No Humour Please, We’re British (Press, 10 September 1985)

The review by Ken Strongman discusses the state of British humour in the context of Margaret Thatcher's rule, which has reportedly influenced the tone and style of contemporary television comedies. Strongman evaluates three programmes: “Home to Roost,” “Assaulted Nuts,” and “The Young Ones.” “Home to Roost,” featuring John Thaw, is characterised as a disturbing portrayal of a father-son relationship marked by sarcasm and bitterness. Strongman notes that Thaw's character comes off as a hard-edged figure rather than a nurturing father, making it difficult for audiences to perceive any genuine affection between him and his on-screen son. Unlike the quintessential charm of “Fawlty Towers,” where some warmth is present amidst the comedic exchanges, "Home to Roost" lacks this element, resulting in only a couple of amusing lines but a prevailing sense of resentment. The next programme, “Assaulted Nuts,” is described as a failed attempt at humour that merges the chaotic styles of both British and American comedy but ultimately delivers unfunny sketches, typified by a customer and shop assistant shooting each other in a gun store. Strongman finds fault with the jarring mix of zany and vicious humour, concluding that the programme is unworthy even of a smile, pegging it as a hollow effort linked to Tim Brooke-Taylor that leaves much to be desired. In contrast, Strongman finds hope for British comedy in “The Young Ones,” which he describes as an irreverent and raucous portrayal of student life. The show features four distinctive characters living together in a chaotic setting, representing various societal archetypes, including a punk, a hippy, a serious sociologist, and a gigolo. Their interactions are marked by absurdity and sharp satire, successfully poking fun at contemporary issues. Strongman references specific instances of their antics that capture the essence of modernity's frivolity, indicating that while the humour is indeed extreme, it proves that British comedy can still resonate profoundly with audiences. Overall, Strongman’s review suggests that while some contemporary comedies struggle under the weight of Thatcherism, "The Young Ones" serves as a vibrant reminder of the enduring presence of humour in British culture, albeit in a more adult-oriented, late-night format. He concludes that the programme's irreverence and satire are well worth the attention of viewers, affirming that British humour, although changed, remains alive and impactful.

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