Tricky business where is it set

Top review. A promising beginning I rarely really enjoy pilot episodes of shows. The writers are always so concerned with trying to chuck as much information at you - and "set the scene" - as possible, rather than just creating a good episode of television.

On that note, I thought Tricky Business held up quite well. I'm also quite fond of Antony Starr due to his wonderful work in Outrageous Fortune. What I'm trying to say is, I was predisposed to like the show, but I still felt in spite of my bias that it met my expectations very soundly. I like the way Edgley's character is being crafted, with a clear contrast between the way she is perceived by those around her, and her reality. I think the "family business" is an interesting one.

I have never really seen this kind of work portrayed in television before - though they do seem to stumble quite luckily on many of their marks.

Starr's character, obviously designed to construct the 'love triangle' is the most interesting though and again, there is a contrast between perception and reality - though this one is external, not internal.

Rick, the current boyfriend seems much more mature and together and safer, but perhaps below the surface, a year-old's messy bedroom waits. I have enjoyed the show so far and look forward to seeing where they take it. It is certainly more enjoyable than that Channel 7 Packed to the Rafters nonsense that makes me what stab my eyes out with a blunt knife. Undoubtedly there are going to be many viewers particularly Australian ones that will immediately dismiss this show, partly because of that tall-poppy-syndrome that so many Aussies seem to suffer from, and also because most Australians have become so used to American television that nothing else quite hits the heart.

Well, if you're one of those people, leave your predispositions at the door and give it a crack! Details Edit. Twenty-seven-year-old Oli Norman is one of Scotland's most successful young entrepreneurs and now Oli is taking the risky step of trying to break into the London market.

At 22 years old, Steven Mitchell is attempting to create a viable agricultural business, becoming the only water buffalo farmer in Scotland and selling the meat at farmers' markets. Ruth McKay recently graduated with a first-class honours degree in marketing. Not wanting to join the rat race, year-old Ruth decided to set up her own marketing company.

When year-old Nick Willoughby got stuck in a dead-end job, he decided to set up a business making tasty, bite-sized crepe canap? But can he serve 4, in one go at a glamorous event?

Twenty-five-year-old Ash has set up his own web design company targeting the Asian business community, where online trade is booming, but a lack of major contacts is holding him back. James Steward's innovative cycle storage business is in big trouble. There's rule-breaking. And then there's 2 Broke Girls, a series that has singularly failed to understand the distinction between transgressive and pointlessly offensive.

Good comedy often makes us laugh most when it shocks us, when it says the unsayable. But 2 Broke Girls seems to have taken that theory as justification for larding the show with aged stereotypes, equally hoary gags about Jews and blacks, and dumb lines about sexual organs, which do not become funnier through laboured repetition.

Although the laugh track indicates that simply saying the word ''vagina'' is, apparently, hilarious. So let's do it again! In ABC quarters, Andrew Denton is close to untouchable, so it was a surprise to many that his word-based comedy quiz show was next to unwatchable.

Unlike more successful shows in the genre where results are meaningless and conversation is allowed to meander before striking gold, Randling's costumed duos were expected to be funny against a clock, limited to using obscure words to bounce off only each other, and had to answer questions correctly if they were to progress through the tournament.

Randling was unfit to occupy the timeslot vacated by ABC flagship Spicks and Specks, and all 27 episodes were taped before the first went to air, which made tweaks to the lifeless format impossible.

There was no turning back for Today Tonight in - it had reached the bottom and it was staying there. Channel Seven's toxic current affairs show didn't have a banner scandal to define its year, but with Matt White providing a first-rate impression of an empathetic human being in the host's chair, the 6.

Apart from some good consumer-affairs reporting, Today Tonight continued to make a case for antagonistic irrelevance. There were hints in that Nine's current affair half hour was going to distinguish itself from eternal rival Today Tonight by promoting the quality of its reporting and the resulting stories.

It didn't take, which was unfortunate, because you would have to do very little right to separate this show from Today Tonight. It wasn't a particularly bad year for A Current Affair, but the refusal to take a chance on proving that not all commercial weeknight current affairs shows are the sordidly similar was disappointing, although it helped emphasise the resurgence of the ABC's 7.

One of the interesting things about reality television is the insight it gives you into the characteristics of a nation or a culture. The Brits as a group are different from the Yanks who are, in turn, quite distinct from the Aussies. That can make Australian reality franchises delightful: collegiate, humble, kind. When it comes to ''dramality'', though - a format where nothing happens anyway - you need extreme personalities to maintain interest and as a nation we have neither the hubris of the Americans nor the archness of the Brits.

The result is television that doesn't even rate as car-crash. It's just mind-numbingly tedious. And of all the dramality series that have been produced this year, this had to be one of the worst offenders for sheer unalleviated boredom. For many, this ''dramality'' series came to symbolise all that was wrong with Ten in It was ill-conceived, poorly executed and the stench it gave off contaminated other shows around it.

Ten never seemed to know what it wanted The Shire to be - a risque controversy magnet or a family-friendly piece of fluff. Ultimately, it got neither. Its young participants were desperately out of their depth - unable to deliver the soft-scripted lines they were fed with any conviction and, with a few exceptions, entirely lacking in charisma.

The Shire. WORST show of the year? We really were spoilt for choice in But we've decided to give it to this odd and expensive turkey. We're still not even sure how it all worked. In terms of network money wasted, a host looking ill-suited and uncomfortable in her role and her bizarrely racy and desperately adolescent wardrobe , a judging panel as inept as any in recent memory and a boring premise, Dance was easily the biggest stinker of Sure, The Shire was an easy target, but this dud's failure hurt Channel Ten's schedule much more.