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Message: <blockquote data-quote="Spells &amp; Karma" data-source="post: 417673" data-attributes="member: 23">Episodes 531- 545 30 November 1987 - 18 January 1988 continued… The final Stuart Doughty moments were a highlight of this run of episodes, with an ugly confrontation between Bobby and Barry which results in the latter being forcefully evicted. The five-and-a-half minute scene is a masterpiece in the way it escalates, and it’s one of those kinetic scenes that follows characters from room to room, and up and down stairs, becoming increasingly claustrophobic with a sense that there’s nowhere to escape. Most impressive is that over four minutes of the scene - which has some very complex and intricate staging, moving from dining table to kitchen to sofa and up the stairs to the bedroom - are shot on one hand-held camera without a single cut. What I found almost confusing is that at times each attempts to defuse the situation a little, to try and get the other to see their side. But it’s Barry who does the lion’s share here, holding his tongue and his temper while Bobby becomes increasingly antagonistic, hellbent on having an argument and seemingly wanting to drive Barry out while Sheila isn’t around to intervene. By the time she does return, it’s too late. Voices are raised and there’s no turning back.In many ways it’s a tragic look at the way grief can tear a family apart, and there are so many layers to the scene: grief over Damon’s death; the eternally-strained relationship between father and son;  competition over Sheila’s affections. During the angry exchange, Bobby lays claim to his possessions: the house is Bobby’s. The bedroom was Damon’s but is now just a room that he lets Barry use. He is galled that Barry doesn’t like the way Bobby is treating Sheila. And at one point he lays claim to grief over Damon, which is where Barry sets him straight. A degree of resentment could also be read from Bobby over the fact that Barry was the person who had spoken so favourably (and touchingly) about Damon at his funeral.I found episodes with Damon’s body being brought home and his funeral unexpectedly moving. Unexpected because I don’t remember finding myself feeling so much sadness the first time round. But then I suppose middle age changes one’s perspective on mortality and teenage me would have viewed things quite differently. The episodes also proved a last hoorah for a number of other characters from the series’ history. A surreal sense of worlds colliding came from seeing Damon’s friends from across the eras - Gizzmo and Ducksie; Neil and Mark - interacting with each other. It felt almost like one of those Doctor Who stories where people from different times end up together. But seeing them all together felt quite right too. If anything it drove home the sadness that Damon is gone, because I’d have loved to see all five of them bantering away. Karen’s absence was noticeable, but was at least addressed in dialogue. With no Karen, no Damon and now no Barry, there’s a noticeable lack of love at Number 5. If it weren't for Claire, there would be none at all. When I first began rewatching, I remember being pleasantly surprised at how much fun and joviality there was in the household, even when things were difficult. Bobby ’88, with his angry outbursts and heavy drinking, is the one that was lodged in my memory. And that’s a shame as it’s such a small part of who the character was. While he’s always had his questionable moments, Bobby ’88 seems to be defined by these. As mentioned, the grief factor makes it credible, but I can’t help being aware there’s also that element of the producer or writer’s revenge, demonising the character because of difficulties going on behind the scenes. Good as the current material is, it’s painful to watch the household crumbling and I’m feeling very hesitant about the months to come. Another example of the producers’ revenge has now been wrapped up, with Jane Cunliffe having served her penance of playing comatose for some time. Again, Laura’s life support being switched off had some touching moments, but it’s Jonathan’s reactions - staying in a state of practical-but-cold detachment - which seem to have the most potential. And in among it, a moment of quiet heroism as he decides to lie at the inquest to spare Laura’s parents the knowledge that it was Geoff’s botched wiring that killed her. As it is, he looks quite suspicious. During moments of anger, the Wrights’ have come close to accusing him of wanting Laura dead, and there’s little in the performance to refute that. Now Jonathan has gone on his skiing trip, and I recall this leads to a series of blondes ending up under his roof. One of them - Sue - is already throwing herself at Terry. Young me recalls Sue being quite likeable and easygoing. So far she’s neither, really. The bottom line is that the “least watchable household” curse has simply followed Terry from one home to another. It’s not even entirely his fault, but it is an example of one of the things that caused Brookie’s downfall: attempting to force reliable supporting players into main character territory.</blockquote>

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