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Message: <blockquote data-quote="Spells &amp; Karma" data-source="post: 352398" data-attributes="member: 23">Home To Roost's glaringly obvious parallel with On The Up - as watched earlier this month - only dawned on me last night: both feature former lead actors from The Sweeney, most commonly associated with tough guy dramatic roles. As previously mentioned, John Thaw's no-nonsense style works terrifically well here, and is a match made in heaven with Chappell's sometimes cynical writing.As I begin Series Three, it seems Home To Roost has been given something of a mid-life refresh. The opening two episodes of the third year have seen more changes than  any up to this point: gone is Matthew's Series Two mullet (phew!) and interfering housekeeper Enid Thompson (boo), respectively replaced by a short Eighties fade and a new housekeeper who initially thought she was applying to be Henry's companion. The haircut is a relief, but the jury is out on Fiona Fennell who hasn't yet done much to make an impression. I had wondered about Elizabeth Bennett's reason for leaving the series and upon exploring was rather surprised to find that around the time of Series Two she'd simultaneously been playing housekeeper Enid Tomkins (as opposed to Thompson) in You Again? ...the American adaption of Home To Roost! Perhaps she was just all Enided out. Other changes for Series Three is a slight update to the credits with a new font used for names, etc. It's not a change for the better, in my opinion, and already looks cheaper and dated. The mid-episode freeze is now replaced by a generic title card. And the house has been given a scripted makeover (to impress his brother - Nicky Henson whom I've recently been watching as a recurring guest on Give Us A Clue). Despite scripted comments that there's now too much white which will be difficult to keep clean, the new decor is similar to the old but has the overall effect of looking darker and more oppressive. Henry has also acquired a stripey suite, not unlike that one that did the rounds on Sons And Daughters (Beryl Palmer somehow inherited it from Margaret Dunne) before moving over to Home And Away. As I write, I realise I'm casting all the changes in a negative light. It's true that most of them are for the worse, and I do wonder if perhaps I've seen the best of the series. At this point, however, the writing is still solid. Since that's really the beating heart of the series, I foresee myself greatly enjoying the remaining episodes.</blockquote>

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