If youth is, as the saying goes, wasted on the young, then Horgan’s Alex is a character actually equipped to savor what little she has left of it. “I have 10 years left as a sexual person,” she determines in the premiere. With the petulant son, Ruarí (Aran Murphy, a near-clone of dad Cillian), whom she raised with minimal help from her ex-husband Lorcan (Owen McDonnell) packing up for uni, she’s resolved to end a long celibate streak. This search for not just a sex partner, but also the enduring love that has so far eluded her should be aided by Alex’s genuine youthfulness. But with guys like Lorcan and another former flame, Patrick (a rakish Rupert Friend), dodging adulthood with girlfriends decades their junior, the dating pool seems sparse. Set up on a blind date with a patient 67-year-old (Tim McInnerny’s Michael) who looks like he could be her dad, she can’t hide her disappointment. She treats him atrociously. Then again, the double standard that dictates she’s now too old for men her own age is also pretty atrocious.
Sharon Horgan and Aran Murphy in Youth —Colin Hutton—HBONo one working in TV is better than Horgan at writing—or playing—selfish and self-sabotaging characters that, like members of our own families, we love all the more for how much they frustrate us. She’s been doing it since her first series, Pulling, a portrait of faintly desperate single women at that age (30ish) when everyone else seems to be marrying, starting families, and getting serious about their careers. Ruarí can be infuriating; he rots in bed watching manosphere videos and treats his mother like a servant. Yet, thanks in large part to Murphy’s sensitive performance, there’s tenderness in him from the beginning. He’s earnestly confused about how to be a man in the world. As well he should be.
Sharon Horgan, left, and Sharlene Whyte in Youth —Colin Hutton—HBOIn interviews, Horgan has said she sees Youth as a complement to Pulling and Catastrophe, the mid-2010s Prime Video comedy in which her character and a guy who was supposed to be an anonymous hookup (Rob Delaney) decide to build a family around a surprise pregnancy: “There’s a small element of autobiography to it.” The tones are certainly similar, though the range of emotions has broadened with proximity to life’s hard deadlines (fertility, mortality). “I just don’t know if there’s anything left in my life that I like anymore,” Alex admits. She and Sam and Patrick could all be characters from the previous two shows, 10 or 20 years on, with more residual mess than they’d expected to be cleaning up by middle age. Youth suggests that, in fact, disorder springs eternal; if it isn’t a canceled wedding, it’s an elderly parent losing toes to diabetes. Every new stage of life is another form of youth. How exciting. And terrifying. And funny.
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