Reviews written by registered user
|16 reviews in total|
This show helped set us on the road to the excellent Beiderbecke Trilogy, and there are signs of the brilliance to come! Get Lost! is rich in quirky dialogue, and hilarious moments - a car chase whilst keeping to the speed limit is one that is simply unforgettable. The mystery throughout is "Where's Jim?" - husband of teacher Judy Threadgold. He's disappeared. But there's no intense drama. The story is beautifully low-key and intelligent. This show was intended to have a sequel after its successful broadcast in the summer of 1981, but the fact that Alun Armstrong, one of the two lead actors, was unavailable, led to a reworking of the idea and the creation of Jill Swinburne and Trevor Chaplin, schoolteachers like Judy and Neville of Get Lost, for the 1985-1988 Beiderbecke Trilogy. Like Judy Threadgold, Jill, played by Barbara Flynn, was a keen environmentalist, but she was a somewhat better humoured, less astringent character. James Bolam, of course, brought his own acting style to the character of Trevor Chaplin. Get Lost! is not Beiderbecke, nor are the events of Get Lost! pertinent to the trilogy, but it's a fascinating precursor and well worth viewing.
Why does it say "1976-1980" at the top of this entry? Saturday Night At The Mill ended in 1981! This is very curious indeed. IMDb should really be more factual. It is beginning to seem like Wikipedia! I have come across several bizarre inaccuracies and, as IMDb does seem to be quite trusted, it seems a great shame. Could a little more effort be provided in ensuring that what is passed here is accurate? The fact that Saturday Night At the Mill ended in 1981 is widely documented, indeed the IMDb entry lists shows from that year. Visiting this site used to be a tremendous pleasure. Now I am beginning to distrust it. Please, IMDb, stick to the facts!
*** This review may contain spoilers ***
A very sad tale this. Albion Market, like EastEnders, was inspired by
the revolutionary 1982 Channel 4 soap Brookside, which shook up the UK
soap world with a gritty, in-your-face approach, real houses and
controversial issues. Albion Market was created by Andy Lynch
(Brookside scriptwriter) and Peter Whalley (Coronation Street
scriptwriter) and began as a curious melding of Coronation Street-style
characters and Left Wing Brookside style story-lines, with a little
Corrie-style humour mixed in. It bombed. And it was dreadful. Another
problem was the screening nights - people liked the pub on a Friday
night in those days, and Sunday was not a night viewers yearned for
soap. Only around 25% of UK households had a VCR in those mid-1980s
days, and so that was not a lot of help. Viewers' attentions had also
been grabbed by EastEnders, which began in early 1985 (Albion Market
launched in the August) and the Market characters were nowhere near as
abrasive and dynamic as some of the original Albert Square residents.
The BBC stuck with EastEnders through ratings teething problems (it was initially beaten by Emmerdale Farm!), but the ITV Network was a different kettle of fish and dropped Albion Market into even more disadvantageous time slots when it failed to take off initially. The show was shaken up and became far more intriguing with the introduction of a corrupt new market boss, but ITV had already decided to scrap it before the changes could properly take effect. Granada TV provided closure to the show's story-lines by dispatching the new villainous boss-man and bringing back the original, so viewers were able to leave Albion Market without too many threads left dangling.
I adored the original TV series, first broadcast in October 1965 and adapted by Eric Thompson (father of Emma) from a French series animated by one Serge Danot into something delightfully English and daffy. The original show was a work of genius - in my humble opinion - thoroughly groundbreaking children's entertainment, which inspired many future series. The film was not the same. It lacked the charm, gentility and wit of the 1960s show. But then times change and I think I should not have gone to see the new big screen Magic Roundabout: youngsters in the audience seemed to be thoroughly enjoying it. New generation, new Dougal...
The information here is inaccurate. The Twin Peaks pilot was filmed in - and is dated in the closing credits - 1989. IMDb really does need to check its facts. I am spotting increasing amounts of inaccurate information on this site, which is concerning me as IMDb has previously been a site I have trusted implicitly. I request that the IMDb editors check the Twin Peaks pilot for the date and correct this information. It is very sad that a highly praised on-line resource like is going downhill in this way - I feel that the IMDb editors must make more of an effort to check the information submitted. I am seriously considering no longer recommending this site to my media students.
This series was actually first broadcast in April 1980 and I have read that production was 1979-80. Isn't the IMDb "1979" claim rather misleading? It is leading to assertions by web skimmers that the show was BROADCAST in 1979! There seems to be an awful lot of odd stuff gong on. Series on which production began in 1969, but were first broadcast in 1970, are listed as "1970", but series on which production began in 1979, but were first broadcast in 1980, are listed as "1979". Is there some kind of bizarre, anti-80s bias going on at IMDb? Also, the actual episodes are dated 1980 - the studio "ident" at the end of each episode shows the year as being 1980! IMDb needs to decide whether its dates refer to the year production began or the date a show was broadcast because this is all very confusing and encourages a lot of misleading web info elsewhere.
I thoroughly enjoyed several American sitcoms in the 1980s, and thought
this was a fascinating era for TV humour. The 80s saw the likes of The
Golden Girls, The Simpsons, Married With Children and Roseanne bursting
into the schedules and it was a very creative era.
I enjoyed the first few seasons of Roseanne so much. This was a breathtakingly down-to-earth view of family life, and, like the English series "Only Fools And Horses", could make you cry as well as laugh.
Groundbreaking, spiky, warm, surprising and very relevant to its time - Roseanne is simply classic viewing. I would recommend the first three or four series to anyone!
Professor Stahlman's comment on here is inaccurate. True, Emmerdale
Farm became Emmerdale in November 1989, but Phil Redmond's time on the
soap was in the early 1990s, and the plane crash storyline took place
in December 1993 and January 1994.
For the first few years after 1989, the renamed show was pretty much as it had always been, but with an increased youth content and a gradual reducing of story lines revolving around Emmerdale Farm itself.
1993 was the pivotal year in bringing about the show as we know it today - with Emmerdale farm house collapsing due to subsidence and the plane crash.
Personally, I think modern day Emmerdale is nothing like Emmerdale Farm or the early years of Emmerdale (pre-plane crash).
I would love ITV to repeat old episodes, particularly those showing the introduction of Al Dixon as Walter in 1980, Richard Thorp as Alan Turner in 1982, Tony Pitts as Archie Brooks in 1983 and Diana Davies as Mrs Bates (1984).
ITV should show lots and lots of old Emmerdale Farm episodes in my opinion.
At its best probably in the 1960s, Crossroads was always terrific fun.
The programme had an innocence and lightness of touch in its 60s days that it lost in the 70s and great fun was to be had as sets occasionally wobbled and studio arc lights fell down! The 1960s characters were great - and included such legendaries as the Richardsons and Hugh Mortimer, Diane, Tish Hope, Marilyn Gates (mark 1!) Mr Lovejoy and Mr Booth and Amy Turtle.
The show was daring - a storyline about a single mother, a waitress at the motel, was strong stuff back then. But murder was more difficult. In a 1960s story involving the character Gerald Bailey (whose wife, Ruth, later married Meg's brother) great pains had to be taken so as not to "distress" viewers in a storyline originally envisaged as murder, but later reconfigured to "sudden death".
However, by the late 1960s, attempted murder WAS allowed as we saw the character Malcolm Ryder trying to poison the show's heroine, Meg Richardson - his wife in the plot at that time! The 70s and 80s episodes are also great fun. The 70s episodes have added value as we see all sorts of middle aged people wearing the garish and flared style of clothes which were so cutting edge and trendy amongst the young hippies of the 1967/1968 Summer Of Love. Younger 70s characters, like Martin Bell, look positively dowdy in comparison to the 60s fashion following older set!
The 70s and 80s episodes saw a continuation of cutting edge soap story lines - I particularly recall the introduction of Benny in the 1970s (learning difficulties) and the terrific Downs Syndrome and racism story lines in the 1980s.
In the 1980s, the show altered dramatically and it seemed a terrible shame to dispatch Meg, but Crossroads gave excellent value with the introduction of chararacters such as Valerie Pollard and Nicola Freeman and a brief return for Amy Turtle! I followed the show from start to finish and enjoyed it all, though I do feel now that the 70s episodes are rather over-hyped (so much 70s stuff really belongs to the 60s!). From wonky but lovable 60s soap to shoulder padded, witty but gentle late 80s ending, Crossroads was required viewing for me for an awful lot of years.
Hyacinth Bucket was a first class snob and a great eccentric. She came
from an eccentric family - lazy Daisy and her passion for
philosophising layabout husband Onslow; rampant Rose - always seeking
Mr Right, or Mr Anybody; Daddy - well past the height of his mental
powers; and Violet - married to a cross-dressing turf accountant.
Hyacinth's adored son, Sheridan, was never seen on screen, but it was established that the lad was very much his mother's son! Why did long-suffering husband Richard and neighbours Liz and Emmett put up with Hyacinth? Wherever she went, she caused chaos in her endless pursuit of a refined and elegant existence.
This is the most English of comedies: on the island of Britain, no nation takes class more seriously than England - and this series also demonstrates the wonderful ability of the English to laugh at their own peculiarities.
A wonderful series - and one of the last truly great English sitcoms.
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