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<blockquote data-quote="Mel O&amp;#039;Drama" data-source="post: 167379" data-attributes="member: 23">After watching the entire first series I still think this is the case. But I can&#039;t be certain as I don&#039;t feel I&#039;ve kept up with it properly. Yes Minister is a series that relies on the viewer following the dialogue carefully. My concentration is adequate on a good day, and extremely poor on others. I&#039;ve found that if I lose concentration for part of a scene I have no idea what&#039;s going on for the rest of the episode. Or at least it feels less meaningful because I don&#039;t fully grasp the reason for the panic that is underlying the scene. This is particularly true of the Whitehall office scenes, where the writing is at its most discursive. For this viewer, Yes Minster is probably a series that would benefit from viewing each episode several times. The home-based scenes feel like they&#039;re on a different level. They&#039;re often informed by the fallout of the Department of Administrative Affairs scenes, so even there it can feel like a piece of the puzzle is missing. But they&#039;re much more economically written. Jim&#039;s shrewish wife certainly gives me sympathy for him. I don&#039;t think she could be any less supportive. The title sequence is a classic. It still looks fresh today. Gerald Scarfe&#039;s partially animated drawings are perfect for the political setting and the theme tune - essentially the Westminster Quarters mashed up with To The Manor Born - further paint the picture. The patriotic music used in the Pilot also fitted well but felt a little more stereotypically sitcom (it had a Croft &amp; Perry sledgehammer quality to it, and was indeed reminiscent of the closing theme to Dad&#039;s Army). The regular series&#039; theme is a very classy affair and gets across the upper middle class wood panel tone to the series.</blockquote>

[QUOTE="Mel O'Drama, post: 167379, member: 23"] After watching the entire first series I still think this is the case. But I can't be certain as I don't feel I've kept up with it properly. [I]Yes Minister [/I]is a series that relies on the viewer following the dialogue carefully. My concentration is adequate on a good day, and extremely poor on others. I've found that if I lose concentration for part of a scene I have no idea what's going on for the rest of the episode. Or at least it feels less meaningful because I don't fully grasp the reason for the panic that is underlying the scene. This is particularly true of the Whitehall office scenes, where the writing is at its most discursive. For this viewer, [I]Yes Minster [/I]is probably a series that would benefit from viewing each episode several times. The home-based scenes feel like they're on a different level. They're often informed by the fallout of the Department of Administrative Affairs scenes, so even there it can feel like a piece of the puzzle is missing. But they're much more economically written. Jim's shrewish wife certainly gives me sympathy for him. I don't think she could be any less supportive. The title sequence is a classic. It still looks fresh today. Gerald Scarfe's partially animated drawings are perfect for the political setting and the theme tune - essentially the Westminster Quarters mashed up with [I]To The Manor Born [/I]- further paint the picture. The patriotic music used in the Pilot also fitted well but felt a little more stereotypically sitcom (it had a Croft & Perry sledgehammer quality to it, and was indeed reminiscent of the closing theme to [I]Dad's Army[/I]). The regular series' theme is a very classy affair and gets across the upper middle class wood panel tone to the series. [/QUOTE]

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