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  • Neither as acerbic as FAWLTY TOWERS or ABSOLUTELY FABULOUS or as radical as THE YOUNG ONES, THE GOOD LIFE remains cosily stuck in a middle-class time-warp but happens to be blessed with terrific scripts (by Bob Larbey and John Esmonde) and extremely strong characters, played to perfection by the four principle actors. Originally airing 1975-1978, the series managed to maintain a very high standard despite a slight air of exhaustion that crept into the fourth final series. It was decided to quit while they were ahead, at the peak of the series popularity, with a final episode filmed in front of the Queen.

    The basic set-up concerns Tom and Barbara Good (Richard Briers and Felicity Kendal) who decide to opt-out of the rat race and try self-sufficiency in Surbiton. On this slender premise hung all kinds of imaginative plots farmyard animals (and their excretory processes), generators, rotary cultivators (and contraptions of all kinds) as well as political machinations in the local music society headed up by the formidable Miss Mountshaft (often referred to, but never seen).

    As the series progressed, the plots tended to depend upon situations guaranteed to cause maximum embarrassment to the Goods social-climbing fully paid-up member of the white middle-classes neighbour Margo Leadbetter (played marvellously by Penelope Keith). Margo's husband, Jerry (Paul Eddington) maintains just the right amount of total resigned bemusement throughout.

    Stand-out episodes include 'The Windbreak War' (a feud erupts over the positioning of Margo's windbreak), 'A Tug Of The Forelock' (Tom and Barbara go into domestic service...for Margo), 'Silly...But It's Fun' (the Christmas 1977 episode in which Harrods fail to deliver Margo's Christmas), 'Mutiny' (in which Margo plays Maria in the local music society's production of The Sound Of Music) and 'The Thing In The Cellar' (Tom installs a methane generator which runs on something that comes out of pigs).

    It's easy to forget the critical approval and the public appreciation the series gained during it's initial tenure, along with the fame that greeted the actors (especially Penelope Keith who memorably appeared on the Morecambe & Wise Christmas Show, the ultimate accolade at the time).

    THE GOOD LIFE easily ranks up with the best TV comedies ever produced but, unfortunately, it is not remembered with quite the same fondness as DAD'S ARMY, STEPTOE & SON or the magnificent FAWLTY TOWERS. What is needed is some repeats to correct this shameful oversight.
  • I remember watching this show on PBS in the early 80's and loving it. However, I hadn't seen it in nearly 20 years, and wasn't sure how much of my "wonderful" memory was simply nostalgia.

    So I was thrilled to discover that my local library has a few episodes on VHS, but it was with a bit of trepidation that I checked them out. Would the show be as good (unintentional pun) as I remembered? I can happily say that yes, this show stands the test of time. True, most of Jerry and Margo's wardrobe is horribly dated, and the typical American wouldn't get a few of the jokes. However, by and large this charming sitcom is still big on laughs, in a very family-friendly way (except for some light innuendo, and the occasional drink, there's virtually nothing to offend here).

    Oh, and even wearing a raincoat and wellies, Felicity Kendal is still one of the loveliest ladies I've ever seen.
  • In the seventies, television was good, and The Good Life (1975-1978) is no exception. It's a dry, pleasant and warm British situation comedy about an everyday man who decides on his 40th birthday to quit his job and become self-sufficient. The reason this comedy works better than most is down to its brilliant casting, all of the actors have such a believable chemistry. From Tom and Barbara Good (the fantastic Richard Briers and the lovely Felicity Kendall) to Jerry and Margot Ledbetter (the equally great coupling of Paul Eddington and Penelope Keith). The characters are so likeable, you can't help but warn to this show, it's funny, inoffensive and most of all happy, the kind of show that will lift you're spirits and put a smile on you're face. (Incidentally for a show that is so happy, the final episode is actually quite depressing and emotional a bit of a downer. But that aside you can still watch all the other episodes). This is great comedy with great actors that adds up to a true television classic...
  • This is one of those series that give Britcoms such a good name! "Good Neighbors" (as we know it here in the states) is intelligent, funny, and extremely endearing. And who can beat the cast? Richard Briers is a very respected veteran now -- he was nominated for a Tony last year for "The Chairs" -- and he was just as talented when he was younger! Felicity Kendall is absolutely precious as his wife (I *love* her scratchy little voice!), and Paul Eddington and Penelope Keith are terrific as the snooty next-door neighbors. "Good Neighbors"/"The Good Life" is dry, but in a good way... You'll laugh out loud at this one! And it has a heart -- you'll fall in love with the Goods, and enjoy following them through their ups and downs! Do yourself a favor and check out this series!
  • The Good Life has been repeated many many times on the BBC ever since it first aired back in the mid to late 70s and for good reason too.

    Back then Britain was going through years and years of industrial strikes culminating in 78/79 with the so-called "Winter Of Discontent" when National Strikes crippled the country. During the 70s there were many situations when most of the country had its power cut off for nights on end by striking energy workers.

    Thus millions of families would be cast in darkness huddled round candles, talking or trying to read under the gloom. It also gave thought to our total independence on eletricity and the power it provides us at the simple flick of a switch.

    And so The Good Life came to light (bad pun I know). However, the writers decided not to make a comedy about people suffering darkness at the hands of militants and strikers. Instead they decided on taking a typical middle-class couple into the realms of voluntary self-sufficiency.

    So enter, Tom & Barbara, our selfless & willing guinea pigs who decide the rat race and huge bills is not a world for them. And for the next 4 years we seem them struggle & succeed in their attempts at going their own self-sufficiency way at the bemusements of their neighbours.

    This kind of environmentalism was a relatively new concept to British audiences in the 70s and perhaps underlined why the show was such a great & enduring success. But it also raised lots of questions both for us the viewing audience and Tom & Barbara themselves.

    Generating electricity is no easy thing as Tom found out when the Electricity Board finally cut their power for not paying their bills. Both Tom & Barbara had to adapt really quickly and get used to the idea that nothing was going to happen any more by simply clicking on a light switch, opening a fridge or turning on a tv.

    All these creature comforts we take so much for granted are all gone for Tom & his wife. And trying to build his own little power generator in his celler using the effluent of his pigs to create some form of electricity not only makes for a great episode but also shows us how much hard work & self sacrifice is involved by going the Green Route.

    Two major questions that surfaced during the show involved the keeping of animals in Tom's back garden and the hard work, noise, odours etc that this creates and the problems it causes to the neighbours; the difficult matter of having to kill their own chickens bare handed rather than simply going to the shops and buying frozen foods killed by other people.

    Interestingly the Goods (Tom & Barbara) were childless which was probably intended by the writers otherwise the show could have suffered if children were involved.

    As time went on some of the episodes looked very "samey" from earlier episodes and the laughs were becoming just a little desperate. So to learn that the series would finally end in 1978 was the right choice. Its always best to finish on top than try to stretch a joke too far.

    Even though the topicality of the show was popular at the time, I don't think it set a trend with the British in reality. Self-sufficiency was good & funny providing someone else did it, but for the majority of the population it was just too damned hard to even contemplate.

  • This was my favorite BBC sitcom. Even though there was only 30 episodes, it ranks as my favorite among all comedies. I was so fortunate to have had access to public television growing up. Channel 13 in Dallas, Texas was the first public TV station to air "Monty Python's Flying Circus" in the U. S. (Three cheers to Eric Idle).

    It was the "Good Neighbors" series that got me started in collecting and recording TV shows onto VHS tapes. One can not help but fall in love with the characters on this show. Tom and Barbara Good are the main characters who decide to live a life of total self-efficiency in the suburbs of London. It is their next door neighbors, Margo and Jerry Ledbetter, that bring in most of the laughs. They remain best of friends with the Good's even though their lifestyles become totally different.

    I highly recommend this excellent British comedy. Everyone has a favorite and this show is mine. My favorite American TV sitcom is "The Bob Newhart Show". These two shows have nothing in common except that they make you laugh.
  • Warning: Spoilers
    One of the BBC's most endearing sitcoms from the 70's. Great fun all round, but most of all (my personal favorite, anyway), the Christmas episode entitled "Silly, But It's Fun". This has become a perennial "must-see" during the holiday season in our household, right up there with the Alastair Sim version of "A Christmas Carol". Worth seeing if only for the look of horror on Margot's face when she finds that her Christmas cracker "hat" is an issue of "The Daily Mirror".....or her blank look of non-understanding upon reading her motto, (I hope this isn't a spoiler) "The ooh-aah bird is so called because it lays square eggs". Cheers, all!
  • When I heard of Good Neighbors, I didn't think much of it. Then when they began airing it after Waiting for God on WLIW Long Island last year. I became enchanted by a star cast, Richard Briers, Felicity Kendal, Penelope Keith, and the late Paul Eddington. Paul, Richard, and Felicity have been honoured with a C.B.E.(Commander of the British Empire). Richard and Penelope also received the O.B.E.(Officer of the British Empire) and now have C.B.E.'s as well. It's so amusing to watch these four talented actors at work. Richard and Felicity's roles as Tom and Barbara Good are wnderfully portrayed with such charm. Felicity has such a wonderful musing face to watch on screen. You can't take your eyes off her. No wonder Richard Briers is one of Kenneth Branagh's favorite actors. He is simply likable. Paul and Penelope's Margot play their neighbors who prefer offices and modern technology to Tom and Barbara's new lifestyle of pigs and crops. You wouldn't know it if you knew that Penelope actually is an avid gardener herself and lives in Surrey from her performance as the socialite, Margot Ledbetter. Good Neighbours actually had a command performance for the Royal Family who were big fans of the show. No wonder, it's a great show.
  • Warning: Spoilers
    It's no accident that all 3 non-Briers, virtual unknowns before this series, went on to have their own top-rated shows. Tied jointly with Fawlty and Blackadder for my favourite comedy series (I can't separate them because they're all so different), this is definitely the gentlest of the three, but no less piquant for all that. The storyline of two suburbanites opting out of the rat-race to try their hand at self-sufficiency provided a great platform for a lot of digs at the establishment, and the actors themselves did the rest.

    It also contains the first scene I ever saw a in a comedy series used to make a serious point, when the 4 come in to witness the mayhem caused by vandals to the Good's home. In the couple of seconds after Margo's line "And the people who do this call the police pigs", you could have heard a pin drop; and that was 10 years before the last episode of Blackadder.

    Perhaps I'm biased because I had a huge crush on Felicity Kendall, but I still reckon its the best show any of them have done - and that includes some pretty stiff competition. And don't be fooled by the feel-good factor; it was quite subversive in its way.
  • The idea of people being self sufficient was talked about quite a bit in the 70's and there were people who really did it like the Goods.

    The reason in the show the Goods could afford to live in their house is that they owned it and didn't have to pay rent. If you think, even in the show, the life they led was easy, you obviously haven't watched much of it at all because it was anything but.

    The Goods ran into problems in just about EVERY episode, but the point was doing it for different reasons ~ a challenge, to feel alive, back to basics, to not have to answer to any body...etc. They were down-to-earth, happy, smart and had a sense of humor.

    In those ways I find the show really inspiring and intelligent. As for the comedy, the characters once again provide this with their amazing dynamic.

    Managing to get four of Britain's best comedic actors at the time together in one show was perfect.

    Tom with his cheeky boyish wit, strength and determination. Barbara with her logical intelligence, resourcefulness and feisty charm. Jerry with his cheeky chuckle, free spirited but at times stern nature and his protectiveness towards Tom and Barbara. Margo with her incessant need for a good social standing, strong sense of friendship and almost innocent nature when it comes to certain things like sex.

    These character were more than just one dimensional faceless general characters. They all had different sides to them. Margo acted differently with Barbara than she would with Tom and at times her and Jerry, although having their problems did seem very much in love and one could very much see why they were together. Tom and Barbara's relationship was very much equal, with Barbara getting just as much say in what the couple did as Tom.

    Tom was sweet and lovable and funny and Barbara was cute and supportive. The four of them went together very well and made a dynamic that wasn't necessarily hilarious, but it was interesting, intelligent and made me giggle. Not only that but the show is full of double entendres and innuendo! Everything from tame bondage to wife swapping is eluded to through the series!! Hahaha.

    I'm realize that comedy, more than anything, is subjective but you really should look at this show closer.
  • I've always liked this BBC sitcom from the '70's, it was never uproariously funny in the same way as its channel contemporary Fawlty Towers was, but it was always pleasantly funny and always delivered. It was a genuine attempt to extract humour from a serious human decision, that of quitting the rat race and becoming self-sufficient in Surbiton. How the Good's managed it was the subject of about 30 half hour episodes, with a definite tapering off in story quality towards the end. They'd all proved their point: it could be seen to be possible and successful and once achieved could only repeat like the seasons of the year.

    "Plough your own furrow" broadcast 4.4.75: This is where 40 year old Tom, with Barbara's considered support quits his job and they become self-sufficient. To celebrate their decision they dance around the goldfish pond at 3 in the morning much to their next door neighbours Jerry & Margot's disgust.

    Tom, Jerry and Margot were all splendidly portrayed by Briers, Eddington and Keith, but as has been repeatedly pointed out in previous comments, it was Felicity Kendal who brought something extra to the shows. She provided a downbeat and downplayed realistic attitude that was at the time and still is completely beguiling and refreshing to watch. Those who couldn't get into it sure missed something! Sitcom was perhaps rather beneath her talents, and I always thought of Briers as a farceur, but they gelled together well in their opposition to the world.

  • The joy of this clever 1970s comedy is the perfect teaming of its quartet of stars - Richard Briers and Felicity Kendal as Tom and Barbara Good, who have a smallholding with pigs, goats and chickens in their garden and a power supply run by manure; and Paul Eddington and Penelope Keith as Jerry and Margo Leadbetter, the snobs next door.

    Sharply written by John Esmonde, this series follows the two couples as they struggle with such common problems of suburban living as where to place a canopy, entertaining the local music group committee, harvesting the potatoes, and placating the local gentry. Tom and Barbara are irritating but likable, with their stove, tractor, and wellingtons. Margo is an absolute hoot, a sexy woman who doesn't like to admit it and a dreadful nosey neighbour, while Jerry is the typical executive doormat.

    Not surprisingly the series often re-runs, so that successive generations can enjoy the funny situations, lines and characters we find in 'The Good Life'. It can't do Felicity Kendal's image any harm either!
  • Warning: Spoilers
    It’s not easy to describe this series quickly - there are so many elements that make it work, from the constant ideas and setbacks surrounding Tom and Barbara’s self-sufficient life to the benefits and regrets it brings, to the excellent contrast between the simpler existence of the Goods and their social-climbing neighbours, the Leadbetters.

    The relationships between the two couples (Tom and Barbara, Margo and Jerry) is interesting - although this was of course made in the 1970s when the second wave of the women’s movement was coming into swing, Tom often comes across as a little bit domineering and ready to overrule Barbara. The gut reaction of today’s viewer might be to dismiss him as a bit of a male chauvinist or someone who can’t understand how women think (one episode that springs to mind is when he cannot fathom why it is so disastrous to Barbara when her best dress is accidentally ruined - although she is happy to live the self-sufficient life alongside him, like most of us she is only human and wants to get “dressed up” just occasionally) but on the other hand, are Margo and Jerry any happier? In some ways, I suspect not. Yes, Jerry has a good job, a nice car, a house that the snobbish Margo keeps in immaculate order (to be more precise, as Jerry once mentions, the Pearsons keep it in order - Mrs. Pearson cleans the place, Mr. Pearson does the garden), many friends to entertain and they are seen in the right social circles (Margo makes much of being in the music society - perhaps because she hasn’t got a paid job and needs to fulfil herself somehow?) but the man is henpecked and harangued to within an inch of his life by his somewhat spoiled wife. (She overdramatises, in one instance, his “cruelty” in refusing to sign a cheque for an ornamental spinning wheel that she wants - it is possibly the only time he ever denies her anything!) So although Barbara and Tom don’t have the most glamorous existence, their struggles are arguably more elemental, more crucial. The harvesting of vegetables being threatened by stormy weather actually could be the difference between them getting through winter and going hungry. And their positive moments - the survival of the piglet, for instance - are all the more positive because of it.
  • THE GOOD LIFE is back on telly again. Hurrah! Rejoice! There is a God, etc. Not that I ever watched it for the comedy. I mean it's fine, sometimes witty, but very cosy, nothing too threatening, with plenty of longueurs between the funny bits. Penelope Keith is a hoot, a magnificent caricature of low-rent, jumped-up snobbery, much better than her horsey aristo in TO THE MANOR BORN, also repeated recently, and except for the Maestro of Light Entertainment, Peter Bowles, very disappointing. She is introduced not in person, but as a disembodied voice, like some malevolent supernatural force.

    Paul Eddington is outstanding, revealing what a great actor he was: he's probably the most human character in the programme, married to an unbearable woman, forced to be absurdly ambitious (and servile) because Margot would make life hell if he wasn't; yet managing to retain an air of placid calm, a buffer against understandable insanity. Richard Briers is least convincing; a bit of an irritant, probably impossible to live with, more like a hyperactive vicar than a husband. He completely lacks the tragedy, madness and pain behind those two great 70s mid-life crises, Basil Fawlty, and Reggie Perrin. He's just too...normal. Cosy. Daily Mail. Kent. It's his show alright. The idea of farming in an affluent suburb has surreal possibilities totally unexplored here. And the show's glorification of self-sufficiency can seem like obscenely proto-Thatcherite rot at times (this was around the time of the Labour Winter of Discontent, remember).

    But, as I say, none of this really matters. I don't watch it for the comedy. THE GOOD LIFE is, quite simply, the greatest porn movie ever shown on mainstream British TV. Two words: Felicity Kendall. Gggg-rrgh. Many's the night... Has there ever been a more beautiful, yet saucy, actress on television? Even her name - Felicity Kendall - sounds half porn star, half Dame of the British Empire. Felicity Drawers. Dame Myra Kendall. This, of course, is the essence of her appeal.

    The show is quite filthy. For a start, Felicity is blessed with the most mischievously arousing body - her lovely, pert, behind; small, delicious legs; cheeky hips...and, er, all the rest.

    Then there's that extraordinary face, shaped by bewitching hair, which she tantalisingly toys with, knowing precisely what affect she's having - her great big moon eyes; her minxlike nose; her carnal cheekbones, her naughty chin; most of all, that huge, obscene mouth - part mocking, part loving, part wickedly suggestive. Because she is wicked. Have you ever heard a more enrapturing voice?: like Audrey Hepburn's, it is perfectly annunciated, yet sounds foreign, strange, uncontrollably sexy.

    If this wasn't enough - and it certainly is - Barbara is routinely attired in rubber wellies, rolling around in muck. And this was considered healthy family fare? Homer never watched THE GOOD LIFE, or he'd never need chocolate again. Of course, Barbara would never marry someone as unworthy as Tom, but the fact that she did gave hope to us all. I know this is grossly sexist and unpleasant, but Felicity really makes you throw the theory books out the window.

    To be honest, watching the programme now as a relative adult, her subservience grates a little, and you long for her to pelt Tom roundly - er, yum - but still. Incidentally - and please don't tell her - part of the reason I married my beautiful wife is that she reminds me quite a lot of Ms. Kendall. Is that sick?
  • Warning: Spoilers
    On his fortieth birthday, Tom Good ( Richard Briers ), top draughtsman for J.J.M. ( skilled but unambitious - he has never risen above the fourth floor while his friend and colleague Jerry Leadbeatter is on the seventh ), celebrates at home with wife Barbara ( Felicity Kendal ). Something is troubling him. Bored with the rat race, he wants to 'break the circle', and work at the job of life itself. This means growing vegetables, keeping pigs and chickens, making one's own clothes, building a generator etc. Another woman would tell him to go to hell but Barbara, ever the devoted wife, is fully supportive.

    When Jerry ( Paul Eddington ) offers Tom a lift to work the next day, he refuses, and begins planting potatoes on the front lawn. Barbara yells out of a window that the goat will be arriving later that day.

    So began the hugely popular John Esmonde and Bob Larbey-scripted sitcom 'The Good Life', their first for the B.B.C. after years of working for L.W.T. The premise - people quitting the rat race to become self-sufficient - was not original. Sid James and Victor Spinetti did the same thing six years earlier in 'Two In Clover'. But where 'Clover' was set on a farm, Tom and Barbara stayed in Surbiton, bringing them into conflict with the local snobs, most notably the Goods' fearsome neighbour Margo ( Penelope Keith ). In fairness there was also affection between the couples; when the Goods' crops were deluged in a storm, the Leadbeatters graciously helped harvest them. If Esmonde and Larbey had had them at each others throats the whole time ( which logically is what should have have happened ) you would then have got 'Love Thy Neighbour Mark Two'. Thankfully, the writers avoided sitcom clichés.

    As the series progressed, Margo grew in stature, often stealing the show, particularly with her ongoing war with 'Mrs.Dooms-Patterson' ( whom we never saw ). In 'The Windbreak War', she got drunk and admitted she was humourless. Less amusing though was her patronising attitude to the working classes, most notably Timothy Bateson's 'Mr.Bailey' in the same episode. Like Alf Garnett, a section of the audience were laughing with her rather than at her.

    The performances were uniformly excellent; for me Eddington's smarmy but likable 'Jerry' was the stand-out. In one episode, Margo told him of her awful experiences at a pottery class, and he had to stuff a hankie in his mouth to stop himself laughing. In 'The Thing In The Cellar', his jealousy at Tom's never needing to pay another electricity bill was unmistakable ( he got his revenge at the end though ). Felicity Kendal became an unlikely sex symbol because of this show; it must have been those dungarees! Reginald Marsh was also good as Tom's old boss 'Sir'.

    The Queen was a 'Good Life' fan ( and attended the recording of one episode ), and in normal circumstances that fact alone would automatically turn me against it but for once I side with her. One person who was not was Ade Edmondson who famously ranted about it in 'The Young Ones'. Do you think The Queen should have invited him to Buck House to take tea and watch a few episodes?
  • Felicity Kendall is charming in this show, seamlessly shifting in and out of character in a role that seems to have been written just for her. The men (Briers and Eddington) both play their characters well, although Briers seems a bit theatrical at times. And it seems to me that the character of the droll, dry-witted Margo Leadbetter bears a striking resemblance to the unforgettable character of the great Margo Channing in the classic movie All About Eve. I wonder if that was planned by the writers or if Ms. Keith subconsciously (or consciously) played it that way. At any rate, it works, and the chemistry that happens between all of the actors is what keeps things going and makes it an enjoyable show to watch some 30 years later.

    This is a show that was adored by many in the UK. We had Lucy, Ricky, Fred and Ethel. This terrific ensemble cast was their beloved "foursome".
  • I liked this much more the first time I watched it than I did on subsequent viewings. Maybe it was more to do with the way my own life had changed but as I got older, whilst I still found it funny, I found the Leadbetters played by Penelope Keith and Paul Eddington far more sympathetic that the Goods. They now come across to me as incredibly self- satisfied and self-focused. Richard Briers is a brilliant comedy actor but I preferred his other collaboration with Esmonde and Larbey, Ever Decreasing Circles. I think The Good Life was a product of it's time and though it still rates quite highly the Good's smugness grates. They and the series is saved by the generosity of spirit of their richer neighbours Jerry and Margot.
  • I hadn't watched this in ten years, and remembered it so well, I went ahead and bought the boxed set (3 of 4 seasons). I'm sorry I did.

    Don't get me wrong; this is still a quite enjoyable short-run sit-com, with extremely pleasant characters that are easy to like, and some of the jokes still play quite nicely.

    But the series has not aged well at all. It's easy to spot that the Goods would never have survived two months in "self-sufficiency" if it weren't for the good-will of their neighbors, the long-suffering Ledbetters. And it is now clear that the writing would never have played so well if the show hadn't had a genius of a casting director's choice of the 4 leads, particularly Felicity Kendall, who is really in a class of comic actress all her own - all sweet girlish bubbliness one moment, sultry nymphette sexuality the next, with just a touch of motherliness to remind us that she's playing a woman in her later 30's. There are number of episodes that would have fallen down flat with anyone in the role besides herself.

    So, although I really like having this record of Kendall in her prime in a role she made great, I have to admit my memories have been somewhat dimmed. (I didn't even remember the laughtrack, which is annoying as all such are). Perhaps television simply cannot produce comedy for the ages - even Monty Python seems more odd than funny now. Oh well.
  • katslaterc27 October 2003
    I like the good life Paul Eddington was very good it and very good in Yes Minister and yes prime minister as Jim Hacker I like the tune the writing was good
  • It is marvelous to see Audrey fforbes-Hamilton and Minister-Prime Minister in earlier guises. You can see their future in noting the moues on their faces when observing a truly green garden and green household. It is a shame that not all the actors can join us still, but it is grand to see Felicity Kendall as Rosemary. There is hope. So would you please ask Brabinger to pull the car around?

    Holy good gosh almighty! I think that we have become too absorbed by spell-check. Originally,I tried to enter the name of Audrey "fforbes-Hamilton", the widow and the harridan on "To The Manor Born", but was spell-checked out! I sent a Class Letter to my colleagues at Holy Cross a few years back and included a few acronyms. I cleverly noted that I was acronymble. New word! Never existed! Spell-check reduced me to "arconimble!" Word don't exist. Now tell spell-check to add Welsh to the common parlance when checking names! Audrey would approve. AFKII
  • Warning: Spoilers
    A sit-com revolving around the decision of suburban couple Tom & Barbara Good to leave "the rat race" and become totally self-sufficient, turning their posh semi' into a small farm along the way. Of course this leads to constant tension and humour with their utterly conformist neighbours, the outrageous snob Margo leadbetter and her long-suffering husband Jerry.

    I remember how great I thought The Good Life was when it came out in the mid 1970s but that was 30 years ago and I was 11. Here and now, it's aged badly. All those enormous shirt collars, kipper ties, platform shoes and ghastly flaired "Rupert Bear" check trousers, plus the horrible garish 1970s furniture. Yuch. The Goods seem to be constantly on the verge of starvation and yet their house remains brightly lit & warmly heated and they seem to find enough to pay the mortgage & rates (Council Tax). As an adult I also find it really irritating the way Tom & Barbara seem to be constantly scrounging and sponging off their neighbours. They appear more "parasitic" than "self-sufficient". It's still amusing and Penelope Keith remains excellent (it made her a star) but it has lost a lot over the passing 3 decades. Yeah, it's worth watching but no way is The Good Life in the same league as Porridge or Rising Damp or Fawlty Towers or Some Mothers Do Ave Em or . . .
  • martinames7510 September 2018
    It was called " The Good life" why change the title?