Like thigh-high go-go boots, there is only so far something like the ’60s-era showbiz comedy “Funny Woman” can go before its joyousness ankles, as they say in the trades. The good news about season 2 is that the Britcom has plateaued, figuratively speaking, just above the knee. .... “Funny Woman” is Ms. Arterton’s show, and counter to many shows built around a principal character—those in which the comedy relies on supporting players—Sophie is the funniest person in whatever room the show finds itself.

Funny Woman isn’t as strong as The Marvelous Mrs Maisel, but it’s not without charm.

Rather than a compelling character study, it now resembles a classy soap: the storylines driving the action along feel superficial and tacked on. The result is a comedy-drama as obviously contrived as the old-school sitcoms it eulogises.

It’s unclear why the writers felt the need to muddy up what is essentially a novel-length exploration of personal relationships in a turbulent time. The period-appropriate costumes and interior decor are indeed accurate and quite vibrant, but Funny Woman suffers at the hands of being overproduced.

The show suffers from not being hilarious enough to work as comedy while coming off as too slight to succeed as drama. Arterton delivers a convincing portrait of underdog gumption – but Funny Woman’s inability to strike a coherent tone is no laughing matter.