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<blockquote data-quote="Mel O&amp;#039;Drama" data-source="post: 151239" data-attributes="member: 23"><img src="https://m.media-amazon.com/images/M/MV5BMDUyM2FiZDgtZmQzNC00ZjY3LThkZWItNjkwM2NkYjQ1NDJmXkEyXkFqcGdeQXVyNjEwOTc2ODI@._V1_.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" />Well, I had to look this one up, didn&#039;t I?wackwacker (ˈwækə)nounLiverpool and Midland English dialect friend; pal: used chiefly as a term of addressAnd it&#039;s not the only bit of online research into regional terms used so far. Like this exchange from Episode Two:MARY: &quot;I don&#039;t want you putting me in the club again... I&#039;m getting too old for changin&#039; nappies and two o&#039;clock feeds.&quot;BILLY: &quot;Oh, well if that&#039;s all you&#039;re worried about I can always get off at Edge Hill.&quot;MARY: &quot;Oh aye. I&#039;ve &#039;eard that one before. The last time you promised to get off at Edge Hill you went straight through to Lime Street. An&#039; our Bernadette arrived on the next train.&quot;The context gives away that it refers to the withdrawal method, but I just had to check. And it&#039;s probably as good an example of any of the series&#039; pithy dialogue, which is wonderful. Sometimes coarse, usually loud and always believably real. This is a series in which good actors portray everyday people. There&#039;s no sense of the theatre to it and very little heightened reality. It&#039;s just an ordinary working class family interacting. It feels in many ways like a forerunner to The Royle Family. Naturally, the Catholic working class Liverpudlian central family is similar to what would later be seen in Carla Lane&#039;s Bread. I wasn&#039;t a bit surprised to see faces I recognised from later work in Brookside (Bill Dean has been in every episode so far, and Ray Dunbobbin appeared in the first). It has a similar kind of realism and grit to it. There&#039;s casual swearing, casual racism, casual homophobia and some nice casual cardies. As you&#039;d expect, Ken Jones, Sheila Fay and Alison Steadman are all just note perfect. Steadman&#039;s character has more than a touch of Karen Grant to her (which, to follow that parallel, would make cheeky young teen Keith Chegwin the Damon of the series. And there&#039;s even an older brother). It&#039;s good to see Joe Gladwin too. What with having watched Last Of The Summer Wine very recently and Nearest And Dearest in late 2017 I&#039;ve seen quite a bit of him recently, and he&#039;s enjoyable in everything.The brilliantly bizarre theme by The Spinners sets the tone well. The opening medley features In My Liverpool Home, Faith Of Our Fathers, Onward Christian Soldiers and Liverpool Lullaby, while We Shall Not Be Moved and You&#039;ll Never Walk Alone close it. Three episodes in I&#039;m thinking the medley summarises the setting and themes of the series in a genius way.</blockquote>

[QUOTE="Mel O'Drama, post: 151239, member: 23"] [IMG]https://m.media-amazon.com/images/M/MV5BMDUyM2FiZDgtZmQzNC00ZjY3LThkZWItNjkwM2NkYjQ1NDJmXkEyXkFqcGdeQXVyNjEwOTc2ODI@._V1_.jpg[/IMG] Well, I had to look this one up, didn't I? [SIZE=5][B]wack[/B][/SIZE] [SIZE=4][B]wacker (ˈwækə)[/B] [B]noun[/B][/SIZE] Liverpool and Midland English dialect friend; pal: used chiefly as a term of address And it's not the only bit of online research into regional terms used so far. Like this exchange from Episode Two: MARY: "I don't want you putting me in the club again... I'm getting too old for changin' nappies and two o'clock feeds." BILLY: "Oh, well if that's all you're worried about I can always get off at Edge Hill." MARY: "Oh aye. I've 'eard that one before. The last time you promised to get off at Edge Hill you went straight through to Lime Street. An' our Bernadette arrived on the next train." The context gives away that it refers to the withdrawal method, but I just had to check. And it's probably as good an example of any of the series' pithy dialogue, which is wonderful. Sometimes coarse, usually loud and always believably real. This is a series in which good actors portray everyday people. There's no sense of the theatre to it and very little heightened reality. It's just an ordinary working class family interacting. It feels in many ways like a forerunner to [I]The Royle Family[/I]. Naturally, the Catholic working class Liverpudlian central family is similar to what would later be seen in Carla Lane's [I]Bread[/I]. I wasn't a bit surprised to see faces I recognised from later work in [I]Brookside [/I](Bill Dean has been in every episode so far, and Ray Dunbobbin appeared in the first). It has a similar kind of realism and grit to it. There's casual swearing, casual racism, casual homophobia and some nice casual cardies. As you'd expect, Ken Jones, Sheila Fay and Alison Steadman are all just note perfect. Steadman's character has more than a touch of Karen Grant to her (which, to follow that parallel, would make cheeky young teen Keith Chegwin the Damon of the series. And there's even an older brother). It's good to see Joe Gladwin too. What with having watched [I]Last Of The Summer Wine[/I] very recently and [I]Nearest And Dearest [/I]in late 2017 I've seen quite a bit of him recently, and he's enjoyable in everything. The brilliantly bizarre theme by The Spinners sets the tone well. The opening medley features[I] In My Liverpool Home, Faith Of Our Fathers, Onward Christian Soldiers [/I]and[I] Liverpool Lullaby, [/I]while[I] We Shall Not Be Moved [/I]and[I] You'll Never Walk Alone[/I] close it. Three episodes in I'm thinking the medley summarises the setting and themes of the series in a genius way. [/QUOTE]

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