Mackenzie Crook on Comedy's Cruelty and New Show Small Prophets
In the ever-evolving landscape of British television, few actors and writers have left as indelible a mark as Mackenzie Crook. Best known for his iconic role as Gareth Keenan in The Office, Crook has transitioned from the sharp-edged satire of the early 2000s to crafting more nuanced, heartfelt comedies. His latest project, the BBC Two six-parter Small Prophets, exemplifies this shift, blending fantastical elements with poignant explorations of middle age. In a recent candid interview with The Guardian, Crook opens up about the 'cruelty' in comedy, his unexpected rise to fame, and why he's obsessed with the quiet tragedies of growing older.
From The Office to TV Royalty: A Hard Landing into Stardom
Mackenzie Crook's breakthrough came with The Office, the mockumentary that redefined workplace humor in 2001. Playing the pedantic, jobsworthy Gareth—a character defined by his unwavering devotion to protocol and subtle social awkwardness—Crook became a household name overnight. But fame, as he recalls, was a 'very hard landing.' The sudden spotlight thrust him into a world of scrutiny, where his 'weird-looking' self-image clashed with public adoration.
'Watching The Office recently, my heart just sank,' Crook admitted in the interview. The show's unflinching portrayal of human cruelty, through awkward encounters and petty office politics, now feels almost too raw. It was this realization that prompted a creative pivot. 'After The Office, I wanted to write something that wasn’t cruel,' he explained. This desire led to Detectorists, his 2014 BBC series about amateur metal detectorists in rural Essex. Praised for its gentle wit and observational humor, it earned Crook BAFTA nominations and solidified his status as 'TV royalty.'
The Allure of Middle-Age Obsession
At 52, Crook finds himself 'a little bit obsessed' with middle age. 'It crept up on me. Everything seems to have been 20 years ago,' he muses, reflecting on the passage of time. Father to two grown children—Scout, 19, and Jude, 22, an aspiring standup comedian—Crook grapples with the melancholy of parenthood's evolution. He delivers these thoughts with his signature tangent style: exaggerated sorrow that circles back to humor, much like the bittersweet monologues in Detectorists.
This theme permeates his personal life and work. Time's inexorable march isn't tragic, he insists—'It’s better than if it didn’t pass'—but it invites a deeper empathy for life's quiet disappointments. Crook's on-screen energy, once mistaken for nerves, now radiates curiosity, a testament to his growth beyond the awkward everyman roles.
Small Prophets: A Fantastical Yet Grounded Tale
Small Prophets, premiering on BBC Two, marks Crook's return to writing and starring in a major series. He plays Gordon, the tyrannical manager of a sprawling DIY store, a character who echoes Gareth but aged with layers of disappointment. 'Pedantic and jobsworthy, he could be Gareth grown up,' Crook notes, sans the West Country accent. Initially penned as a 'monster,' Gordon softens by the finale, revealing Crook's fondness for flawed protagonists.
But Gordon isn't the focal point. The story centers on Michael (Pearce Quigley), a 50ish bearded twitcher and hoarder navigating a midlife rut. Michael's routine—working at the DIY store and visiting his father Brian (played by comedy legend Michael Palin)—is upended by a family secret: Brian knows how to cultivate homunculi, miniature truth-telling humans. These fantastical beings offer Michael a chance to unravel the mystery of his girlfriend Clea's disappearance seven years prior.
Blending Heartbreak and Humor
Quigley's performance is 'comically, subtly heartbreaking,' capturing an elusive melancholy that defies easy explanation. The series starts as a 'delicate and truthful rumination on middle age' but veers into the absurd with homunculi—'miniature, fully formed humans of whom you can ask any question and they have to tell you the truth.' Crook emphasizes kindness in Michael's approach, trying to nurture these creatures despite the weirdness.
The show's strength lies in its balance: real emotional depth amid the whimsy. Brian's plea to his son underscores themes of legacy and unresolved grief, while the DIY store setting grounds the fantasy in everyday British life. Palin’s 'lovely performance' as the eccentric dad adds warmth, contrasting Gordon's sharpness.
Crook's writing avoids The Office's cruelty, opting for empathy. 'I wrote Gordon as a monster, but by the end, I was actually quite fond of him,' he shares. This evolution mirrors Crook's career arc, from punchlines at vulnerability's expense to celebrating human quirks.
Crook's Personal Touches: Tattoos, Family, and Beyond the Screen
Beyond scripts, Crook surprises with personal revelations. He sports 'a surprising number of tattoos,' challenging assumptions about his reserved persona. His jumpy, modest energy in interviews—marked by curiosity rather than anxiety—hints at a man comfortable in his skin after decades in the industry.
Family remains central. Crook's children, now navigating adulthood, inspire his middle-age fixation. Jude's standup pursuits echo Crook's comedic roots, blending pride with the poignant shift from protector to observer.
Legacy and Future Projects
As Small Prophets airs, Crook's influence on British comedy endures. From The Office's global impact to Detectorists' cult following, he's shaped a genre that values subtlety over slapstick. Future endeavors may delve deeper into fantasy, but Crook's core remains: stories that honor the ordinary extraordinary.
In an era of fast-paced streaming, Small Prophets reminds us why Crook matters. It's not just entertainment; it's a mirror to our own middle-aged musings, delivered with wit and without cruelty.
This article draws from Mackenzie Crook's exclusive interview with Zoe Williams for The Guardian, published January 30, 2026.
