Do not for a moment imagine I am complaining, because hearing Modom & Begorrah is seldom a pleasure. However, given the extent of the baby-mania Ian has been written as having, why choose to have the delivery of the joyful news that a womb can be theirs in exchange for a large chunk of all their worldy goods happen off-air. Seemed a very strange decision to me.
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Yep.
I missed something Iâd have hated to hear, yet feel cheated.
Odd things, humans.
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I am unimpressed by the quality of last weekâs scripts as a whole, especially the idea that Elizabeth (who lives there) apparently didnât notice an ambulance arriving at Lower Loxley Hall, or else didnât think that the information that her grand-daughter had been taken to hospital with her mother in attendance would be of any interest to Jennifer and so didnât bother to mention it to her â which we had to assume, from Jennifer not knowing about it, Elizabeth had neglected to do.
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That is also true. Unless for once in her life, Elizabeth was exercising tact and consideration, of course. The bratâs mother was aware of the situation and could reasonably be expected to want to handle publicity on the matter; and (presumably) Elizabeth was would have been aware of the excrement/airconditioning interface at Home Farm.
Nah, youâre right. Last weekâs SWing was pretty crap, really.
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Simple. The scriptie wasnât competent to write a sufficiently convincing scene, so it had to be reported.
Or ⌠theyâve only got 12.5 minutes per episode so how can we expect to hear everything?
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And the bad news is that the same crap writer wrote this coming weekâs scripts as well.
This would explain Jim suddenly turning on and blackmailing one of his first-friends in the village. She didnât know that they are old allies.
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Not much point bragging about the shiny new computerised archive if they donât bother to consult it.
Hang on - scrap that; itâs not new at all. Itâs been computerised for over twenty years - âsince the the early 1990sâ according to Keri Davies1, so thereâs absolutely no excuse. Such cavalier disregard for continuity can only be interpreted as contempt for long term listeners.
1http://www.bbc.co.uk/blogs/thearchers/entries/e2c47789-8fc1-3a00-aa47-9c3bbea55228
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I think Iâve said before that my feeling is that TA is a unique opportunity to do something that isnât a standard problem-of-the-month drama series, to develop plots over the long term. So it seems a shame when they make it just a programme like all the other stuff thatâs already out there.
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I donât call 2007 âearly ninetiesâ â or is there some way of getting to earlier synopses which I have failed to work out?
"As youâd expect, the archive is computerised, and has been since the the early 1990s. It contains a vast array of information, including every episode synopsis since then - the same ones as you can read on our programme pages. "
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Two âIâve been around [whatevers] all my lifeâ in the space of as many minutes. Does anyone actually read this stuff over before they start recording it? There were probably other infelicities but I found much of tonightâs episode - particularly at the âpartyâ - remarkably difficult to hear. OK, I was cooking at the time, but the combination of lowered voices and a sound balance that seemed seriously out of whack made it more difficult than usual.
Perhaps I am just getting old and deaf. Whatever. I cannot summon up the fortitude to LA.
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And another person loses their temper in an uncharacteristic wayâŚ
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And youâre complaining??
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I take your point.
But I do think they ought to make the dialogue audible to enable full and fair complaint, where merited (was it just me, or was Lilian virtually incomprehensible* at times?)
*point also taken.
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