Ensemble dramedies are a television staple. We are invited into the lives of friends, family and loved ones for a brief moment and are guided gently through their trials and triumphs. It’s a genre that feels familiar; cosy. It’s perhaps not one that you thought could offer anything fresh. But Johanna Runevad’s All and Eva does exactly that. It feels quirky and light when it should, real and raw when it needs to be. Incredibly strong writing and a compelling cast make this six-part Viaplay series a must watch.

Eva (Tuva Novotny), in her tastefully beige Stockholm flat, has decided that it’s time to have a baby. She is forty, ahead in her career and happily single. Her mother (Sissela Kyle) and best friends Josefine (Sanna Sundqvist) and James (Bengt Braskered) are excited and nervous for her, as she is opting for “blind donation” at her chosen Copenhagen clinic. At the last minute, she changes her mind and wants to see a photo of her donor. A committed control freak, Eva tracks him down, only to realise that Mads (Joachim Fjelstrup) is someone she enjoys being with. There’s just one problem – he is resolute in his desire to remain childless.

Each episode opens with an a capella recap of the previous events whilst the soundtrack often sounds like fourth-wall breaking gasps or pregnancy breathing exercises. It’s a neat little quirk that adds more than a splash of humour to the characters dilemmas. And, despite the fact that Eva is the central character, those around her also get a “highlighted” episode, where we delve deeper into their issues. This way, her mum and friends become more than just supporting characters.

Runevad sets her stall out from the very first episode in terms of tone and humour. There is an easy blend of real life tragedies and laugh-out-loud comedy from the offset. “I’ve started growing pubic hair on my thighs,” Josefine remarks as Eva and James support her in trying on a wedding dress. There are lots of dry observations about choice and doing things differently as each character has a very different domestic set up. There is also commentary on isolation in old age as Eva’s mum, Inger, struggles with retirement and widowhood. But despite their different stages in life, this is a cast with a close bond and an easy chemistry. It’s not hard to believe that they have all been in and out of each other’s lives. What’s even more striking, though, is the instant connection between Eva and Mads. Tuvotny and Fjelstrup have one of the most intense and interesting television partnerships. The “will they / won’t they” narrative that plays throughout will have you shouting at your TV in hopeless romance. He is passion and longing; she is reason and practicality.

Part of this, of course, is due to Tuvotny’s central performance. At times, Eva is an extremely frustrating character. She ruins her friend’s birthday dinner; she leaves her friend’s wedding early; she storms out of her mum’s birthday party; she doesn’t listen to advice. She “navel gazes” (as her mother remarks) making her oblivious to the despair or upset of others. However, she is equally very charming and spontaneous and funny. Tuvotny has a Fleabag-esque style of delivery that really works for her character, drawing you into her world and, indeed, her thoughts.

The standout performance, it must be said, belongs to Sanna Sundqvist. Her character, Josefine, is struggling with being a working mother of two. Her husband, Nils (Jason Diakité) is more passive than passionate. She is exhausted, mentally and physically. Her “focus” episode is incredibly poignant. Her domestic strife culminates in a tear-streaked fight – “You’re too secure … I want you to make an effort for me, Nils!” – and a bombshell confession. It’s a perfectly executed dramatic performance that will leave you feeling so heartbroken for all involved. Sundqvist equally excels in comic timing, delivering some of the best one-liners of the show with facial expressions to match. She is an absolute treat to behold.

What’s most noticeable about All and Eva is its relatability. Part of this is due to the different ages and stages of the characters (and the strong writing to back this up), but the other reason is because it’s very self-aware. It doesn’t quite fourth wall break in the way other shows of this genre might do, but Runevad and her cast of characters are very much in on the joke. For example, when Mads is hospitalised with “broken heart syndrome”, he drily observes that “it’s like a bad movie”. When Eva books flights to Copenhagen – still in her bridesmaid dress – the sales clerk excitedly remarks that she’s “always wanted to do this” because it’s just like the movies. So, even when the characters do something that pulls them out of reality, it all still feels very watchable and un-cliched.

All and Eva is a refreshing take on the ensemble dramedy. It neatly balances moments of light and dark; the ridiculous and the real. All of the performances are brilliant – there is no character left behind, thanks to Runevad’s meticulous fleshing out of all those involved.

The series ends on such an enormous cliffhanger that you – like us at Nordic Watchlist – will be wishing for a second helping almost immediately.

All And Eva is available now on Viaplay USA and Viaplay UK