Also back are the catchphrases, overcheered by a studio audience of devoted dimwits.
The only person missing, of course, is baby sister Michelle Tanner, played from infancy through first grade by the saucer-eyed twins Mary-Kate and Ashley Olsen.
Saget, who reinvigorated his stand-up career a decade ago with the filthiest material he could come up with (which in turn delighted the Full House generation), is needlessly restrained here in his brief, compulsory appearances.
Fuller House clings to its stale insouciance, brought to us by the same producers (Bob Boyett and Jeff Franklin), who apparently believe their show is some golden treasure of family-friendly programming. Fuller House also demonstrates that multi-cam/studio-audience sitcoms are too old-fashioned for commercial-free, vanguard Netflix. This show begs for a single-camera, Tina Fey-style treatment (like in Unbreakable Kimmy Schmidt).
In short order those satirical big-budget movie versions came out, meticulously cast with Brady lookalikes, all for the purpose of making the fullest possible Greg/Marcia step-sibling incest jokes.