IF you are one of the rare breed who read this column on a regular basis, you will know how I feel about Idris Elba.

I’m a fan.

I pretty much like everything he is in with Luther being top of the list.

If someone told me he was at the end of the road, I might even break into a small trot in order to get there to say a brief hello.

And because of this liking of him, and his work of course, I can sit through most things.

But even I am struggling with Turn Up Charlie, his shiny new Netflix comedy.

I use the latter term loosely, because I am not sure if it is a drama, musical or a comedy.

What it actually is, is a millennial re-working of the Upper Hand - he even shares the name of the main character.

Or, for those of us old enough to recall the Eighties, Who’s the Boss.

A down on his luck, very macho, fellow ends up being a nanny to one, or many, precocious brats.

This is not actually what he really wants to be doing, but he does it. Because he has to.

In Charlie, or Idris’ case, the offspring in question is the daughter of his childhood friend, now an A-list filmstar.

Having enjoyed a brief moment of fame and fortune, also as a chart-topping DJ, in the distant Nineties, Charlie is now more of a cheesy wedding DJ but dreams of getting another shot at the big time.

Instead, he is more or less tricked into looking after his friend’s tweenager, who essentially just wants her famous parents to pay her some attention.

All this is played out to the backdrop of a super-stylised Britain which I certainly don’t recognise.

I have noticed it cropping up numerous times in Netflix Original dramas/comedies of late.

The London I have visited, on the whole, does not look like the one represented here.

Turn Up Charlie is a bit of a crushing disappointment all round, and not because Idris Elba is not charismatic or funny.

He has already demonstrated, in last year’s under-rated Sky 1 sit-com in the Long Run, an efficient comic timing.

But it is wasted here - as are Piper Perabo and Angela Griffin, although she has a lot of fun trying out a transatlantic drawl.

None of the characters are actually very likeable and it all sinks or swims on the central conceit of a couple of loving parents choosing a man they hardly know, with zero childcare experience, to look after their daughter.

It was contrived in the Eighties and Nineties, nowadays it just looks a bit tired.

Still, we do get to see Idris slip into his Big Driis persona and display the rapping/DJing skills which have made him a bonafide music star alongside his television and film work.

I mean, it is a bit greedy really for one person to have so many varied talents.

If they could have kept the series focused on being an expose of how that whole scene can sometimes take itself too seriously then they might have got away with this.

As it is, I am not sure who would watch it.

It’s almost like one of those hideous Disney Channel series, but it has swearing and grown-up content so it is definitely meant for a mature audience.

But so much of it is pretty childish, and completely inplausible, it kind of misses the mark for that audience too.

Even as a staunch fan of Idris, I am not sure I want to see another series of this.