All I can say is, I don't see it. Series one and two had a definite loneliness about them, which I enjoyed - but a lot of three through six was quite frothy. The balance shifted towards wacky sci-fi plots and "monster of the week". Since the first hiatus in the mid- to late Nineties, Red Dwarf has jumped erratically from point to point on the spectrum. Tonally, I think elements of seven harked back to one and two (while still being very different in terms of plot and presentation). As I think I said earlier, eight was the most pantomine outing and BTE the most serious. In terms of relative "lightness", I think RDX (purely from memory) is as follows: Trojan - somewhere in the middle by Dwarf standards. The plot is nowhere near as wacky as Timeslides, but nor is it as heavy as Back to Reality. Roughly equivalent to most of series three to six. Fathers and Suns - I think this is actually towards the darker end of the spectrum. The scene with Lister scolding himself is very funny, but there's some serious stuff going on throughout - both in terms of character (with Lister drinking himself into oblivion, to try and create a strong "father figure" for himself) and peril. Pree, certainly, has moments where she is genuinely quite chilling. Lemons - towards the wacky end, but not as wacky as Timeslides. The discussion of religion, and Lister's pragmatic approach to it, balance the time travelling shower a bit, and hark back to Waiting for God. Entangled - another fairly light one. Lighter than most Dwarf, with Douglas Adams-esque moments. Dear Dave - not the most successful episode, but actually quite introspective in places. It's not up there with Marooned, but it's no Meltdown either. The Beginning - even with the comedy villains, this feels (again) like it's somewhere in the middle. The ending is very exciting, and Rimmer's holo-message reminded me of the delayed letter from Better Than Life. As I think I said already - taking everything together, I'd put the whole series on a par with three, in terms of tone.