David Mitchell and Robert Webb talk reviving their sketch show and why Peep Show is a no-go for Webb’s daughters

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Instead of diving right into the discussion, David Mitchell and Robert Webb casually inquire about each other’s observations before getting down to business, much like old friends catching up. “Have you caught a glimpse of it? Have you too?” queries Webb, which feels both charmingly eager and slightly endearing given their reunion in the realm of sketch comedy (more on that later). Stepping into a photographer’s studio bathed in sunlight in north London, spotting these two comrades nestled together – and clearly enjoying each other’s company – is as soothingly comforting as finding a salt grinder next to a peppermill, or seeing Anita Dobson strolling arm-in-arm with Brian May. Mitchell dressed in corduroy and wool; Webb opting for more seasonal T-shirt and shorts.

a sitcom so flawless that it hindered any possibility of us writing another one ourselves”).

From a television perspective, it’s been quite a while since I last saw them sharing the same space, that is, back in 2021 when Mitchell found himself seated in the front row of the Strictly Come Dancing studio audience, enthusiastically encouraging Webb as he danced to the theme tune from The Muppet Show, impersonating Kermit the Frog.

After a span of 11 years, the conclusion of their comedy sketch show “That Mitchell and Webb Look” had passed, an event that both of them emphasize was not within their control. Webb recalls the lunch meeting with BBC’s comedy commissioning editor Cheryl Taylor where she suggested alternative projects and discussed future plans, while he felt like a young boy listening quietly. Eventually, she asked what they would prefer to do next, to which Webb responded earnestly, “I would like another season of ‘That Mitchell and Webb Look’, please.

They often find humor in challenging situations due to their knack for finding amusing angles, and the peculiar success of their skits in an unlikely realm has only made that meeting more endearing. If you’ve not been secluded from modern entertainment, you’d notice that contrary to popular belief, sketch comedy didn’t cease; it merely migrated to platforms like YouTube, Facebook, and TikTok. Amid the plethora of fresh comedians armed with smartphones, editing software, and clever ideas, there’s a delightful irony: some sketches from That Mitchell and Webb Look not only adapted to this new world but seemed to foresee it.

In 2025, it’s common to hear people respond to complex but meaningful statistics with the phrase “That’s Numberwang!” – a reference to a math quiz on a television show. Another sketch from the same show has provided one of the most memorable internet memes of the decade. In this era where people often selectively believe news that aligns with their views, this sketch feels particularly relevant, especially when a character asks another “Hans, are we the baddies?”

The excitement of being contemporary isn’t lost on Mitchell, who as a child used to play at being an old king and felt proud when he noticed his wet hands resembled those of an elderly man.

Mitchell shares that the initial undeniable indication that one of their duo’s sketches had returned to popular culture emerged around the enduring popularity of their 2008 “Watch the Football!” sketch. This amusing piece features a hyperactive host moving about an empty stadium, excitedly announcing a match between Charlton and Ipswich, making both teams appear average-sized due to the contrast. Recently, Sky Sports produced a tribute version of this sketch, which Mitchell found pleasing as it suggested they had paid close attention to the original. He remarks that while their version didn’t contain footage of actual matches because they couldn’t obtain the rights, Sky Sports chose not to include it in their adaptation to make their version resemble the original more closely.

Even though their works were revived, when Mitchell and Webb received an offer from Ian Katz at Channel 4 to resurrect their sketch show, their reaction was a mix of gratitude and surprise. While it was enticing to continue from where they left off in 2010, the evolving comedy industry that contributed to the end of That Mitchell and Webb Look needed to be considered in its successor. So, comic Stevie Martin became part of the team during the planning phase for Mitchell and Webb Are Not Helping. She gained popularity with her sketch Verifying That You’re Not a Robot – a hilariously chaotic display that anyone who has been blocked from accessing their online details unless they can correctly identify all the traffic light squares would immediately recognize.

As a movie enthusiast, I found myself in the unique position of collaborating with Kiell-Smith Bynoe (Ghosts, Stath Lets Flats) and up-and-coming talents Krystal Evans and Lara Ricote in the writers’ room. You might think it’d be nerve-wracking brainstorming humor alongside comedic icons like Mitchell and Webb, who have greatly influenced my own comedy journey. However, Martin assures me that it wouldn’t be so daunting if they were aware of the pressure – but thankfully, they weren’t!

Lara Ricote concurs, explaining that the duo was instrumental in breaking the ice. Robert, she recalls, would often initiate with a truly terrible idea – something like an awkward joke you wouldn’t dare utter yourself. And from there, we were all like, “That’s brilliant! Now we can say just about anything!

Palin and Atkinson initially found fame in sketch comedy but later branched out into different areas. However, Mitchell and Webb have seized various opportunities throughout their careers – such as writing memoirs (Webb’s How Not to Be a Boy) or television productions (Mitchell has worked on over 160 episodes of Would I Lie to You? and is preparing for a second series of detective dramedy Ludwig). Nevertheless, it seems that sketches are the primary outlet they use to express their bond with each other. At the age of 17, Webb applied to Cambridge University in search of a comedy partner, unaware that Mitchell had arrived there with the same goal. By the time they met, Webb had already gained some recognition as the vice-president of Footlights, and Mitchell was just starting his comedy journey.

Recalling the time when he first witnessed Mitchell’s performance, he shared with Lauren Laverne on Desert Island Discs: “I had to use my intelligence in my career just one time, and that was the instance where I chose not to rival him but instead to attract him and appropriate some of his kindness for myself.

To eliminate any uncertainty that this was akin to love at first sight in the world of comedy, head over to YouTube. There, you can witness the early stages of their relationship in “Pissed Grandmasters,” a Footlights sketch from 1995. In this skit, the pair portray two drunken chess players, where Webb appears fresh off a Suede concert, while Mitchell seems to be no older than 14 years old.

How do you think Mitchell and Webb’s Version 2.0 will be received by their families? Frankly, they haven’t seen it yet. However, after binge-watching the entire series myself, I can confidently say that every episode delivers a plentiful dose of belly laughs.

As a passionate fan, I’m excited to share some upcoming highlights that will surely delight Abba enthusiasts like me! Firstly, there’s an imaginative portrayal of the iconic moment when Björn (Webb) hands Agnetha (Stevie Martin) the freshly penned lyrics for “Thank You for the Music.” These opening lines, “I’m nothing special/In fact I’m a bit of a bore,” are a captivating peek into the creative process behind this timeless song.

Next, we have an intriguing storyline about an extraterrestrial race called The Goom. Facing impending extinction, they’ve pooled their dwindling resources to create a teenage musical titled High School Faux Pas. Their innovative approach to survival promises an out-of-this-world experience!

Last but not least, the therapist sketch is sure to tickle our funny bones. Here, my character Webb’s patient comes to a startling realization: his therapist, portrayed by Mitchell, is using their sessions as a means to alleviate £300 a week – all so they can offer responses that consist of variations on “That must be difficult.” It’s a humorous take on the therapeutic dynamic that will leave us laughing and pondering life’s complexities!

It seems reasonable to interpret that the drawing could represent Webb’s suspicion that some therapists might be engaging in an unending money-making scheme, given Webb’s familiarity with the therapy process and Mitchell’s reluctance to partake.

Webb muses, with some caution, “Indeed, discussing matters can be beneficial. Yet, I often ponder if there’s a time when one should simply move on, so I question, would they ever advise something along the lines of ‘just let it go’ instead?

As a film enthusiast, I’d venture to say that there’s nothing quite as healing as a good laugh. Back in 2009, Mitchell echoed my childhood sentiments about comedy being the pinnacle of human artistry, the greatest accomplishment we’ve ever achieved. But these days, I find myself reflecting on the fact that not everyone shares this viewpoint. It seems as though our society tends to downplay the complexity and importance of humor, pretending it’s effortless and insignificant.

In this rephrased version, Mitchell acknowledges a significant scene from the final episode of Ben Elton’s comedy series “Upstart Crow,” where Shakespeare (portrayed by Mitchell) learns about his son’s death. The original author intentionally chose to forgo humor and create a poignant moment instead, which was highly praised. In the original text, Mitchell describes that they often receive praise for their jokes but what should be noted is their ability to craft multiple episodes with clever Shakespearean storylines within a sitcom format, which is quite challenging. However, he emphasizes that creating a somber ending like the one depicting a child’s death was relatively easy compared to the intricate scripting they usually do for their episodes.

One might ponder what a genuine psychotherapist (not the comical one from their comedy series) could comment about this intense reluctance towards humor. However, David Mitchell, in his spirited state, no longer concerns himself with such considerations. As his wife once remarked, there’s nothing funnier than the phrase “This is not a joking matter.” The very seriousness implies that a huge laugh is lurking nearby, and as comedians, we are naturally drawn towards discovering where that laughter can be found.

Based on this return, long may Mitchell and Webb continue to go there.

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2025-08-26 03:04