Trevor Bingley is back. After his disastrous housesitting job in the previous adventure, this time he aims for a quieter life, taking up a job as a school caretaker — but his hopes for calm are promptly dashed when he accepts a lucrative assignment to look after a luxury London penthouse over the Christmas period. The setup sounds simple, yet for someone like Trevor it’s anything but.

Things begin to unravel when the last day of term at the school ends in chaos: the Baby Jesus figure from the nativity play is left uncollected, and Trevor finds himself unexpectedly responsible for a real baby. Now, with a gleaming penthouse to care for and a wailing infant in tow, Trevor’s festive plan is turned on its head by one misstep after another.

The comedy unfolds through Trevor’s classic mix of good intention and bumbling mishaps. He navigates christmas decorations, penthouse furnishings, and soothing a baby who has no patience for routine. The contrast between the quiet luxury of the penthouse and the chaos of childcare gives the story its comedic heart. In true physical‑comedy style, Trevor’s adventures draw on slapstick and timing rather than heavy exposition.

Although the series is lighthearted and family‑friendly, it also touches on themes of responsibility and stepping up when the unexpected arrives. Trevor is forced out of his comfort zone and must adapt to protect the penthouse, keep the baby safe, and try to salvage his holiday hopes. The juxtaposition of adult ambition (looking after a penthouse) and infant needs (feeding, burping, soothing) underpins much of the humour and warmth.

Visually, the setting of the luxury penthouse in London at Christmas adds a festive backdrop that amplifies the stakes: the decorations, the tree, the lights all become part of the canvas for disaster. Trevor’s struggle is not just against the baby, but against holiday expectations gone awry, neighbours’ watchful eyes, and the pristine environment he’s meant to preserve. The festive setting adds to the joy and the pressure.

At its core, the series relies heavily on the performance of Rowan Atkinson as Trevor. His physical comedy, expressive timing and ability to carry mishaps into heartwarming moments of real vulnerability anchor the story. Even without much dialogue, his reactions are the emotional centre. For audiences who’ve seen his earlier work, this is a welcome return in a fresh situation: “man vs baby”

The show comprises four 30‑minute episodes and will debut globally on Netflix on December 11 2025. It promises both laughs and holiday heart, and in the final moments you sense that Trevor may not emerge unscathed or fully in control — but he may come out having learned something about caring, chaos and the meaning of Christmas in unexpected ways.