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Tim Renkow
Tim Renkow
Tim Renkow
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Tim Renkow (born 1989) is an American actor, writer and comedian.

Key Information

He plays the leading role of Tim in the British black comedy television series Jerk (2019–2023), which he also co-wrote.

Early life

[edit]

Renkow was born in Mexico City,[1][clarification needed] and grew up in Chapel Hill, North Carolina. He later attended art school in Memphis, Tennessee.[2]

Career

[edit]

Pre-2019

[edit]

In Memphis, at age nineteen, Renkow began performing stand-up comedy. He continued in this activity in New York City, before moving to the United Kingdom to study creative writing in 2012.[2]

He participated in the Chortle Student Comedy Award Final at 2013's Edinburgh Festival Fringe.[3]

In 2014, Renkow performed his debut show, At Least Hell Has Ramps,[4] and was nominated for Chortle's Best Newcomer Award.[5]

Renkow's first television appearance was in 2016, in an episode of the BBC Three sketch show Comedy Feeds, "A Brief History of Tim".

In 2017, Renkow appeared in four episodes of Bobby & Harriet Get Married, Bobby Mair and Harriet Kemsley's comedic television series about their wedding.

Since 2019

[edit]

In February 2019, Series 1 of Renkow's comedy television series, Jerk, was released by BBC Three.[6] It was subsequently replayed on BBC One, and its approval for a second series was announced in September 2019.[7] The series is largely built on the characters established in A Brief History of Tim. The show's second series aired in 2021.

In April 2019, Renkow performed a one-man show at London's Soho Theatre entitled Tim Renkow Tries to Punch Down.[8]

In 2021, Renkow was announced as a member of the U.K. jury for the British Academy of Film and Television Arts's BAFTA Breakthrough Initiative.[9]

Renkow appears in two episodes of BBC's Live at the Apollo, in series 16 and as host in series 19.[10][11]

Personal life

[edit]

Renkow has cerebral palsy.[1]

In September 2020, he married fellow comedian Spring Day.[12]

Filmography

[edit]

Television

[edit]
Year Title Role Notes
2016 BBC Comedy Feeds episode "A Brief History of Tim" Tim television movie
2017 Bobby & Harriet Get Married Tim 4 episodes
2019–2023 Jerk Tim television series
2021–2025 Live at the Apollo himself 2 episodes

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tim Renkow

View on Grokipedia
from Grokipedia
Tim Renkow (born 1989) is a Mexican-born American comedian, actor, and writer based in , who uses his experience with to inform a style of that deliberately provokes discomfort and challenges preconceptions about . Diagnosed with the condition at six months old, Renkow was raised in before moving to the at age 22 to study and begin performing stand-up. Renkow gained prominence through early television appearances and festival success, winning the New Comedian of the Year award and the Amused Moose Comedy Award, while earning nominations for Chortle Best Newcomer and RTS Act. His breakthrough came with the series Jerk (2019–present), which he co-created and stars in as a fictionalized version of himself—a deliberately abrasive character who exploits others' assumptions about his for comedic effect. The show, noted for its black humor and rejection of sanitized portrayals of , led to a BAFTA recognition for Renkow as writer-performer and a Diversify TV Excellence award for Jerk in the Representation of Disability category. Renkow's work extends to other projects, including writing for Bobby & Harriet Get Married (2018) and appearances on programs like Live at the Apollo and Comedians Giving Lectures. Married to fellow comedian , who also has , he continues to perform live and develop material that prioritizes unfiltered realism over audience appeasement.

Early life

Family background and birth

Tim Renkow was born in , , to parents of Mexican and Jewish descent, before his family relocated to , in the United States during his early infancy. He has an older sister, Rosie, who has publicly reflected on the challenges and dynamics of growing up with a affected by . At six months of age, Renkow was diagnosed with cerebral palsy, a neurological condition impacting movement and muscle coordination, which has influenced his personal experiences and comedic material.

Childhood and diagnosis of cerebral palsy

Tim Renkow was born in Mexico City in 1989 and diagnosed with cerebral palsy at six months of age, a neurological disorder caused by non-progressive brain damage occurring before, during, or shortly after birth. The condition manifests in Renkow as athetoid cerebral palsy, characterized by involuntary movements, impaired speech, balance difficulties, and reduced mobility. Renkow's family relocated to during his early childhood, where he was raised primarily in Chapel Hill. He has recounted experiencing a generally happy upbringing in this university town environment, despite the physical challenges of his disability, including instances where peers treated him as an object for convenience, such as using his for storage. These early experiences with shaped his perspective, though detailed accounts of specific childhood therapies or interventions remain limited in .

Education and relocation to the United Kingdom

Renkow attended art school in , after growing up in . He began performing in Memphis at age 19 before briefly working in . In 2011, at age 22, Renkow relocated from the to , , to study and advance his career. He enrolled at for this program, where he continued developing his stand-up material shortly after arrival. By 2013, while still a student, he was competing in comedy awards, including semi-finals for new comedian honors. This move marked his transition to the scene, where he has since resided and built his professional reputation.

Comedy career

Entry into stand-up comedy

Renkow began performing at the age of 19 in his hometown of , by sneaking into an open mic night at a bar with a 21-and-over age restriction. He continued honing his craft in , where he developed material drawing from his experiences with and personal background. In 2011, at age 22, Renkow relocated to to study at , and immediately resumed stand-up performances in the comedy circuit. His early UK sets featured provocative, self-deprecating humor that challenged audience assumptions about , often eliciting discomfort to underscore social hypocrisies. By 2013, Renkow had reached the final of the Chortle Student Comedy Award, marking his initial breakthrough in competitions. The following year, in 2014, he received a for Best Newcomer at the Chortle Awards, signaling growing recognition for his boundary-pushing style.

Development of comedic style and early recognition

Renkow's comedic style evolved from a deliberate strategy to preempt audience awkwardness about his , often addressing it directly in his routines to disarm pity and enable edgier, boundary-pushing humor. This approach allowed him to explore provocative topics, including punching down on those perceived as more vulnerable, challenging conventional norms that discourage mocking the . His material frequently leverages his disability as a license for shameless offense, creating cringe-inducing scenarios that highlight social hypocrisies and exploit expectations of leniency toward the impaired. Early recognition came swiftly after his relocation to the , where he began performing stand-up while studying . In 2013, he reached the finals of the Chortle Student Comedy Awards and won the Leicester Square New Comedian of the Year at the Museum of Comedy. The following year, 2014, brought further accolades, including the Amused Moose Comedy Award and a nomination for Best Newcomer at the Chortle Awards for his debut Fringe show, At Least Hell Has Ramps. These honors established him on the British alternative comedy circuit, with festival appearances showcasing his unapologetic delivery and rapid ascent among peers.

Live performances and tours

Renkow's live comedy performances have primarily centered on the and appearances at comedy clubs, rather than extensive national tours. In 2013, he participated in the Chortle Student Comedy Award Final during the Fringe. His debut solo show, At Least Hell Has Ramps, premiered at the 2014 Edinburgh Fringe. Subsequent Fringe appearances included shows in 2015 and 2016, where he performed on the Heroes line-up with King of the Tramps, addressing themes of amid growing political sensitivities. By 2018, Renkow presented Tries to Punch Down at the Fringe's Monkey Barrel venue, continuing his pattern of hour-long sets focused on provocative, self-deprecating material. , he regularly headlines or features in club nights across and other cities, including work-in-progress shows at venues like Top Secret Comedy Club. These performances often occur in intimate settings, such as and JK Comedy Club, with scheduled dates extending into 2025, including a lineup spot at XL Comedy Club on September 27. Renkow has not undertaken large-scale tours but maintains an active schedule of standalone gigs and festival slots, contributing to events like the Comedy Festival stand-up nights in May 2023 alongside acts including and . His live work emphasizes direct audience interaction, leveraging his for unfiltered humor that challenges disability tropes.

Television and writing career

Creation and success of Jerk (2019–2023)

Jerk was co-created by comedian Tim Renkow, who sought to portray an authentic and flawed disabled , diverging from conventional depictions that often sanitize or idealize characters with disabilities. Renkow, drawing from his own experiences with , co-wrote the series alongside and Stu Richards, emphasizing a character who exploits societal pity to engage in antisocial behavior without remorse. The writing process involved Renkow balancing provocative actions with elements of vulnerability to heighten comedic tension, with input from collaborators including his wife, comedian , who provided feedback on scripts. The series premiered on on 24 February 2019, following a semi-autobiographical premise centered on Renkow's eponymous character—a sociopathic American in navigating visa issues, , and interpersonal conflicts while leveraging assumptions about his for personal gain. Renkow starred as the lead, associate produced, and handled much of the on-set direction, including camera operation, reflecting his hands-on approach to ensuring the project's vision aligned with his intent to discomfort audiences through unfiltered cringe humor. Jerk achieved critical success across three seasons, with the BBC recommissioning it for a second series shortly after the debut due to its bold, style that challenged norms around representation. The second season aired in August 2021 on , expanding the format while maintaining Renkow's central role, and the third premiered on 14 March 2023, incorporating guest stars like James Norton and focusing on themes of relationships drawn from Renkow's personal life. Renkow received a BAFTA for Male Performance in a Comedy in 2022 for his work in the series, recognizing his portrayal of the unlikable anti-hero. Reviews praised the show's willingness to provoke through -informed , though it drew debate for its boundary-pushing content, solidifying its reputation as a standout in British until its conclusion in 2023.

Other television projects and collaborations

Prior to the development of Jerk, Renkow starred in the 2016 BBC Comedy Feed short A Brief History of Tim, a semi-autobiographical pilot episode depicting his life as a with , which served as a foundational piece leading to expanded television work. In 2017, he appeared as himself across four episodes of the (later UK) mockumentary-style series Bobby & Harriet Get Married, a comedic chronicle of comedians and Harriet Kemsley's real-life wedding preparations, where Renkow contributed to the ensemble dynamic through and observational humor. Renkow contributed writing to the 2021 Netflix mockumentary Death to 2021, a satirical retrospective on the year's events featuring scripted sketches and archival footage, co-written with a team including Charlie Brooker, where his input aligned with the series' irreverent critique of public figures and cultural absurdities. That same year, he participated in the BBC's Beauty and the Beast: A Comic Relief Pantomime for Christmas, a fundraising special starring Lily James and Oliver Chris, appearing as himself in the ensemble cast to deliver comedic interludes supporting Comic Relief's charitable efforts. These projects highlight Renkow's selective collaborations, often leveraging his stand-up persona in ensemble formats rather than lead writing roles outside Jerk, emphasizing boundary-pushing humor in short-form or special-event television.

Recent works including 2025 appearances

In 2024, Renkow guest-starred on Live at the Apollo series 16, episode 5, hosted by Angela Barnes alongside Sarah Keyworth, delivering a stand-up set that highlighted his signature confrontational style. He also appeared in Rosie Jones's Disability Comedy Extravaganza series 3, contributing to a showcase of disabled comedians including Rosie Jones, Josh Pugh, and Bethany Black. Additionally, Renkow joined as a guest on Mel Giedroyc: Unforgivable series 4, episode 7, participating in comedic challenges with Alex Jones and Iain Stirling. In 2025, Renkow hosted Live at the Apollo series 19, episode 7, broadcast on on February 4, welcoming performers and to the stage. He provided writing for Horrible Science series 1, episode 2 ("Light, Sound and Electricity Special"), adapting content from the educational for television. These projects extended Renkow's television presence beyond Jerk, emphasizing guest spots and scripted contributions amid ongoing live comedy commitments.

Comedy philosophy

Views on political correctness and free speech

Tim Renkow has critiqued elements of that impose boundaries on , particularly the informal industry norm against "punching down" on marginalized groups. In his 2018 Edinburgh Fringe show Tim Renkow Tries to Punch Down, he explicitly dismissed this guideline as "bullshit," positioning his routine as an attempt to target those perceived as less privileged than himself despite his own disabilities and minority ethnic background. The show's premise highlighted the absurdity of such rules by leveraging Renkow's intersecting identities—describing himself as a "crippled, , Mexican Jew"—to argue that few targets remain off-limits. In a March 25, 2019, interview, Renkow elaborated on this philosophy, stating, "I’m a disabled redneck Mexican Jew, and I haven’t found any group of people I’m not allowed to make fun of – which is getting insulting." This reflects his view that identity-based exemptions from offense enable broader satirical latitude, rejecting prescriptive limits on who can be mocked in pursuit of humor. He contrasted his approach with earlier, more "cute" disabled comedy styles, favoring provocative material akin to Richard Pryor's boundary-pushing legacy over sanitized alternatives. Renkow has also voiced opposition to , which he sees as a threat to comedic . In a March 12, 2023, interview, he declared, "If you can make it funny go for it. I don't believe in ," emphasizing that humor should not be curtailed by public backlash. He joked about expecting future cancellations but remained defiant about his "outrageous" and "un-PC" reputation, prioritizing comedic viability over conformity to social norms. These statements align with his broader trajectory, where resistance to manifests in content that provokes discomfort to expose hypocrisies in polite discourse, without endorsing outright malice.

Approach to disability in humor

Renkow's comedic approach to emphasizes portraying individuals with impairments as fully human—capable of selfishness, manipulation, and moral failings—rather than adhering to inspirational or saintly stereotypes prevalent in media representations. In his work, he frequently draws on his own experience with to depict characters who exploit their condition for personal gain, such as evading responsibilities or provoking discomfort in others, thereby challenging audience expectations of disabled people as inherently virtuous or "flawed-free."<grok:render type="render_inline_citation"> 23 </grok:render> He has articulated that "disabled people don’t get to be flawed" on television, noting the rarity of seeing such characters make mistakes, which he finds inauthentic and unengaging, and thus crafts narratives where they are "wrong all the time" to foster more realistic humor.<grok:render type="render_inline_citation"> 23 </grok:render><grok:render type="render_inline_citation"> 0 </grok:render> Central to this style is , where serves as a tool for awkward, boundary-pushing scenarios that highlight societal awkwardness around impairments. For instance, in the sitcom Jerk (2019–2023), Renkow's character leverages to jump queues, feign vulnerabilities for sympathy, or confront others aggressively, as in pouring water on himself to police disabled toilet usage, turning potential pity into discomfort-driven laughs.<grok:render type="render_inline_citation"> 22 </grok:render> Renkow has admitted drawing from personal tactics, stating, "I use to get away with a lot," including during school years, to underscore how such exploitation subverts pity and reveals universal human flaws.<grok:render type="render_inline_citation"> 22 </grok:render> This method aims to grant audiences "permission to laugh," reducing fear and hesitation in engaging with by normalizing ridicule of life's darker absurdities associated with .<grok:render type="render_inline_citation"> 7 </grok:render><grok:render type="render_inline_citation"> 24 </grok:render> Renkow views humor as a mechanism for the "darker side" of living with , transforming misconceptions—like assumptions of mental impairment or fragility—into material that pokes at societal ignorance without self-pity.<grok:render type="render_inline_citation"> 24 </grok:render> He advises aspiring disabled comedians to study over arts to better grasp , enabling more incisive jokes that dissect interactions rather than relying solely on impairment for punchlines.<grok:render type="render_inline_citation"> 25 </grok:render> By prioritizing authenticity over uplift, his posits that true emerges from unflinching realism, allowing disabled performers to "punch" across social lines while critiquing the constraints of empathy-driven narratives.<grok:render type="render_inline_citation"> 22 </grok:render>

Critiques of performative wokeness and censorship

Tim Renkow has critiqued the rigid hierarchies of in , particularly the unwritten rule against "punching down" on marginalized groups. In a , he stated, "The rule in is you can’t make fun of anyone worse off than you... I’m disabled, Jewish and . So I’ve been allowed to make fun of everyone," highlighting the perceived arbitrariness of such guidelines, which grant leeway based on intersecting identities rather than merit or intent. This approach allows Renkow to challenge what he sees as , using his and ethnic background to subvert expectations and expose inconsistencies in who is permitted to offend. In his stand-up show Tim Renkow Tries to Punch Down (), Renkow deliberately violates the "punch down" taboo, attempting to mock those "worse off" than himself to test comedic boundaries. He remarked, "I’m a disabled Mexican Jew, and I haven’t found any group of people I’m not allowed to make fun of – which is getting insulting," underscoring a frustration with identity-based exemptions that he portrays as performative rather than principled. Through this, Renkow satirizes virtue-signaling behaviors in and society, where adherence to correctness serves self-congratulation over genuine discourse, as evidenced by his routines that provoke discomfort to reveal hypocrisies in progressive norms. Renkow's television work in Jerk (2019–2023) extends these critiques by depicting characters who embody rote "correct politics," such as aggressively performative allies whose actions reinforce stereotypes under the guise of . He has described leveraging his "to get away with a lot," including lazy or offensive material, as a deliberate tactic to bypass censorship-like pressures in the industry, arguing that true humor requires unflinching honesty over sanitized conformity. This resistance to aligns with broader defenses of comedic liberty, where Renkow positions offense as essential for exposing the superficiality of enforced sensitivity.

Reception and impact

Critical acclaim and achievements

Renkow's breakthrough in came early, with wins including the Leicester Square New Comedian of the Year award and the Amused Moose Comedy Award, alongside a nomination for Best Newcomer at the 2014 Chortle Awards. His 2016 Edinburgh Fringe show King of the Tramps earned five-star critical praise for its provocative exploration of and identity. The BBC Three series Jerk (2019–2023), which Renkow co-created, co-wrote, and starred in as a semi-autobiographical anti-hero with cerebral palsy, received broad critical acclaim for its raw, unapologetic humor that subverted expectations of disability representation. The Guardian lauded it as crafting "a Larry David for a new generation," highlighting its sharp cringe comedy and willingness to depict moral ambiguity without redemption arcs. The series secured the Representation of Disability, Scripted Award at the 2020 MIPCOM Diversify TV Excellence Awards and a nomination for the Rose d'Or in 2021. Renkow earned a nomination for the BAFTA Television Award for Best Male Performance in a Comedy Programme in 2022 for Jerk, as well as a Breakthrough Act nomination at the 2020 RTS Programme Awards. He was selected for BAFTA Elevate, a 2019 initiative supporting under-represented talent, and as a writer-performer for the 2020 BAFTA Breakthrough program, recognizing his rising influence in .

Criticisms and debates over offensiveness

Renkow's comedy, exemplified by his semi-autobiographical role in the sitcom Jerk (2019–2023), deliberately exploits his to deliver provocative, boundary-pushing jokes that challenge social norms and . The series features the engaging in deceitful, rude, and taboo-breaking behavior—such as defecating in a desk drawer or manipulating others' guilt over his —prompting debates on whether such portrayals mock vulnerability or expose the performative aspects of progressive . Despite its transgressive elements, Jerk has elicited minimal formal complaints or public backlash for offensiveness, a point Renkow himself highlighted as disappointing in a 2019 interview, where he anticipated outrage from viewers unacquainted with his stand-up style but found none substantial. In 2021, Renkow and co-stars remarked on having "disappointingly very few backlashes," attributing this to the show's cult appeal among those tolerant of discomfort humor rather than widespread condemnation. Critics have occasionally labeled Renkow's approach "outrageous" and un-PC, as in a 2023 profile noting his unrepentant stance against censoring to spare feelings, yet these assessments frame it as a virtue in an era of sensitivity rather than grounds for cancellation. One review dismissed the as "shockingly unfunny" without decrying them as harmful, focusing instead on execution over ethical breach. Academic analysis positions Jerk as that interrogates "politics of injury," where codified liberal responses to offense can stifle authentic , but empirical on reactions—such as surveys indicating % find disability-tasteless jokes offensive in general—contrasts with the show's low controversy footprint, suggesting Renkow's insider status mitigates perceived harm. This scarcity of criticism fuels broader debates on offense thresholds: proponents argue Renkow's self-deprecating edge, rooted in , inoculates against accusations of punching down, while skeptics question if confers undue license for sociopathic antics without accountability. No major broadcaster interventions or petition drives have materialized, underscoring a tolerance for his style amid prevailing narratives of 's "ruin" by offense fears.

Cultural influence on disability representation

Renkow's Jerk (2019–2023) marked a departure in representation by centering a cerebral palsy-afflicted anti-hero who exploits societal pity and awkwardness for personal gain, rather than embodying victimhood or moral exemplarity. This portrayal subverts stereotypes prevalent in media, where disabled characters often serve as plot devices for inspiration or , by emphasizing the character's comedic flaws—such as and deceit—without redemption arcs tied to . Renkow has articulated that "disabled people don’t get to be flawed" in typical television narratives, aiming instead to depict authentic complexity akin to non-disabled protagonists. The series employs to foreground ableist reactions, such as overzealous politeness or performative , thereby critiquing cultural pieties around without centering the condition itself as the narrative driver. Scholars have described this as ground-breaking, noting its role in intensifying discomfort to challenge liberal orthodoxies and expose in responses to . By normalizing flawed agency among disabled figures, Jerk has contributed to discussions on authentic portrayals in , influencing perceptions that should not preclude multidimensional character development. This approach has resonated in and media analysis, promoting a shift toward representations that prioritize behavioral realism over sanitized , though its niche broadcast on limited mainstream permeation. Renkow's strategy of sustaining viewer unease—"if I can keep you uncomfortable you’ll get sick of it"—seeks desensitization to , fostering broader cultural tolerance for unvarnished depictions.

Personal life

Relationships and atheism

Renkow married comedian , who also has , on September 29, 2020. The couple met through the circuit and have since collaborated on projects, including sketches about their relationship dynamics during . Their relationship was featured in a 2019 segment highlighting how two performers with disabilities navigated romance amid public scrutiny. In a 2011 BBC Ouch podcast appearance, Renkow identified as an , rejecting assumptions that his inherently leads to disbelief in religion and attributing his views instead to personal conviction. He has not publicly elaborated extensively on his atheism in subsequent interviews, though his comedy often critiques dogmatic thinking without direct religious references.

Experiences with disability and independence

Renkow was diagnosed with at six months old, a condition that primarily affects his mobility, balance, and speech. Growing up in the United States after his family moved from , he encountered early educational challenges, including being placed in a "slow class" by a teacher who underestimated his capabilities due to his physical presentation. He has described using his strategically in school to avoid tasks, stating, "Oh, no, I’m too disabled to do that," though he credits teachers who pushed back against such excuses. In adulthood, Renkow has navigated independence across multiple countries, relocating from the U.S. to at age 22 to study and develop his career, later performing extensively in New York and the . He relies on a walking frame for support and prefers going to improve balance, reflecting ongoing mobility limitations, yet maintains autonomy in daily activities without evident reliance on extensive assistance. Incidents such as police interventions in Memphis, where he was walking his dog and mistaken for having a mental impairment, highlight societal misconceptions he faces, prompting personal adaptations like getting a to project toughness—though he noted it proved ineffective. Renkow has remarked on leveraging his socially, observing, "I use to get away with a lot. Mainly just being lazy," indicating a pragmatic approach to mitigating ableist interactions. Renkow resides in with his wife, , a fellow comedian who also has ; the couple met in and married in a small ceremony during the in 2020, demonstrating resilience in personal relationships amid physical constraints. Their shared experiences include challenges like industry bias against booking two disabled performers together, yet they have collaborated on shows, underscoring mutual support for . Overall, Renkow's accounts emphasize , with his shaping but not defining his capacity for , professional pursuits, and interpersonal dynamics.

Filmography

Television roles and writing credits

Renkow co-created, co-wrote, and starred as the lead character Tim—a fictionalized version of himself with —in the series Jerk (2019–2023). Series one, consisting of four 30-minute episodes co-written with and Stu Richards, premiered on on 4 April 2019 before transferring to . Series two, with four episodes co-written with Pye, aired on starting 5 August 2021, where Renkow also served as associate producer. Series three expanded to six 30-minute episodes on in 2023, with Renkow credited as writer, executive producer, and lead actor. The series originated from the 2016 Comedy Feeds pilot "A Brief History of Tim," a 30-minute episode written and starring Renkow as a precursor to Jerk. Beyond Jerk, Renkow provided additional writing material for 8 Out of 10 Cats (series 22, 2020). His other television writing credits include contributions to the mockumentary special Death to 2021 (2021), episodes of Horrible Histories (series 10, episode 5 and specials, 2023), and the forthcoming children's series Horrible Science (2025). In acting roles outside Jerk, Renkow appeared in the Viceland/Comedy Central mockumentary series Bobby & Harriet Get Married (2017).

Guest appearances and specials

Renkow has made guest appearances on several British television comedy programs, often performing stand-up or participating in panel formats. In 2017, he appeared as a guest on the debut episode of Romesh: Talking to Comedians, hosted by . His stand-up routine on Harry Hill's ClubNite aired in episode 2 of series 1 in 2019, where he delivered material on topics including public . In 2021, Renkow featured as himself in the Comic Relief holiday special : A for Christmas, a star-studded production directed by Barbara Wiltshire that raised funds for the charity. He also contributed writing to the mockumentary special , a satirical review of the year's events featuring scripted sketches and archival footage. Later that year, he performed a stand-up set on Live at the Apollo series 16, episode 5, alongside and . Subsequent guest spots include episode 7 of Mel Giedroyc: Unforgivable series 4 in 2024, where he joined hosts and alongside and . He appeared as himself in series 3 of Rosie Jones's Disability Comedy Extravaganza the same year. In 2025, Renkow hosted episode 7 of Live at the Apollo series 19, delivering a full stand-up performance.

References

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  42. https://www.theguardian.com/tv-and-radio/2019/may/24/flawed-foul-mouthed-funny-cerebral-palsy-jerk-speechless-tv-comedy-gold
  43. https://olh.openlibhums.org/article/id/16348/
  44. https://www.chortle.co.uk/features/2021/07/27/48890/weve_had_disappointingly_very_few_backlashes...
  45. https://www.independent.ie/entertainment/television/tv-reviews/tv-review-tim-renkows-shock-com-is-still-shockingly-unfunny/40713619.html
  46. https://oro.open.ac.uk/99967/1/99967.pdf
  47. https://www.fest-mag.com/edinburgh/comedy/tim-renkow-kim-jong-un-muhammad-jesus-and-other-power-hungry-maniacs
  48. https://www.thetimes.com/culture/tv-radio/article/jerk-review-how-to-joyfully-blaze-past-the-line-of-good-taste-bcwxf79b5
  49. https://www.scotsman.com/arts-and-culture/film-and-tv/tim-renkow-on-creating-a-disabled-character-with-comedic-flaws-in-jerk-3327501
  50. https://humourinthearts.com/2022/06/17/jerk/
  51. https://www.instagram.com/p/CFwRzIwHo15/
  52. https://x.com/TimRenkowcomedy/status/1707769264499740691
  53. https://www.facebook.com/springdaycomedian/videos/correcting-your-partner-in-lockdown/370350253929544/
  54. https://www.bbc.com/news/av/disability-49675333
  55. https://www.bbc.com/ouch/podcast/transcripts_2011/ouch_talk_show_102_transcript.rtf
  56. https://www.italktelly.com/post/exclusive-tim-renkow-speaks-out-about-the-tv-industry-s-problem-with-representation
  57. https://www.unitedagents.co.uk/tim-renkow
  58. https://www.bbc.co.uk/programmes/p070b9gh
  59. https://www.imdb.com/name/nm8430201/
  60. https://www.imdb.com/title/tt16301388/
  61. https://www.comedy.co.uk/tv/live_at_the_apollo/episodes/19/7/
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