9:56pm: J-FAB: Coupling Season Four
James Fabiano: COUPLING: SEASON FOUR
Formatted & webmastered by The HeelI know I’ve promised a look at
Coupling series four for quite some time, but with work and all I haven’t been able to deliver. So I won’t need to keep you waiting for much longer, I’ve simply decided to use my favorite tactic to get a quick yet hopefully still entertaining piece of work out: by using one of my Highlights and Opinions lists. That way I can still tell you what worked/didn’t work, and what I found myself making my own witty comments about as I watched it.
First, however, for the benefit of the uninitiated, here’s a crash course on our cast of characters…

Steve Taylor (Jack Davenport)
Going out with Susan, used to go out with Jane, Jeff’s best friend. Enjoys: Mariella Frostrup, Lesbian Spank Inferno. Known to whistle under pressure. Can be indecisive. Tends to come up with long rants on various subjects.
Susan Walker (Sarah Alexander)
Possibly the closest to “normal” of the six main characters, yet collects remote controls and shagged much of Australia. Sensible, sexy, can make a guy profess his love for her with timely pauses. Known for her dinners where wackiness usually ensues. Comes from a family that is open about everything, even sex. Favorite word when cross: “ApparentLY!”
Patrick Maitland (Ben Miles)
Used to go out with Susan, but she wasn’t cheating on him cause she wasn’t faithful. That didn’t stop the legend of him and “Junior Patrick” from continuing, however. Nicknamed: “Donkey,” on account of being born a tripod. His definition of “man”: a friend he doesn’t want to sleep with. Also known for the cupboard of his love, which holds videos of every woman he’s had sex with.
Sally Harper (Kate Isitt)
Susan’s best friend, an insecure, age-obsessed beautician. Proponent of moisturizer, believer of the adage, “A woman’s breasts are a lifelong journey, the feet are the destination.” Fears funerals and old people. Steve has seen her bare bottom. Once had a nightmare about a talking penis. Was “on hand” when Patrick had a failure, yet that would prove to launch a relationship.
Jane Christie (Gina Bellman)
Steve’s ex, “didn’t accept” a breakup. Has bisexual tendencies, but that didn’t help either. Don’t feel too bad, as Jane eventually got over Steve (or did she???) Also sees herself as “bi-vegetarian,” which means occasionally saying yes to certain things, even meat. Works as a radio traffic reporter, but was briefly sacked (during which she made a failed suicide attempt by following the recommended dose of pills. Having survived that, she was inspired to become a children’s television host, but her sock puppet Jake the Snake was a little too outspoken). Is always willing to share the most interesting things about herself, including being attuned to astrology, seeing people’s inner beauty, choosing your ideal celebrity friend, and the list goes on and on.
Jeff Murdock (Richard Coyle)
Steve’s best friend and “porn buddy” (meaning he’d get Steve’s porn if anything happened to him, and vice versa). Also works at the same office as Susan, who he ALMOST had sex with, but alas, nothing came of it…because Jeff freaked out before anything could. Despite his tendency to lose his nerves and generally make a fool of himself with women, Jeff usually feels the need to pass along his wisdom, which often comes in the form of new “Jeffisms.” Examples of these include an “unflushable” (i.e. a girlfriend that won’t go away), the “Giggle Loop” (when you laugh at things that aren’t humorous), and “Captain Subtext” (a fictional superhero that says what you are really thinking). Jeff’s upbringing has also had a profound effect on him…wouldn’t yours do the same if your mother threatened you with castration for every lie? Nonetheless, Jeff did manage to land Julia, his boss, and their relationship lasted through lots and lots of kinky sex…as well as Jeff trying to pass Julia off as deceased when a lady friend came onto him!Now, when we last left Coupling, Steve and Susan were expecting, Patrick and Sally got together, and Jane and Jeff had a memorable little chat, in which Jeff mentioned his concern over Julia’s departure to sort out her feelings for Joe, her ex who showed up when – of all times – Jeff was experiencing a “hoovering” incident, and swallowed a certain key to a certain pair of handcuffs. Likewise, Jane expressed distress at being forced to compete with God (since James, her religious broadcasting boyfriend, didn’t believe in premarital sex).
But the show’s storylines were only half of what left Coupling fans at an interesting position going into Series Four. Behind the scenes, Steven Moffat had a few monkeys on his back. First there was the failure of the American rendition of the show, which was seen for four episodes last fall on NBC and not given much of a chance to get beyond mostly second-rate versions of the original UK scripts. More directly affecting the British original, however, was the mysterious departure of Richard Coyle, whose Jeff is considered by many to be Coupling’s signature character.

Oliver Morris(Richard Mylan)
Could Moffat prove, to quote BBC America’s advertisements for the new Coupling series, that “nothing beats the original?” And could he do it on the power of the other five regulars, along with newcomer Richard Mylan?
Only one way to find out, but first, to let you know what I’m talking about here, I throw it over to BBC America’s episode descriptions:
Click here to skip straight to J-FAB’s thoughtsS4, E1: 9½ Minutes One bar, three different points of view, the same 9½ minutes.
At the end of last season Susan (Sarah Alexander) and Steve (Jack Davenport) discovered they were pregnant, confirmed bachelor Patrick (Ben Miles) and Sally (Kate Isitt) finally admitted their true feelings for each other, and loser in love Jane (Gina Bellman) was, once again, left on her own.
But it's not all doom and gloom for Jane. After a trip to the dating agency, she has a blind date with a guy called Oliver (Richard Mylan). But is his job might be a problem.
Meanwhile, Patrick and Sally face the first problem in their relationship, and Susan attempts to talk to Steve about the imminent birth of their child. Between Alien comparisons and Steve's nervous swallowing, Susan finally understands what's going on in Steve's head and she solves the problem with one good snog.
S4, E2: Night LinesIt's late at night, and they are all on a phone call that will not die.
Revelations are coming out thick and fast. Steve is a feckless, feelingless wanker, Susan suffers from raging hormones, Sally warns of jelly midriffs, and Patrick has a pregnancy fetish. Even more troubling is that fact that Jane keeps the keys to all her ex-lovers's flats.
S4, E3: Bed TimeSince the dawn of time, men and women have been falling in love, and men have been trying to get home straight afterwards. Can fallen playboy Patrick ever find his way home from the arms of his one true love and get a decent night's sleep? Not likely.
As Patrick turns to Steve for some answers, he's not the only one looking for manly advice. Sally is having a dinner party and Jane has asked Oliver to drive her home afterwards…
S4, E4: Circus of the EpiduralsPain-relief or natural birth? That is the latest decision facing parents-to-be, Susan and Steve.
They head to their antenatal (prenatal) class and Susan takes Sally along as back-up just in case Steve "can't cope." But Sally, who was initially flattered, soon finds herself seeking the solace of a string quartet and some back-up for herself.
Meanwhile, Steve finds himself haunted by the ghost of spanking lesbians past and Jane tries to "out-keen" Oliver.
S4, E5: The Naked Living RoomIs it possible that lifetime loser-in-love Oliver might just get somewhere with lifetime loser-in-love Jane? Can a man win the heart of a woman when his apartment is a little "un-edited"? What happens to a living room that has lost the battle with magazine nudity?
Oliver's girlfriend walked out on him more than a year ago and between the accumulation of garbage and porn, it's safe to say his apartment has seen better days. After bumping into Jane in the supermarket, Oliver finds himself in an uncomfortable dilemma when Jane asks if she can come up and have a look at his place.
S4, E6: 9½ Months As Susan goes into labor, Steve swings into action and does his best to remain unruffled through the natural childbirth. Fortunately an old friend returns from the Greek islands for the big event. But there is something definitely different about him…
Meanwhile, Sally is troubled by a secret from Patrick's past and can't resist opening up a box labeled "Sally, don't look in this box," and Oliver and Jane try go one step further, but they keep getting interrupted.
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So we’re starting with 9 ½ Minutes, which refers to one of Steven Moffat’s brilliant takes on perspective, as we look at one period of time that would only fill 1/3 of an episode…yet we see it from the perspective of each pair of the six main characters. So things you don’t get in one scene, you’ll likely see explained in the next. Some people said that they had to rewatch this episode, but I got it and enjoyed it upon first viewing.
- So, Jane is tired of people who “aren’t desperate?” Translation: goodbye Lloyd Owen, it was nice knowing you.
- And we say an unofficial goodbye to Jeff too, as Steve converses with him over the phone. On the BBCA boards, we likened this to Hyacinth’s never-seen son Sheridan on Keeping Up Appearances, leading to a more-than-healthy usage of the term “SheriJeff” to describe this device, and wondering if it should have been used regularly to keep Jeff “around,” cause if anyone can successfully keep a character going (and funny to boot) without the character, it’s Steven. Anyhow I guess we can assume he’s following Julia (by the way, goodbye to you too, Lou Gish), but was sidetracked when he heard of the Greek island of “Lesbos” (that’s pronounced “less-boss,” people. Unfortunately no one told Jeff)
- Another bit of speculation was how Patrick, the ladies’ man, and Sally, the insecure beautician, would change being in a relationship. Well not only were they still funny, but I’d call them the MVPs of Series Four, actually. What Steven did was basic: take the Slater/Jessie dynamic from Saved By The Bell and amp it up to Coupling levels; i.e. Patrick stays cocky (in all senses of the word!), and Sally is appalled but still loves the big lug anyway. Believe me, it works in spades.
- Now that brings us to the new kid on the block, Oliver Morris. Jane’s blind date, it will turn out that he owns a sci-fi book store, “Hellmouth’s,” and he tries to be cool with the ladies, yet is all too aware of his shortcomings. As I have said before, I believe that Richard Mylan replaced Richard Coyle, Oliver did not replace Jeff. They’re both the “crazy” character, but that’s the strongest similarity. Really, when you think of it, Jeff got nervous around women, but maintained this idea that he was knowledgeable about the subject. He also embodies the things you wanted to say but were afraid to lest you make a fool of yourself. Oliver, on the other hand, does the same foolish things you might have, and there’s how you identify with him (at least I did).
- Yes, the scene where Steve mistakens Oliver for Jane’s gynecologist (as she was led to believe he was her date) and misunderstood dialogue ensues is derivative of “The Man With Two Legs” where Sally lies about her boyfriend being a surgeon (when he is actually a butcher). But it actually took me a while to remember that, probably because the gag was still that good. As was Jane’s emergency call for Susan, which was like Sally’s “Code Red” for Patrick…only, well, if you saw that take on it, it was MUCH different (pleasurable too? Maybe…;-))
“Nightlines”, which begins with something you’ll have to get used to this series: the dream sequence. This one’s pretty funny, as Steve is in front of a firing squad, in the crosshairs…of a split-legged Susan?!!? (Now that I think of it, “crosshairs” was the wrong analogy to use here)
- We also get to see Hellmouth’s, which includes a lifesized Dalek (which you’ll likely see when Doctor Who returns…WRITTEN BY STEVEN MOFFAT!)
- Oliver continues to be Jeff’s “realistic cousin,” as his own dream sequence of all his customers being of the attractive female type was perfectly feasible.
- The three-to-four-to-five-to-six-way call was great, period. Among other things, the gang discusses hormones vs. testicles, Sally’s fear of “mummy tummies,” and sex with pregnant women. And of course there was Jane’s entry into the conversation, “…and breasts!” (directed at Susan, of course, as it related to things she’d get out of the birth). Speaking of which…
- I already extolled the virtues of what I called a LOTYC earlier: Steve’s “This is NOT an American sitcom!” If you were curious about the other candidates, well that would have to be: Grace’s (Joan of Arcadia) “High musical standards do not make me intolerant”; Kid Batman’s (Justice League Unlimited) “Now THAT is a job for Superman” (reacting to Etrigan’s dirty diaper); and anything Booster Gold (again JLU) says.
- Also notable was that Susan doesn’t recognize Oliver when he’s taking the call for Tamsin (his ex, and another woman in Susan’s prenatal classes). So the dynamic is different for a while, unlike the fast friends everyone became when Jeff was around.
- Continuity time, as the Cupboard of Patrick’s Love returns when it’s implied that Jane may have slept with Patrick as well. At the time, I couldn’t tell from the copy of the episode I had whether the tape was unlabelled or just missing.
(Note: this is the first Coupling series that failed to feature Mariella Frostrup as a guest star within the first two episodes, or at all for that matter. Since she was expecting in real life, I’m surprised at this, especially given the relevance of pregnancy in these new episodes.)
- “Bedtime” gives us our second dream sequence, a Patrick and Sally of a medieval time, as Patrick’s desire to just be able to go home is manifested here and throughout the episode as the “Game of Coupling” (it’s basically chess, but subservience to Princess Sally is at stake). In her princess gear, I must say that Kate looked as lovely as ever. Likewise, Sir Patrick (of the Golden Lance)’s usual routine sent thousands of years into the past was as funny as ever, maybe even more. Again, these two ruled.
- Oh my god, now they’re both internalizing him! Steve and Patrick talk about woman’s love of cuddling, and thus come up with the imagery of them holding on like some kind of “sex octopus.”
- Oliver tripping all over himself (to 7.5 Ottman proportions) was a bit overdone. And this is the first time he takes a step into not being a total outsider, actually.
- Oliver’s sex famine leading to “permanently erect nipples”? Well that’s a twist on the embarrassing erection angle. Must also note that when he attends the dinner and needs a sweater to cover his “concealed weapons,” he ends up getting a “Bring Back Doctor Who” sweater. That’s it, Oliver is NOT a Jeff replacement. Rather he is human product placement.
- While we’re on the topic, shouldn’t have Jane been more sympathetic when Oliver was forced to turn up at the door topless? It’s not like she never showed up at a get-together minus a sufficient amount of clothing.
- You already know my love for “Susan the Happy Trotty Elf” too. Only way it was bad was for the scene that had to follow it (medieval Patrick deciding to stay because of Princess Sally’s “elf” trick). Jeff could return and it would still be anticlimactic.
"Inferno" is revisited at the beginning of “Circus of the Epidurals”, since we flash back to Steve trying to explain Lesbian Spank Inferno. Then...you guessed it…another sequence of events that occur while a person is asleep or overly imaginative. This time Steve and Susan are on a doomed flight, with Jane as flight attendant and the rest of the gang amongst the passengers. I am reminded of the Brittas Empire finale…same thing except it’s a bus and Gordon WOKE UP on it to realize the whole show was a dream. By the way, that device should have began and ended with the end of Newhart. Think about it…when Dallas did it it pissed people off, and on Brittas it was just a weak finale to a great show. Just saying.
- While the plane is obviously a figment of Steve’s subconscious, I liked the little things they included to prove that. In this daydream, even Susan shares Steve’s indecisiveness. But what clinched it was the fact that everyone’s lives were going to be saved because they found the emergency whistles (remember “My Dinner In Hell”?)
- Steve’s “no epidural” vs. Susan’s “natural birth”…I don’t recall for sure, but didn’t Edina and Saffy argue over the same thing on the newest Ab Fabs?
- The Jeff Internalization spreads, as Susan scares Sally with a series of wacky vagina/C-section analogies, giving her poor best friend a fear of knives that can only be eased with images of light and peaceful music.
- JILL’S BACK! And just in time to see Jane in maternity dress, complete with pillow tucked under. I must say, however, that I didn’t catch on to her insistence on not having to be giving birth to be pregnant, not as easily as I did with her “bi-vegetarianism,” which I think this tried to recreate. On the same note, Steve’s anti-epidural rant, while good (do you have to know how to breathe when you stub your toe?) didn’t measure up to his “naked bottoms.”
- Love how all the girls at the session knew Patrick.
- Oliver did have a good rant going, but it ended weakly with him just repeating whatever was said to him. He made up for that with his truism about “the Internet is a research tool!”
“The Naked Living Room” reminded me of something I noticed on and off throughout this series: that too often, Jane has seemed laid back compared to her usual self. She has her moments; make no mistake, but not quite the same in others (and of course, in one instance, one of her gags was transmitted through Sally). I have a theory on this later, though.
- Liked Oliver/Jane’s “Did you install your…” exchange. Even better when you consider Jane’s purchase came from the feminine aisle. Was also sweet (albeit around 0.5 on the Jeff/Jane/Perhapsx3 scale) to see Oliver and Jane bonding on his misnaming of Mrs. M(ole). Thinking back, I also just remembered their “love plants = eat them?” vs. “heterosexual man = can’t talk to women?” standoff.
- Patrick remains awesome, as he takes literally all the lines Susan says can be a misinterpretation of sex.
- And now we get the first real Oliverism: the three steps that follow when you break up with your girlfriend: 1) Your TV gets bigger; 2) Your seat is pointed face-to-face with said TV, no one gets in and no one gets out; and 3) You stop hiding your porn, resulting in a “women’s changing room leaking through another dimension.” I’d go as far as to say that Richard Mylan successfully took Richard Coyle’s routine here and made it his own.
- Now for my theory…which actually comes to a head near episode end as Oliver insinuates that maybe, just maybe, Jane * gasp * isn’t really the wild, crazy woman we all know and love, and that she embellishes a lot of that for attention. Why? Because HE is such for real (except for the “woman” part, obviously), so he’d know the genuine article. Pretty cool bit of psychology.
- Naked Jane, Patrick lying about sleeping with her (love how he was tripped up with Susan in a similar manner to him trying to dump Linda in “Jane and the Truth Snake”), and Susan’s water broke…I dunno, but that got me psyched for…
“9 ½ Months”, which did hear the pleas for Jeff to return…only not in the way you might expect. In (surprise, surprise) a dream sequence, Steve meets “Jeffina,” who has decided that when it comes to breasts, if you can’t grab ‘em, get ‘em (yet insists on Steve joining in on the former). I must say, the actress they chose was well casted, and it didn’t come off as cheesy as the usual “obviously the male in drag” approach to the female counterpart.
- “Fuckity, fuckity, fuck!” If that wasn’t the best marriage proposal acceptance in the history of television, I don’t know what is. And Sally opening Patrick’s “forbidden box” to discover the ring was for me a “holy shit” moment.
- JANE HAS A SELF PORTRAIT! JANE HAS A SELF PORTRAIT! YES! One of my favorite subtle touches of AmeriCoupling was when Lindsay Price’s Jane went through the trouble of having a life-sized painting of herself made to display in her apartment. Well Gina’s Jane was up for some serious one-upwomanship, and delivered with a NAKED life-sized painting (her knees and shins cover up the “interesting stuff” though.
- As I get to the end, I wonder…what’s with all the pilot/ground control-like dialogue in this series? Granted, it’s been there before, but it seems to set to hyperdrive (oh no, now * I’M * doing it!) now. Another sign that Steven has Doctor Who on the brain?????
- Susan and Oliver’s chemistry in the contractions scene was great (and of course, how her and Steve could get inside because Jane wouldn’t let him give back her key)
- “Oliver…Mount Jane!” Nuff said.
- Was that Jane being…reassuring to Steve as it related to Susan’s delivery??? Pretty powerful stuff…see, putting characters, um, out of character can be very effective when done right.
- Not to let her best friend have all the fun, we have Susan yelling for a “FUCKING EPIDURAL!” Hmmmm, Sarah Alexander would be one woman I’d let curse and cause me to be thrown across the room too…
- The C-section ending and all was pretty riveting, but the comedic parody took a bit out of it. And what was that supposed to be a parody of? Anyone? Anyhow…
VERDICT: Solid stuff, and anyone who says Coupling is dead, well…I have some recipes for crow to swap with you. Oliver, while needing fine-tuning, did largely get over with me from the get-go. Obviously, by concentrating on comedy and storylines, you’d expect a different Coupling, and it was. But I was entertained, it captured my attention, and that’s what counts. As I say, EM = Q (Entertains Me = Quality).
Tell James Fabiano what’s on your mind…