. Britton is Dee Dee, an upfront, often tipsy, emotionally raw housewife, while Schilling is Edward’s aunt turned adoptive mum Lacey, a woman whose marriage and mental health were already on the brink before this huge new responsibility landed in her lap. Crucially, both actors invest their characters with some much-needed animation and individuality, modulating the programme’s otherwise monotonous tone of grief, grief and yet more unimaginable grief.
There are other winning performances. British actor Idris DeBrand charms as Uncle Kojo, the self-described “Portaloo prince of Ghana”. But there are many underwritten and uninvolving other characters whose scenes will have you counting the minutes till you can be back in Dee Dee’s New Jersey mansion, drinking wine and talking trash about her dead husband.
Perhaps these generic grievers would be more memorable if they looked more distinctive? Dear Edward is dutifully diverse in racial terms but has been cast from the same pool of uniformly slim, symmetrical people as most US network television, with the effect of undermining its otherwise sincere efforts to depict the reality of life’s struggles. Any of these dreamboats could walk into a modelling contract at a moment’s notice.
It’s also a shame that some tantalising loose story threads are left hanging.
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