child. Throughout the previous series, it was evident that, for all the love they had towards Joe, an element of disappointment and a desire for an ‘ordinary’ child was there. Their personal desires differed from what is really in front of them. Though they felt ashamed for thinking this, they probably reflected what many parents up and down the country may have thought. Clearly flawed characters, it is clear throughout this series that Alison especially is willing to be a ‘bully’, if that means standing up for Joe’s needs. Unfortunately, it is not like anyone else is going to. 

Its key purpose therefore is to entertain as much as it is to create profound, inspiring messages

I’m not sure how accurate Joe’s portrayal of autism is compared to children who have the condition in reality. Autism is, after all, on a spectrum meaning there are many different varieties. Joe’s involves a repeated difficulty to make friends and properly communicate his thoughts. Often this will involve repeating what others say rather than expressing his own feelings. I think this creates a dilemma over what the purpose of the BBC series should be. While extensive research will have no doubt taken place, the programme is not a factual series but a fictional drama. Its key purpose therefore is to entertain as much as it is to create profound, inspiring messages. 

Indeed, it is obvious that all the characters, in some form or another, struggle with communication. Joe’s half-sister Rebecca (Molly Wright) from the first series has, sometimes justifiably, felt pushed to one side. The needs of her brother, in her mind, have come before her adolescent struggles growing up. This is well reflected in the third series when she returns from her latest term at university. It takes her a while to open up about being pregnant, especially from a partner who wants little to do with the child. Her desires for independence raising her baby conflict with her mother’s wishes to provide help, not least when Alison believes she is making an unwise decision. Only through recognising that having a child will always bring trials and tribulations, and the support of her best friend Tom Clarke (Matt Greenwood) is Rebecca able to bring peace and acceptance for becoming a young mother. 

It is there, away from the real world, where there is no judgement, nobody trying to challenge him

The excellent thing about the ‘The A Word’ is that the autism looms throughout, but doesn’t dominate. In series one, Joe temporarily went missing. Given his needs, the villagers searching for him had to be told about his autism and how this might change looking for him. As an individual, his best form of communication is through pop songs. Joe is often seen with his headphones on, singing away. It is there, away from the real world, where there is no judgement, nobody trying to challenge him. If he ever appeared on Mastermind, I have no doubt his specialist subject would be musical tracks and that he’d get every question correct. It is through memorising years, artists and song titles that his family are gradually able to communicate with him. 

Nobody has a perfect life in the village. That has been made clear, not least through the character of Maurice Scott (Christopher Eccleston). As Joe’s grandfather and Alison’s father, he adopts a far more traditionalist approach towards the world. In earlier series especially, he was unable to appreciate Joe’s condition and provide adequate support. Thankfully, he had mellowed by series three. His relationship with both Alison and her brother Eddie Scott (Greg McHugh) is strained throughout. Running through the series has always been a sense that Eddie didn’t live up to Maurice’s expectations as a son, that, despite his success running the Lake District brewery, there was always a distance and strain in their connection. Eventually, Eddie, having divorced his wife Nicola Daniels (Vinette Robinson), who appeared in earlier series, decides to move to London. Only through distance is he able to achieve any kind of proper connection with his father. 

Where, in a big city, it may be easier to blend into the urban environment, both the beauty and dangers of the Lake District are in its exposure

Throughout this coming of age series is the theme of identity. Who are we? Is the purpose of our existence to please others or to be our authentic self? While I would strongly advocate the latter, the importance of belonging and how one appears externally is pressing in such a rural village. Shamefully, Joe’s parents feel guilt that their son is perceived as the ‘village idiot’. Where, in a big city, it may be easier to blend into the urban environment, both the beauty and dangers of the Lake District are in its exposure. Eventually, both Joe and the characters come to the realisation that his autism need not define him. It is a morally neutral part of him – something he shouldn’t be ashamed of but also something that shouldn’t take over his life. 

There are moments of joy in what can be a hard hitting series. Since the first series in 2016, Maurice has had an on-off relationship with Louise Wilson (Pooky Quesnel) who leads the local choir and has been Maurice’s music teacher. In the second series especially, her cancer diagnosis created a profoundly moving moment of needing his support while also desiring independence. The challenges facing Joe are often reflective of what Louise has gone through with her son Ralph (Leon Harrop) who has Down’s syndrome. As Ralph meets his partner Katie (Sarah Gordy), he is able to demonstrate his growth, moving out of his childhood home to live with his wife. It is through his independence that Maurice and Louise are finally able to declare their love for one another. 

The brilliance of this drama is opening a crack, going behind the filter of the front door and focusing on struggles all humans face

A key quality of great drama series is when you believe in the characters. In order for this to take place, time is invested in their realism and a belief their stories will continue when the cameras stop rolling. I have always believed this with ‘The A Word.’ Though the series concluded well, all viewers were perfectly aware it was not going to end happily ever after. Joe and his family will continue to face challenges. But the brilliance of this drama is opening a crack, going behind the filter of the front door and focusing on struggles all humans face. Their lives are the lives of so many. The honesty runs through, the songs carry on being played. Its authenticity and honesty make it one of the best series of 2020.