Tim Renkow.

BCG Features

Press Clippings

Tim Renkow gets a Bafta booster

Tim Renkow has been selected as one of 21 performers to be given a career booster from Bafta.

Chortle, 8th October 2019

Tim Renkow comedy Jerk to return

Jerk, the BBC Three sitcom starring Tim Renkow, is to return for a second series.

British Comedy Guide, 5th September 2019

Transcript: this disabled comedian is a Jerk

This is a full transcript of "This disabled comedian is a Jerk" as first broadcast on 15 March 2019 and presented by Kate Monaghan and Simon Minty.

Kate Monaghan and Simon Minty, BBC, 25th March 2019

Fleabag isn't the only boundary-pushing BBC comedy

Fleabag's brilliant season-two premiere rightly got everyone talking, but it was followed by something equally as bold.

Ian Sandwell, Digital Spy, 8th March 2019

Jerk review

It's fairly dark comedy but also extremely likeable, and Renkow makes for a great lead as though it can't be denied that his character can be a bit of jerk (and he clearly wouldn't want anyone to think differently), his perspective on existence is nearly always enormously funny.

Alex Finch, Comedy To Watch, 6th March 2019

Tim Renkow: the shameless star of sitcom Jerk

Tim Renkow talks about the joys of making people feel awkward, how to spot a pity laugh - and why he had to give bad etiquette lessons to Sopranos shrink Lorraine Bracco.

Tim Jonze, The Guardian, 4th March 2019

In episode one, he [Tim] lands a job at a greetings card company and - suspecting he only has it because he ticks the correct victimhood boxes - he behaves appallingly, as though he were a superhero whose special power is that he is completely unsackable.

Renkow is likeable, the set-up is distinctive, and there are more than enough funny moments to keep you watching. Even so, I wish it had pushed its satirical takedown of our victimhood culture - what the US black conservative activist Candace Owens calls the 'oppression Olympics' - a bit more mercilessly. As it is, you do feel at times as though it's not a show designed to be watched on its merits, but rather as a state-approved lesson in how to empathise with the marginalised.

James Delingpole, The Spectator, 3rd March 2019