‘Big Boys’ Creator Reveals Why He’s Moving to LA: ‘My Writing Style is More Popular Here’

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Jack Rooke has seen at least two U.S. producers reduced to tears in the middle of meetings.

As a devoted fan, I can’t help but marvel at the renowned British comedian and writer, best recognized for his BAFTA-winning masterpiece “Big Boys.” This captivating semi-autobiographical sitcom effortlessly blends uproarious humor with profound themes such as grief, loss, sexuality, and mental health. Currently, I find myself in awe as he traverses the sunny landscape of L.A., visiting networks and production companies that are customary stops for creatives who’ve achieved a certain level of success.

The heartwarming and improbable bond between freshman Jack (Dylan Llewellyn), who’s just come out and lacks sexual experience, and Danny (Jon Pointing), a mature, heterosexual student, unfolds in the series “Big Boys”. This show is filled with humor, witty remarks, and quick-witted jokes. In the second season, Jack accidentally gets poked in the eye by a penis after peeking through a gap in a toilet stall door.

The unusual yet inspiring friendship between freshman Jack (Dylan Llewellyn), who’s newly out and sexually inexperienced, and Danny (Jon Pointing), a mature, heterosexual student, is the focus of “Big Boys”. This series abounds with laughter, clever quips, and one-liners. In its second season, Jack suffers an eye injury when he peeks through a hole in a toilet cubicle door and gets poked by a penis.

Of course, there are some intense scenes as well, such as the one where a penis is accidentally placed in an eye during a party celebrating Jack’s late father’s 60th birthday. This could undoubtedly elicit strong emotions from anyone, including myself and the producers I’ve been interacting with.

Or, in a more direct first-person approach:

I must admit that there are some heavier moments in this production. One such instance is when a partygoer accidentally places a penis in an eye during a celebration for Jack’s late father’s 60th birthday. This scene could undoubtedly move even the most stoic of individuals, including myself and the producers I’ve been working with.

He explains that people were visibly emotional around him, so he had to console them and simultaneously propose fresh show ideas from his hotel room in West Hollywood.

Crying during “Big Boys” (the third and final season which became available on Hulu on March 25) indicates that people in the U.S., particularly within the industry, are tuning in. However, in today’s era where British shows like “Adolescence” amass tens of millions of views in a short span of time, Rooke’s series is experiencing a more gradual debut.

Rooke jokes, “It seems we’re in for a gradual build-up,” he quips, sharing that when a pal discussed ‘Big Boys’ with executives from Hulu Comedy, they apparently didn’t understand the reference.

On Hulu, you need to input the exact seven letters of ‘Big Boys’ for it to appear. This suggests it might not be fully established as a U.S. success just yet, but there are whispers that people are finding and enjoying it.

Initially airing on Channel 4 in 2022, “Big Boys” catapulted Rooke into a highly acclaimed creative figure within Britain, attracting admirers like Phoebe Waller-Bridge, Russell T Davies, Richard Curtis, Lisa McGee (the creator of “Derry Girls”), and even Kylie Minogue, who reportedly watched four episodes consecutively. However, Rooke asserts that his journey in bringing the show to America has reconnected him with his modest beginnings.

He began his professional journey at the Edinburgh Fringe in a small, damp cave-like venue seating fifty people during daytime hours. Since he was financially strapped, he had to rely solely on word-of-mouth for everything, as there wasn’t any elaborate marketing strategy available. Local printers provided him with flyers free of charge, and they added their labels to them. The transition to America seems somewhat similar – we are relying on a grassroots, word-of-mouth approach in our promotions.

Although it isn’t quite the same.

Rooke is currently residing in Los Angeles, not as an unrecognized artist struggling to make ends meet in a damp hideout, but as a rapidly rising talent in British television. Last year, he was honored with the title of the best comedy writer at the BAFTA TV Craft awards (one of eight BAFTA TV nominations for “Big Boys”). He’s here not just by chance, but at the request of his United Talent Agency agent Larry Salz (who was suggested to Rooke by Waller-Bridge). Furthermore, he has already garnered some notable celebrity supporters in the U.S., with SNL legend Vanessa Bayer being one of them. According to Rooke, she has been instrumental in helping promote his work.

As “Big Boys” has concluded for good (Rooke confirms this), the primary focus now shifts towards capitalizing on its success and determining what’s to follow. This potential venture might just tether him to Los Angeles.

For his upcoming venture, he expresses his desire to delve deeper into the U.S. market and create something with a broader international appeal. In the U.K., Rooke highlights that there’s a trend in the industry leaning towards “an excess of comedy-drama,” which is the niche that “Big Boys” falls into, as he ensures to insert humor around every emotional scene, approximately 20-30 seconds later.

In America, it seems that the boundaries between genres are far less rigid,” he argues. “Certainly, there are professionals who specialize in comedy and drama, but they’re open to blending genres and employing a diverse range of tones. I believe my writing style resonates more here, in an unusual sense, as audiences seem to prefer shows like ‘Big Boys,’ although they don’t necessarily want them to be too locally focused.

Although “Big Boys” resonates with many universal themes that strike a chord in the U.S., it is undeniably steeped in British culture. Much of its humor revolves around specific aspects of British pop culture, which may seem foreign to viewers outside the U.K., and even more so to those in places like West Hollywood. To reach a wider audience, a more globally relevant approach would ideally minimize references to British daytime TV hosts or lesser-known reality show contestants.

Rooke expresses that the upcoming task is something exciting for him – a significant reason for his presence here,” he says, gesturing toward his friend, supporter, and fellow agency partner whom he considers an inspiration.

In my opinion, Phoebe Waller-Bridge stands out as an exceptional British screenwriter, masterfully crafting works that authentically embody the essence of Britain. Yet, she astonishingly expanded her horizon with ‘Killing Eve’, a production that transcended geographical boundaries and presented a grand, global scale, while still maintaining its captivating allure.

Rooke mentions that he’s currently aiming to create his own version of “Killing Eve.” He also expresses fondness for “Veep,” stating it brilliantly merges a British perspective with an American sensibility. In other words, he plans for his next project to be similar to a fusion of “Veep” and “Killing Eve.

The blend of a worldwide outlook with a humorous British viewpoint could be serving as the foundation for the TV pilot that Rooke is now penning for Netflix U.K. He isn’t able to reveal many details, but hints that it will showcase some characteristics similar to “Big Boys,” potentially focusing more on drama-comedy.

During my time in the United States, I’ve discovered my passion for writing humor, but I am more than just a comedy writer. I aim to consistently challenge expectations, leading the audience to believe they’re on one path and then suddenly taking them down another entirely different one,” he explains, recalling early guidance from Vicky Jones during his stand-up career. “She encouraged me to ensure my work isn’t overly sentimental and always includes a twist that subverts expectations. I think she recognized that I would use emotion in something, only to follow it up with a surprising, dark joke.

During the emotional gatherings in L.A., much of the discussion revolved around Rooke presenting fresh concepts and learning network preferences. However, some conversations also explored the possibility of an American adaptation of “Big Boys.” This idea, according to Rooke, has been brewing with a few thoughts from him. If he were to give it the green light, he emphasizes that it should retain the central theme, which is the humor derived from friendship and found family, while maintaining its distinctive personal storytelling approach.

To put it in my own words, if I come across an American author, director, or creator whose work resonates with me and truly grasps the essence of the story, I’d be more than excited to collaborate. However, finding such a person would require a thorough talent hunt. I wouldn’t want to settle for a half-hearted imitation of ‘Big Boys’; instead, it should be an authentic interpretation.

Regarding Rooke’s future plans, he is contemplating a significant leap. Given the current challenges faced by TV comedy in the U.K., with broadcasting budgets being tightened, his visit to L.A. has sparked thoughts of making this journey permanent.

He expresses that the feedback he’s receiving is incredibly positive, and the meetings he’s having are exceptional, bordering on making him seriously ponder relocating here. This is because he believes the people he’s interacting with in the industry – the networks and producers – genuinely appreciate the unique tone of his writing.

This year’s plan is for us to spend the summer in London (Rooke’s first vacation from work on “Big Boys” series since 2000). We hope to return to Los Angeles in the fall, with the expectation that word-of-mouth about his successful show will have grown stronger by then.

He remarks that the audience in the U.S. appears to be expanding, even though it’s not as immediate as some U.K. shows. However, he seems quite enthusiastic about this situation – he thinks there should be a British show that builds gradually rather than exploding instantly. Interestingly, each day he’s been here, more and more Americans have reached out to him, which is really heartening.

A straightforward objective could be for “Big Boys” to achieve such recognition that it’s commonly known without needing to be spelled out completely on their US platform.

Rooke chuckles as he mentions, “I’d certainly appreciate if Hulu became aware of the show. My hope is they’ll understand its charm and see that it’s a delightful comedy. It’s wonderful to know it has a place in America. And yes, it’s a bit disheartening that you have to spell out all seven letters.

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2025-04-14 17:19