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Classic UK TV
The Great British Sitcom
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<blockquote data-quote="Spells &amp; Karma" data-source="post: 343924" data-attributes="member: 23"><p>At just seven episodes, <em>The Upper Hand's </em>final year is also its shortest, meaning I've got through over half of Series Seven in one sitting. </p><p></p><p>Since I believe most of these final seven are original scripts, instead of remakes of <em>Who's The Boss? </em>scripts, I was most interested to see where they would fall tonally. To me they do feel a <u>tad</u> more British, but I'm not sure how much of this is me looking too deeply. Certainly they're not as British as they could have been, and the scripts continue to regularly use Americanisms ("we're done"; "refrigerator" "I guess"... etc.). It feels as though an effort has been made to keep the script feeling as though it could have been recycled from a U.S. series which, if nothing else, arguably shows attention to detail.</p><p></p><p>The stories themselves also feel familiar to regular viewers of either series. The episode with Caroline's man-eating friend making a play for Charlie felt very much like a remake of Series One's <em>The Old Girl Network</em>, which I suppose was worth doing both as a kind of bookend, with the dynamic between Caroline and Charlie being very different now that their romantic relationship is well and truly established. Plus it meant we got Louise Jameson as the friend (and it included a homage to <em>The Graduate</em>). The same episode also included Mollie Sugden's son from <em>That's My Boy </em>as an old boyfriend of Caroline's who made Charlie feel insecure, which I'm sure is also ground we've trodden before in the series.</p><p></p><p>The ongoing arc with Caroline and Charlie wanting a baby isn't doing it for me. Each is acting like their life is unfulfilled without having a baby together, yet they have every reason to be a happy blended family with two grown children. Charlie wanting another kid I can believe, but Caroline's desire to please Charlie by giving him a child is less convincing. It's clear they're aiming for romantic angst, but these scenes end up coming across as self-indulgent and even ungrateful.</p><p></p><p>British b-list sitcom writer Colin Bostock-Smith has written three of the four so far, with <em>Who's The Boss?</em> creators Martin Cohan and Blake Hunter writing <em>Chunnel Of Love</em> (not to be confused with <em>Tunnel Of Love</em>, itself a remake of <em>Seer Of Love</em>). I can't seem to find <em>Chunnel's</em> American equivalent, but I'm sure I'll get over it.</p></blockquote><p></p>
[QUOTE="Spells & Karma, post: 343924, member: 23"] At just seven episodes, [I]The Upper Hand's [/I]final year is also its shortest, meaning I've got through over half of Series Seven in one sitting. Since I believe most of these final seven are original scripts, instead of remakes of [I]Who's The Boss? [/I]scripts, I was most interested to see where they would fall tonally. To me they do feel a [U]tad[/U] more British, but I'm not sure how much of this is me looking too deeply. Certainly they're not as British as they could have been, and the scripts continue to regularly use Americanisms ("we're done"; "refrigerator" "I guess"... etc.). It feels as though an effort has been made to keep the script feeling as though it could have been recycled from a U.S. series which, if nothing else, arguably shows attention to detail. The stories themselves also feel familiar to regular viewers of either series. The episode with Caroline's man-eating friend making a play for Charlie felt very much like a remake of Series One's [I]The Old Girl Network[/I], which I suppose was worth doing both as a kind of bookend, with the dynamic between Caroline and Charlie being very different now that their romantic relationship is well and truly established. Plus it meant we got Louise Jameson as the friend (and it included a homage to [I]The Graduate[/I]). The same episode also included Mollie Sugden's son from [I]That's My Boy [/I]as an old boyfriend of Caroline's who made Charlie feel insecure, which I'm sure is also ground we've trodden before in the series. The ongoing arc with Caroline and Charlie wanting a baby isn't doing it for me. Each is acting like their life is unfulfilled without having a baby together, yet they have every reason to be a happy blended family with two grown children. Charlie wanting another kid I can believe, but Caroline's desire to please Charlie by giving him a child is less convincing. It's clear they're aiming for romantic angst, but these scenes end up coming across as self-indulgent and even ungrateful. British b-list sitcom writer Colin Bostock-Smith has written three of the four so far, with [I]Who's The Boss?[/I] creators Martin Cohan and Blake Hunter writing [I]Chunnel Of Love[/I] (not to be confused with [I]Tunnel Of Love[/I], itself a remake of [I]Seer Of Love[/I]). I can't seem to find [I]Chunnel's[/I] American equivalent, but I'm sure I'll get over it. [/QUOTE]
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