Teenage Oly (Nathalie Morris) is on the pc in her bed room, carrying a highschool physics Olympiad sweatshirt, surrounded by educational trophies, books by Gloria Steinem and Malala Yousafzai and a poster of Jacinda Ardern. Her mom, Angie (Claudia Karvan), with crimson lingerie seen beneath a vivid inexperienced shirt, is fortunately dancing to salsa music in entrance of the mirror in her bed room and turning on her vibrator. Dad, Dom (Angus Sampson), we quickly be taught, has handed out on his boat, surrounded by pizza containers and beer cans, a just lately inked tattoo seen on his arm.
So we’re invited to see that Oly is a eager pupil, that Angie is happy about seeing somebody who most likely is not her husband and that their marriage is likely to be in hassle. When Oly bursts in to demand that Angie flip down the music as a result of she’s attempting to complete an project and there is subsequently a terse alternate about Oly’s lacking childhood consolation toy, er, “transitional object”, we additionally be taught that it is not at all times easy crusing between mom and daughter and that Oly is caught in that turbulent adolescent area between childhood and maturity.
Considered one of Bump’s many pleasures is the best way wherein it upends expectations, steering away from cliches and smashing stereotypes. It is the good, studious woman, reasonably than a rebellious outcast, who discovers to her horror that she’s pregnant. The sporty schoolboy, continuously lowered to a jock sort, seems to be a pure with infants. The bearlike man-child husband is proactive, perceptive and has a giant coronary heart.
One other of the comedy-drama’s belongings is its easy range. With out showing contrived or tokenistic, Bump seems to be and feels like up to date Australia, from the boys that Oly is concerned with, studious boyfriend Lachie (Peter Thurnwald) and soccer star Santiago (Carlos Sanson Jr), to their mates, the lecturers working at the highschool with Angie and the hospital workers.
The manufacturing additionally feels recent and vibrant because it makes unconventional decisions. Sampson, for instance, is a terrific actor who may be relied upon to place a shocking spin on his supply. However he’s continuously forged in much less distinguished supporting roles, as he was in Edwards’ political drama Occasion Tips.
Not solely does Bump appear to be a rustic that we are able to recognise, however its characters discuss like folks we’d know reasonably than characters attempting to convey info designed to fill in plot factors or transfer a narrative alongside. When Santiago’s Chilean members of the family discuss to one another, they communicate in Spanish and are subtitled.
The dialogue is sensible, sharp and sparing. When Oly complains, after the shock arrival of her daughter, that males appear to get out of the delivery enterprise comparatively unscathed whereas she’s actually torn up and bleeding, Angie responds with a understanding shrug, “I do know, biology’s a bitch”.
The prickly, push-pull tussle between mom and daughter is superbly evoked. The look from Oly in the direction of Angie, who’s sleeping in a chair beside her daughter’s hospital mattress, speaks volumes.
Created by Kelsey Munro with Karvan, Bump has at its coronary heart a humane view of generational messiness: youngsters and adults wrestle, generally gracelessly, with life and its challenges. Everybody makes errors and there are shocking moments of disarmingly trustworthy communication and rewarding connection.
Because it follows Oly’s negotiation of her new and unanticipated position, the sequence folds in a spread of associated points with spectacular fluidity: her fears about how she’ll be regarded by her mates and classmates, the issues about how motherhood will have an effect on her ambitions for her future, the practicalities of taking a child to highschool, the best way wherein the brand new arrival brings collectively two very totally different households.
Bump presents an array of first rate folks muddling alongside, attempting their finest, generally stuffing-up and apologising. As a bonus, there’’ a superbly developed, topsy-turvy love story.
Whereas Stan has been commendable among the many subscription video on demand providers for the extent of its funding in native manufacturing, its document with summer season releases has been spotty, with the streamer beforehand favouring grim, darkish and dystopian productions (Romper Stomper, Bloom, The Gloaming, The Commons). Bump signifies a welcome shift and the announcement of a second season so quickly after its premiere suggests that everybody’s proud of the change.