In a remarkable turn of events, actor Danny Dyer has confounded critics by securing his first-ever BAFTA nomination while also clinching awards for his role in Disney+ hit “Rivals.” This accomplishment marks a significant milestone for Dyer, who has long been associated with ‘hard man’ personas in productions such as “The Football Factory” and “EastEnders.” Recently, he has also garnered attention for co-hosting a popular podcast with his daughter. Dyer’s current acclaim stems from his portrayal of Freddie Jones in “Rivals,” earning him recognition in the industry’s prestigious RTS and BPG awards.
Dyer’s acknowledgment by BAFTA, however, comes for a different project altogether. His performance in Sky’s “Mr Bigstuff,” where he is nominated for Male Performance in a Comedy, places him alongside notable actors like Nabhaan Rizwan and Phil Dunning. “Arguably, these two jobs were my best work to date,” Dyer revealed. He expressed relief at having the opportunity to say ‘no’ to projects, a luxury that followed his recent successes.
In “Rivals,” Dyer steps into the shoes of a nouveau riche tech entrepreneur, finding himself in an unexpected romance with a local author, played by Katherine Parkinson. Despite the strong performances by co-stars including David Tennant and Aidan Turner, Dyer admitted surprise at receiving accolades for his role. “He’s a lovely character but the other leads give such powerful performances,” he remarked. As for his work in “Mr Bigstuff,” Dyer finds delight in his role as Lee, a straight comedy character. He praised Ryan Sampson’s creation for its dark narrative, commenting, “The thing about comedy is you play it straight, you don’t play it for the comedy.”
Both “Rivals” and “Mr Bigstuff” explore themes of masculinity, an area Dyer has examined throughout his career. From “The Football Factory’s” Tommy Johnson to “Marching Powder’s” Jack, his roles often delve into the complexities of male identity. Dyer voiced concerns about social media’s role in a modern-day masculinity crisis, identifying it as a contributor to societal anxiety. He emphasized that as adults, people have succumbed to becoming avatars and losing genuine communication.
“Marching Powder” explores these concepts by depicting a middle-aged football hooligan facing an ultimatum: reform his life in six weeks or face imprisonment. Despite harsh criticisms, the film emerged as Dyer’s most successful Box Office venture, grossing approximately £3M. With more projects on the horizon, he referred to a public appetite for light-hearted comedy, remarking, “At a time when cinema is dying on its arse, there was clearly an appetite and people wanted to go out and spend their money.”
Dyer has not shied away from addressing critics, using his podcast platform to critique what he perceives as the entertainment industry’s inherent snobbery. This societal backdrop, he argues, necessitates more opportunities for young, working-class actors. Dyer recounted his own early experiences with classism in the 1990s and called for pathways into the arts for those less academically inclined. “I will be shouting from every hill that it’s OK to be working class and to be an actor,” he declared.
Reflecting on his formative years, Dyer recalled his close relationship with British playwright Harold Pinter. Pinter, known for his anti-establishment views, deeply influenced Dyer’s career. When pondering Pinter’s potential reaction to his BAFTA nomination, Dyer mused that Pinter would likely encourage a return to theater. “Harold was very anti-establishment and that’s why I loved him. He was a bitter man and always wanted me to be a bitter animal,” reflected Dyer, underscoring Pinter’s belief in the theatre’s power over awards.
This moment marks a significant chapter in Danny Dyer’s career, highlighted by accolades acknowledging his undeniable versatility. As his reputation grows, he continues to challenge industry norms, urging inclusivity and opportunity for emerging talent. Through his recent achievements, Dyer not only confounds his critics but reinforces his dedication to redefining what it means to be a working-class actor in today’s entertainment landscape.
