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<blockquote data-quote="Mel O&amp;#039;Drama" data-source="post: 113393" data-attributes="member: 23">I&#039;m two evenings and just over one series into my next Britcom, which also happens to be the longest-running sitcom in the world.<img src="https://images-na.ssl-images-amazon.com/images/M/MV5BOGQ1NDM0YTMtMjAwMC00ZDUyLWIxZTMtZWIwYWY5ZDIzOTNhXkEyXkFqcGdeQXVyMTQxMjk0Mg@@._V1_.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.pinimg.com/originals/f0/dc/50/f0dc5001b5df9f6e26a1fe4978005d64.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" />It&#039;s taken this long to get the main characters&#039; names straight. I&#039;m sure I&#039;ll get Blamire&#039;s name right just in time for him to leave. A bit of a botched start. I began with the first regular episode on Series One, Disc One, but it appears the Pilot is actually an extra on the Series Thirty One final disc. I&#039;ll squeeze that one in soon - perhaps between Series Two and Three.I was expecting gentle comedy and an unhurried pace, and it gives both. But there&#039;s an unexpected edge to the apparent gentility, which seems to come at the most unexpected times and from the least expected characters. Speaking reflectively of his late wife, the gentle Clegg throws in a &quot;God rest the silly old bitch&quot;.&nbsp; There&#039;s a rather surprising amount of language that seems quite fruity for the early Seventies. Lots of casual &quot;bloody&quot;s and the like. Somewhat less surprising, given the era is the casual homophobia that&#039;s rife. So far pretty much every episode has contained a &quot;poof&quot; somewhere. Some of them have had several. And extramarital seems to be the done thing. Everyone everywhere seems to be (or have been) at it. From the cafe to the library.The lack of anything but the loosest plot is unique. There&#039;s a stream of consciousness that puts a series of thoughts out to the viewer. Some questions, some philosophy and some bizarre randomness. It&#039;s quite different to anything else I can think of, and yet Roy Clarke&#039;s familiar style occasionally conjures up some of his later work. There&#039;ll be a bit of Arkwright here, a flash of our Rose there. With some Wind In The Willows thrown in for good measure.Familiar faces so far have been Liz Smith as Compo&#039;s mushy pea loving date, Carry On&#039;s Margaret Nolan as a relative (or in law) of Compo and Doreen Sloane (Brookside&#039;s posh Annabelle) as a clippie with a broad Yorkshire accent.</blockquote>

[QUOTE="Mel O'Drama, post: 113393, member: 23"] I'm two evenings and just over one series into my next Britcom, which also happens to be the longest-running sitcom in the world. [IMG]https://images-na.ssl-images-amazon.com/images/M/MV5BOGQ1NDM0YTMtMjAwMC00ZDUyLWIxZTMtZWIwYWY5ZDIzOTNhXkEyXkFqcGdeQXVyMTQxMjk0Mg@@._V1_.jpg[/IMG] [IMG]https://i.pinimg.com/originals/f0/dc/50/f0dc5001b5df9f6e26a1fe4978005d64.jpg[/IMG] It's taken this long to get the main characters' names straight. I'm sure I'll get Blamire's name right just in time for him to leave. A bit of a botched start. I began with the first regular episode on Series One, Disc One, but it appears the Pilot is actually an extra on the Series Thirty One final disc. I'll squeeze that one in soon - perhaps between Series Two and Three. I was expecting gentle comedy and an unhurried pace, and it gives both. But there's an unexpected edge to the apparent gentility, which seems to come at the most unexpected times and from the least expected characters. Speaking reflectively of his late wife, the gentle Clegg throws in a "God rest the silly old bitch". There's a rather surprising amount of language that seems quite fruity for the early Seventies. Lots of casual "bloody"s and the like. Somewhat less surprising, given the era is the casual homophobia that's rife. So far pretty much every episode has contained a "poof" somewhere. Some of them have had several. And extramarital seems to be the done thing. Everyone everywhere seems to be (or have been) at it. From the cafe to the library. The lack of anything but the loosest plot is unique. There's a stream of consciousness that puts a series of thoughts out to the viewer. Some questions, some philosophy and some bizarre randomness. It's quite different to anything else I can think of, and yet Roy Clarke's familiar style occasionally conjures up some of his later work. There'll be a bit of Arkwright here, a flash of our Rose there. With some [I]Wind In The Willows[/I] thrown in for good measure. Familiar faces so far have been Liz Smith as Compo's mushy pea loving date, Carry On's Margaret Nolan as a relative (or in law) of Compo and Doreen Sloane (Brookside's posh Annabelle) as a clippie with a broad Yorkshire accent. [/QUOTE]

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