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<blockquote data-quote="Carrie Fairchild" data-source="post: 391573" data-attributes="member: 673"><p><em>“She seems alright. Except for this dreadful amnesia”</em>. Yes, Lynne has been found and Jan delivers the most <em>Acorn Antiques</em> line I’ve heard on the series to date. Apparently plucked from the water after ten minutes and now ensconced in the local hospital, Lynne has no recollection of who she or her family are. Jan and Tom do their best to jog her memory by arguing with each other at the end of her bed but it’s to no avail. </p><p></p><p>After much of the first episode focused on the search for Lynne, these episodes (two and three) set things up for what’s to come for the rest of the second series. He may have lost out on the marina project but Ken isn’t ready to give up just yet. He goes to Charles with the idea of developing a local nature reserve into property, a proposal that Charles laps up, but only because he wants Ken to front it and shoulder the bulk of the risk while Charles reaps the rewards. Leo gets wind of the plan and decides to make it his conservationist mission to put a stop to it. On the subject of Leo, he is now also playing gooseberry to Abby and her newly arrived American baby daddy Orrin. After a kind of kiss at a house party at Abby’s bedsit block (where Davy awkwardly does The Robot and the Worm), Leo is back in the friend zone upon Orrin’s arrival but that doesn’t stop him spending the bulk of his time around at the Urquhart’s, much to Polly’s chagrin.</p><p></p><p>Ken’s more, more, more attitude is obviously rubbing off on Jan, as she is now super keen to scale the corporate ladder and go into business with Claude. There’s an air of selfish desperation as she pressures Ken to confirm if he’ll back her financially or not (I’m not sure if she has any other options) and she then takes exception with the fact that Claude is due to marry a French fashion queen, something that’ll put the kibosh on their plans to set up a fashion house in the UK. This actually forms the closing dramatics of episode two but is comically written off by the next episode when Kate confirms, in blasé fashion, that Claude called to say “<em>he’s not getting married, nothing has changed and you’re still working together</em>”. Bravo! On the Javril front, Jan and Avril have finally shared a scene! There’s some fireworks (mostly from Avril) but it’s all rather reserved (rather than scratching back, Jan excuses herself and goes to wait in the car and listen to classical music).</p><p></p><p>Charles continues to flash the wealth, this time taking the helicopter to his grand French chateau (“<em>it came with the vineyard</em>”) in order to schmooze ultra posh Viscount Cunningham (played wonderfully by a pre-One Foot in the Grave Richard Wilson) who holds some influence over whether he can get his hands on the nature reserve. Also on the business front, Jack has gotten himself into a pickle by announcing to the board that he’ll sail the Barracuda, solo across the Atlantic, as part of the publicity around its launch. The problem is, he ain’t the sailor he used to be and encountering problems during a test sail in the Solent, he blames the boatyard boys, saying that they didn’t prep the boat properly because the rigging was “<em>as loose as a fallen woman</em>”. Rigging and nature reserves will be the least of Jack and Charles’ worries soon by the look of things as Shellett is still hanging around Tarrant, demanding to get what is his. Jack sends him packing, as does Gerald but not before Shellett threatens to go to the press, which leaves me wondering if Gerald’s nights in the pied-a-terre / Abby’s true parentage are about to get exposed.</p><p></p><p>On the subject again of Marti Webb’s closing song, episode three ends with Lynne and Tom aboard the Flying Fish, Lynne having just been shook out of her amnesia by Tom pretending he was going to run the boat aground, prompting Lynne to jump into action. The song begins playing over the image of father and daughter reunited following her two episode bout of amnesia and there was something very touching and fitting about the use of the song in this instance.</p></blockquote><p></p>
[QUOTE="Carrie Fairchild, post: 391573, member: 673"] [I]“She seems alright. Except for this dreadful amnesia”[/I]. Yes, Lynne has been found and Jan delivers the most [I]Acorn Antiques[/I] line I’ve heard on the series to date. Apparently plucked from the water after ten minutes and now ensconced in the local hospital, Lynne has no recollection of who she or her family are. Jan and Tom do their best to jog her memory by arguing with each other at the end of her bed but it’s to no avail. After much of the first episode focused on the search for Lynne, these episodes (two and three) set things up for what’s to come for the rest of the second series. He may have lost out on the marina project but Ken isn’t ready to give up just yet. He goes to Charles with the idea of developing a local nature reserve into property, a proposal that Charles laps up, but only because he wants Ken to front it and shoulder the bulk of the risk while Charles reaps the rewards. Leo gets wind of the plan and decides to make it his conservationist mission to put a stop to it. On the subject of Leo, he is now also playing gooseberry to Abby and her newly arrived American baby daddy Orrin. After a kind of kiss at a house party at Abby’s bedsit block (where Davy awkwardly does The Robot and the Worm), Leo is back in the friend zone upon Orrin’s arrival but that doesn’t stop him spending the bulk of his time around at the Urquhart’s, much to Polly’s chagrin. Ken’s more, more, more attitude is obviously rubbing off on Jan, as she is now super keen to scale the corporate ladder and go into business with Claude. There’s an air of selfish desperation as she pressures Ken to confirm if he’ll back her financially or not (I’m not sure if she has any other options) and she then takes exception with the fact that Claude is due to marry a French fashion queen, something that’ll put the kibosh on their plans to set up a fashion house in the UK. This actually forms the closing dramatics of episode two but is comically written off by the next episode when Kate confirms, in blasé fashion, that Claude called to say “[I]he’s not getting married, nothing has changed and you’re still working together[/I]”. Bravo! On the Javril front, Jan and Avril have finally shared a scene! There’s some fireworks (mostly from Avril) but it’s all rather reserved (rather than scratching back, Jan excuses herself and goes to wait in the car and listen to classical music). Charles continues to flash the wealth, this time taking the helicopter to his grand French chateau (“[I]it came with the vineyard[/I]”) in order to schmooze ultra posh Viscount Cunningham (played wonderfully by a pre-One Foot in the Grave Richard Wilson) who holds some influence over whether he can get his hands on the nature reserve. Also on the business front, Jack has gotten himself into a pickle by announcing to the board that he’ll sail the Barracuda, solo across the Atlantic, as part of the publicity around its launch. The problem is, he ain’t the sailor he used to be and encountering problems during a test sail in the Solent, he blames the boatyard boys, saying that they didn’t prep the boat properly because the rigging was “[I]as loose as a fallen woman[/I]”. Rigging and nature reserves will be the least of Jack and Charles’ worries soon by the look of things as Shellett is still hanging around Tarrant, demanding to get what is his. Jack sends him packing, as does Gerald but not before Shellett threatens to go to the press, which leaves me wondering if Gerald’s nights in the pied-a-terre / Abby’s true parentage are about to get exposed. On the subject again of Marti Webb’s closing song, episode three ends with Lynne and Tom aboard the Flying Fish, Lynne having just been shook out of her amnesia by Tom pretending he was going to run the boat aground, prompting Lynne to jump into action. The song begins playing over the image of father and daughter reunited following her two episode bout of amnesia and there was something very touching and fitting about the use of the song in this instance. [/QUOTE]
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