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Global Telly Talk
Classic UK TV
The Great British Sitcom
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<blockquote data-quote="Spells &amp; Karma" data-source="post: 341453" data-attributes="member: 23"><p>Looking back over <em>The Upper Hand </em>so far, an awful lot of episode titles are names of TV series or films. Indeed, with the (possible) exceptions of<em> The Far Pavilion </em>and <em>The Porridge Diet</em>, all of Series Five's episodes have been well-known titles. And even the latter of those two references an iconic sitcom. </p><p></p><p>One episode is cheekily named<em> Who's The Boss?</em> It's rather surprising that the American series got to its final season before using it. </p><p></p><p>One character who gets better and better for me is Caroline. In the early days I found her the least-interesting character, and (as I mentioned) the one who I found jumped out as less interesting or funny than their American counterpart. As the series have gone by, Diana Weston has proved quite a gem and really won me over. Series Five has had a lot of snippy, critical and competitive Caroline and it's a colour I find hilarious on her. I don't feel we had much of this in the early days of the series, and it's great to see it rectified. </p><p></p><p>The kids are still proving enjoyable. While I do generally prefer them in less-central roles, they do good work. Kellie Bright particularly shone in the scenes when Sam dressed up as her friend Al's wife in order to help him secure a flat. Seeing her dolled up in faux fur with a bright red wig, oodles of slap and a broad Cockney accent feels like the moment she emerges from the child actor I recognise from <em>T-Bag</em> to the future <em>EastEnder</em>. </p><p></p><p>Joe McGann is perfectly acceptable, though my journey with him has taken the opposite trajectory to Diana Weston. His range may be good when compared directly with Tony Danza (as I did in the early days) but taken on its own merits it's far more average. There is a naturalism to his performance, but it comes from the same few little expressions which make it feel simultaneously repetitive. To the point of distraction, many of his lines start with "I mean..." Yeah"... and - the biggest offender - "Come on". In fact, "Come on, Caroline..." is used so frequently it could be an alternative title for the series... or a drinking game phrase for those who want to get sozzled quickly. An episode in which McGann played a Brummie Charlie lookalike only reinforced the limitations, though it wasn't unenjoyable.</p></blockquote><p></p>
[QUOTE="Spells & Karma, post: 341453, member: 23"] Looking back over [I]The Upper Hand [/I]so far, an awful lot of episode titles are names of TV series or films. Indeed, with the (possible) exceptions of[I] The Far Pavilion [/I]and [I]The Porridge Diet[/I], all of Series Five's episodes have been well-known titles. And even the latter of those two references an iconic sitcom. One episode is cheekily named[I] Who's The Boss?[/I] It's rather surprising that the American series got to its final season before using it. One character who gets better and better for me is Caroline. In the early days I found her the least-interesting character, and (as I mentioned) the one who I found jumped out as less interesting or funny than their American counterpart. As the series have gone by, Diana Weston has proved quite a gem and really won me over. Series Five has had a lot of snippy, critical and competitive Caroline and it's a colour I find hilarious on her. I don't feel we had much of this in the early days of the series, and it's great to see it rectified. The kids are still proving enjoyable. While I do generally prefer them in less-central roles, they do good work. Kellie Bright particularly shone in the scenes when Sam dressed up as her friend Al's wife in order to help him secure a flat. Seeing her dolled up in faux fur with a bright red wig, oodles of slap and a broad Cockney accent feels like the moment she emerges from the child actor I recognise from [I]T-Bag[/I] to the future [I]EastEnder[/I]. Joe McGann is perfectly acceptable, though my journey with him has taken the opposite trajectory to Diana Weston. His range may be good when compared directly with Tony Danza (as I did in the early days) but taken on its own merits it's far more average. There is a naturalism to his performance, but it comes from the same few little expressions which make it feel simultaneously repetitive. To the point of distraction, many of his lines start with "I mean..." Yeah"... and - the biggest offender - "Come on". In fact, "Come on, Caroline..." is used so frequently it could be an alternative title for the series... or a drinking game phrase for those who want to get sozzled quickly. An episode in which McGann played a Brummie Charlie lookalike only reinforced the limitations, though it wasn't unenjoyable. [/QUOTE]
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