- Other than a legally binding discussion with his grandmother, why was Denis cast as the lead in "A Trial To Watch"? As one of the smaller members of the company and certainly the smallest male cast member, he was one of the only people who could fit at the main table in the courtroom set.
- Of all the things to be set up well in "The Pilot (not the pilot)", the visual tricks used to replace Wycombe's (female) actor with a muscle-bound man after the shower scene are remarkable well-rehearsed (in comparison to everything else, at least). Considering the role was meant for Chris' elderly father, it makes quite a bit of sense.
- It's surprising that the Goes Right version of "The Most Lamentable..." ends with the Prince Regent of France being made King of England, given how patriotic/xenophobic Elizabethan theatre was. But then, if anyone would be unwise enough to go against that, it's surely Simon Shakespeare!
- Overlaps with Take That!. "The Most Lamentable..." is a medieval story in which several factions backstab each other for the throne. One is clearly scripted to win, only for (in Cornley's production) the narrator to have to go off-script and hastily improvise, handing the crown to a largely irrelevant character who was the last one standing just to finish the story. Sound familiar?
- Bonus points: in both stories, the Evil Queen dies anticlimactically by having something fall on her head.
- Lots of the plays Cornley puts on apparently have many wholly irrelevant lines, moments, and, quite commonly, whole segments where characters eat or drink, written into the script. From a real world POV, these are obviously written in to allow for certain gags, but, as confirmed by The Pilot (Not The Pilot), the scriptwriters of Cornley's plays can be just as incompetent than they are; they either filled their plays with padding, or just didn't grasp the basic scripting concept of only writing what is necessary.
- In addition, such flawed scripts would be cheaper to obtain the rights for production, especially if the playwrights are eager for any exposure and given Cornley's shoestring budget.
- Max is consistently given substantial roles in all of the plays, despite being The Gadfly and just about the only member liable to intentionally sabotage a performance for laughs, two things Chris hates because he insists on a Comedy Ghetto mindset. But of course, Chris has to cast Max in substantial roles, because Dennis can barely string three lines together even on his best day, and because Robert is just as bad as Max, but also more dangerous given his size and Ambition Is Evil tendencies. Meanwhile Jonathon has bad luck that frequently sees him unable to perform… and Max *is* likely the best actor of the cast when he enters Sincerity Mode.
- When rewatching the Drama Festival, watch Sandra and Max closely during both of their skits: Max’s enthusiastic if needless walking-out-with-his-clogs doesn’t annoy Sandra even a little bit, while both Sandra and Max start grinning ear to ear after delivering the punchline about a “soap opera” with Sandra as an actual soap bottle singing opera. What’s the Fridge Brilliance? Since they’re together it’s likely both gags were preplanned for the others’ enjoyment - Sandra knows Max would like a brief if needless bit of prop comedy, and in hindsight, Max’s “kitchen sink drama” comes off as an elaborate scheme to set Chris up for a pun via Sandra. It’s actually rather heartwarming and hilarious.
- The increase in number—and severity—of technical difficulties (90-degree set, too small a courtroom, etc.) makes sense when one factors "The Play That Goes Wrong" and "Peter Pan Goes Wrong": Annie and Vanessa went from being a stage hands to full-time actresses, so Trevor has been down two crew members.
- Furthermore, the fact that Cornley expanded from overly expensive long-running shows to overly expensive weekly shows for the BBC drastically shrunk the crew's ability to prepare more manageable sets. It also clearly impacted the cast's ability to rehearse on a stage: their visible horror at the sets often indicates its their first time seeing the flawed theater constructions.
- When Season 1 is watched in the correct order, Trevor's behaviour in "The Spirit of Christmas" makes sense. He and Vanessa have two interactions in "The Pilot (Not The Pilot)", in the first, he's missing his trousers, and in the second, he inadvertently slams a door into her. He is noticeably upset with himself both times. And that's only Episode 1. When "The Spirit of Christmas" rolls around, Vanessa's Butt-Monkey status has been cemented and most of Trevor's appearances are in attempts to help her. He is the first to rush in and stop the set falling on her, and takes over in confiscating Roberts' sherry after her first effort gets her a violent shove, even when Robert then turns on him.
- This appears to continue into Season 2 - at the end of the Cornley Drama Festival, once most of the cast is out cold, and Chris says he and Trevor will be taking them to A&E she's the first he goes to help.
- In "Summer, Once Again (Again, Again)" Dennis unintentionally used a clever use of homophones and continue Robert's running gag of pausing for dramatic effect. Dennis does have very few moments of remembering his lines but many moments of Reading the Stage Directions Out Loud and many, many moments of not being able to read the room, especially when someone's getting very annoyed with him. During the chaotic rushing to finish the whole play and we get to the death scene of Dennis' character:Dennis: Please! Bring Monty to me! I want one more time to feel his tiny, little............
Everyone frustratingly waiting for Dennis to say his next line
Robert: What are you doing?
Dennis: Pause - In "Summer, Once Again", Dennis is surprisingly very good (excluding the "hard" problem, and the prop mixup). That makes sense, since Robert is the director and they live together. They probably rehearsed a lot more after hours.
- This also explains why Robert would use the prop Bible as a makeshift diary. It was laying around in his home because Dennis brought it for rehearsals.
- In hindsight, given Sandra's habit of shooting an Aside Glance at the audience at inappropriate times, it was a smart move to cast her as the narrator in "The Most Lamentable...", as it would make it more natural have her look directly at and talk to the audience throughout.
- Why does Trevor appear as an actor in The Most Lamentable? It's likely that his roles were originally meant to be played by Robert, and Trevor was a last-minute replacement after Chris decided to demote him to an irrelevant trumpeter.
- Then again, Trevor only had two lines in that episode.
- Annie's choice of play for the Cornley Drama Festival — a comic farce, rather than a production where everything is meant to be played perfectly straight — is already smart, but she also casts her fellow actors in roles that actually compliment quirks in their typical performances. Sandra is the Sexy Secretary, so for once it's natural that she'd do lots of flirtatious aside glances. Max is a comedic window cleaner, giving him full license to mug and play up his performance for the audience as much as possible. Dennis is a swarm of bees, a non-speaking part. Vanessa is the Straight Man who ideally shouldn't need to improvise. Perhaps recognising Jonathan's Running Gag/curse by this point, he plays a character who's going to be censored out regardless. Robert gets a big bombastic part as the Archbishop, and Chris only has to sacrifice a little of his dignity by coming on right at the end as the Prince of Wales.
- Though Cornley is not exactly known for its good casting choices, Raymond Bean as Commander Wyccombe is seriously confusing. It's a very physical role, as Annie's body double demonstrates, and he would have to flirt around with an actress much younger than him. It would have made much more sense to cast Max as Wyccombe and age him up, and cast Raymond as Moncriefe or even a smaller role like Churchill.
- It's possible that the "steely body" was meant more to be Wyccombe's ego driven imagine spot than an actual reflection, and his relationship with Val being presented in more of a sinister note, perhaps setting him up as a Hate Sink, even ahead of The Reveal of him being the traitor.
- In "The Pilot (not the pilot)", Rufus takes his plane to shoot down Hitler. Except just one scene earlier, the spy catcher was supposed to handcuff himself to Rufus, and in the Goes Right version, they should still be handcuffed together at that point. Is the In-Universe play just so poorly written that the author forgot that?
