Crossroads Crossroads: 1964-1988, 2001-2003

James from London

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There never seemed to be any connection between when the Wings version was used and what was going on in the show.
My memory is that when they first started using it, they used it all the time, but then after they went back to the regular theme (cos I think people missed it), the Wings one was only used for more serious episode endings. I loved it, still do, but it always struck me as more mournful than dramatic. So when the Wings theme kicks in after, say, Glenda is shown lying unconscious in a ditch, the vibe is less “she’s in danger!” and more “she’s already completely dead.”
 

Mel O'Drama

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Benny's Theme was used once or twice.

I've just watched two consecutive episodes playing out with Benny's Theme. I was going to mention it in my comments about the next batch of episodes, but I might as well drop it here:


[Contains spoilers for anyone who hasn't watched up to episode 2870]


Benny’s Theme
- by Simon May (who else) - is really... something! And it certainly takes quite an unexpected (some might say rather inappropriate) turn a little way in. It begins as a dramatic, haunting piano piece with Spanish elements then breaks out into a flamenco-disco number with a touch of Salsation from Saturday Night Fever, or Thank God It’s Friday’s Sevilla Nights. Of course, this makes it a natural choice to score the closing scene and end theme for the Christmas episode where Benny cries over his unconscious girlfriend Maureen who’s been in a car accident.

It’s then reprised with a vocal version, lyrics spoken by Paul Henry, in the following episode where Benny returns and is asked by his “gaffer” if there’s any change. Benny says yes - she’s dead. There’s some dialogue in between, and it’s followed by an extreme close-up of Paul Henry squeezing out a tear, then a mawkishly sentimental montage of Maureen through a diffused filter (uncannily like the montage later used when “mad” Molly died on A Country Practice). Unfortunately, Victoria Wood ruined the emotion of the moment for me and I ended up chortling due to the dialogue evoking a similar exchange on Acorn Antiques:

Babs: “I forgot to ask you about your husband’s car crash”
Mrs Overall: “Oh, he’s dead, Miss Babs. Yes, in fact I was going to ask you if I could have a couple of hours off on Thursday for the funeral”
Babs: “Of course. Just pop back at five for the hoovering. What happened?”
Mrs Overall: “His heart stopped beating… Well, sometimes that’s God’s way of telling you you’re dead. Never mind - it’s bingo tonight”.
 

James from London

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Benny’s Theme - by Simon May (who else) - is really... something! And it certainly takes quite an unexpected (some might say rather inappropriate) turn a little way in. It begins as a dramatic, haunting piano piece with Spanish elements that then breaks out into a flamenco-disco number with a touch of Salsation from Saturday Night Fever, or Thank God It’s Friday’s Sevilla Nights.
It also reminds me a bit of Jeff Wayne's War of the Worlds. When I was listening to my Crossroads playlist the other day, I found myself singing along to that bit: "The chances of Benny learning to read are a million to one they said ..."
 

Barbara Fan

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well, watched the 1st 3 epiosdes last night and i really didnt know that many people in the show and was really odd seeing Audrey from Corrie in it

I will be glad when i get to recognise a few more on the show

but OMG, Sandy looked sooooooooooooooo young
 

Mel O'Drama

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when the Wings theme kicks in after, say, Glenda is shown lying unconscious in a ditch, the vibe is less “she’s in danger!” and more “she’s already completely dead.”

I neglected to comment about this back when I watched, but do you know what happened there? After the episode where Glenda was found in the ditch - which I thought was quite shocking for the era and time slot - I think there was a bit of a jump in episodes and I don't think her name was ever mentioned again when it resumed.

As I watched, I'd read it that she was raped, murdered or both. But I suppose options 2 and 3 are out since now I've just arrived at #2974 and she's suddenly reappeared, large as life and twice as chirpy, and without any reference (so far) to her previous disappearance.
 

Mel O'Drama

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his fan on Twitter has made a guide detailing the approximate transmission dates of all episodes in the set

I've been using this religiously for reference to make sure I'm watching in the right order (with some early episodes tucked away on the bonus discs), but in case it's of any interest I've just stumbled upon another episode guide which includes episode descriptions for the first two boxes, in addition to the numbers and transmission dates:

Here's the one for Box One.

And here's Box Two.

Box Three doesn't have the synopses yet, nor TX dates, so the other guide would still be needed for completists.
 

James from London

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I neglected to comment about this back when I watched, but do you know what happened there?
I don't. I'm not even sure what period of Glenda this was.
 

Mel O'Drama

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I don't. I'm not even sure what period of Glenda this was.

The episodes I've just watched with her return are from February 1978. I just did a quick search to see when she'd first shown up and this blog article on the character confirms what happened according to the story, and dates it to 1976.

The article has also whetted my appetite for what's to come. Her name seemed very familiar, and I've only just realised that this is the same Glenda who was still in the series during times when I watched in the Eighties. I don't remember her being quite so sassy, so I'm curious to see her evolve.
 

Barbara Fan

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Im still on disc 1 - Miss Tatum reminds me of the kind of twee posh Patients i used to see as a student when i did a placement in a very nice area of Edinburgh!!

Came across this one, not sure if its in this thread or not, i have lost track

Good old tongue in cheek Nolly and getting her own back on Mr Denton.
She really did die far too young
xx

 

Alexis

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Well I started last night and have to say how much Crossroads really feels like one of the US soaps. Quite a few good looking fella's floating around the motel, which I really wasn't expecting! It's all very Peyton Place in these early black and white episodes. And Meg Richardson really does feel like a proper Soap matriarch, in that very American daytime soap kind of way. I was surprised that the show has so much humour in it too. It feels very different even to early Corrie episodes I have seen though. It's a bit weird watching a few episodes and feeling like you are getting to know people, then having a time jump to a totally new set of characters. I am more looking forward to watching stretches of episodes in order.

There is a certain cosiness to it all though and I am enjoying that. It feels like nothing really terrible can happen, but I am sure I am wrong about that.
I finished the first disc, and am half way through disc two, characters are talking about making exotic foods such as Spaghetti Bolognese and Pizza. Very different times!

I found it weird in one scene set in the motel restaurant that they were using kind of Dark Shadows type "special effects" where they did like back projection or something and put a fake still image of a hotel dining room behind Jill to make it look like she was in a restaurant, the actor in the scene with her had real actors behind him on set, which made the whole thing feel very weird and strange. I am wondering now did Corrie ever do this kind of thing? Again, it feels very US Daytime soap.

Anyway I am really enjoying it and glad I bit the bullet and bought it. I am sure I will be checking in and out often.
 

Barbara Fan

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a little clip from ITN on her death and funeral


Im sure Terry Lloyd, the news reporter was the brother of actor kevin Lloyd - and he was sadly killed during the Iraq war in early 2000s
 

Barbara Fan

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I was watching more of Crossrooads on DVD and there was one actress that I recognised from Disc 1 that I thought i recognised but couldnt place

Then her name popped up on the credits and it was Diane Holland who played Yvonne Stuart-Hargreaves in Hi de hi
 

Mel O'Drama

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there was one actress that I recognised from Disc 1 that I thought i recognised but couldnt place

Then her name popped up on the credits and it was Diane Holland who played Yvonne Stuart-Hargreaves in Hi de hi

Yes - it took me a couple of episodes to place her. Like you, as soon as I saw her name I got it as I so associated it with her many "You have been watching" poses at the end of Hi-de-Hi.

She did nice work with having the sniffles in one of the episodes I watched where I think she was meant to be recovering from flu. I remember Ted and Joan talking about this on the commentary for the Knots Pilot, saying that some actors love having business like this (but I'm sure there are many who don't as well).
 

Mel O'Drama

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18 October 1977 - 15 August 1978
2829-2830; 2868-2893; 2904; 2928; 2930-2931; 2968 [excerpt]; 2974-2994




Adding greatly to my enjoyment, the VTR boards are becoming more irreverent and daft and there’s a real sense of fun and camaraderie. A few choice selections…

The plummy tecchie getting tongue tied announcing the VTR number (4756/77) for one episode:

“This is VTR four seven five stricks soak seventy seven”
(the crew bursts into laughter and someone claps).

In an episode closely following this (it might even be Part Two of the same episode), his announcement is followed by the techies (perhaps even the cast) all calling out variations of encouraging “Well done”s for getting it right.

After the announcement on #2882, there’s a recording of the two old guys from The Muppet Shows saying “That was the worst thing I ever heard”, followed by a jingle saying “On A.T.V.”

In #2974 Part One the announcer is apparently mid-conversation: “I remember when his name was still Smith”, he comments before doing his schtick. Then over the VTR sound check for Part Two, church bells can be heard in the background - apparently a test run for the scene where Meg is disturbed at her cottage by an American chap.

I’m also wondering if there’s been even more of a clampdown on retakes. It’s many, many episodes since I’ve seen anything other than a “Take One”. Perhaps it’s a testament to the professionalism of late-Seventies Xrds.


As to the episodes themselves… a lot has happened, even if it doesn’t really feel like it. Sandy’s impending nuptials brought out some nicely poetic observations in #2882 as David and Meg reflected on their respective chats with Sandy’s future parents-in-law:
David: “People have doubts, and all they want is confirmation. A new idea throws them. It doesn’t fit in with what they’ve already decided.”

Meg: “How to get through to her. She sits and nods and smiles and wears her doubts like a veil.”

It seems the wedding never happened since I’ve skipped a few episodes and haven’t seen or heard of Sandy’s former fiancée in the last twenty plus consecutive episodes.

The aforementioned American chap is a psychiatrist and published author. Tish just happens to own a copy of his book, with handy portrait on the cover so she can put the pieces together. Me? I’m just delighted to have Tish doing anything at all. I’m not sure if he is played by an American or not (I’m guessing not, but I can’t remember his name and can’t be bothered to look it up), but he reminds me a lot of Stan Lee, exuding the same confident, avuncular energy.

He’s helped Meg get out of the funk apparently caused when Hugh was kidnapped and killed by international terrorists (and I’d thought the reference in The Making Of Acorn Antiques was just OTT silliness) which included David’s son and a mysterious French girl who were staying at the motel at some point. Sadly, the episodes in question were missing, but since it took place in Australia I assume it was all off-screen anyway (I wonder if the Australian reference was some kind of middle finger to Reg Watson. Since evil Jack Barton in Nolly I’m finding symbolism everywhere).

Meg’s become a grandmother again, with Jill having given birth. Again, this is off-screen since she’s now apparently left the series for the time being. There’s an awful lot, in fact, that’s been off-screen. After Jill ran off with Anthony Mortimer, Stan returned for a bit and tracked her down (well, Meg and Sandy did, really. But they helpfully told Stan). Stan then left the series having spoken to an invisible Jill at the end of a phone and departing the series. The shorty afterwards, the offscreen Stan speaks to Meg and her side of the conversation tells us Jill and Stan have reunited.

Now Stan and Jill are having problems, but still offscreen. Sandy gets the phone call about the birth from Stan, and we learn from Sandy (as he tells Meg) that Stan sounds unhappy and comments that Anthony should be passing out cigars (the child evidently being more Mortimer than Harvey).



continued​
 

Mel O'Drama

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18 October 1977 - 15 August 1978
2829-2830; 2868-2893; 2904; 2928; 2930-2931; 2968 [excerpt]; 2974-2994
continued



#2974 seems to be the beginning of the proper consecutive episodes… perhaps all the way through to the end of the set. So far it's been twenty one consecutive episodes and counting. As previously mentioned, I was very eager to get to this point so that I could follow in “real time”.

As it was, I had grave doubts as I watched my first couple of these consecutive episodes. Without the added frisson of the newness, and the extra little dynamic of putting the pieces together, I suddenly realised I was stuck with watching this series endlessly, with no reprieve and nothing to break up the monotony. Suddenly, all those years of sameness stretched out before me and I kept thinking of James’s comment about “watching paint dry”. I wonder if this is how it feels to be a playboy who has reluctantly got married.

A great deal of this first episode was taken up by Benny in a farmhouse with two Irish travellers and Nora Batty (the one bright spot was the arrival of Kathy Staff, but even she couldn’t save this scenario). It’s basically a lot of people in shabby clothes sitting around an ugly table slurping tea and speaking with their mouths full of food. The accents were barely discernible and I didn’t care about what I did pick up. At risk of sounding like Susie Blake’s announcer, it’s all very depressing.

The story did improve when Gaffer returned and the travellers left. Benny’s agonising decision about staying at the farm or going to work for his father has proved surprisingly watchable.

Meanwhile, in the previous block of episodes, I’d just adjusted to watching Len Fairclough lookalike Jim Baines bellowing at his agoraphobic wife and her screeching at him to leave her alone in their flat with ketchup bottles permanently on the table (and incidentally, an episode or so after Stan closed down his home and left, the Harveys’ Hornsea Pottery mugs appeared in the Bainses’ home).

Then Jim returned bearing John Palmer’s afro from the Sons And Daughters pilot, having recovered from his workshop-related injury (offscreen, of course) and won the pools. He’s broken up with his former receptionist who apparently saw him in a different light after his pools win (on the subject of Sons and Daughters, said receptionist gives herself irritating Fiona Thompson type airs when she speaks). Jim also had some problems with Diane who had some kind of lawsuit against him for… something.

Then there were the theatricals: a young actor staying at the motel who just happened to be the long-lost son of an old actor who just happened to be sharing a home with Daisy, a new worker at the motel who put the pieces together and reunited them. There was the small matter of the old actor kind of, sort of having killed his own wife and young actor’s mother while they performed on stage together (Daisy was said wife and mother’s dresser), but it was all resolved and the three of them - young actor, old actor and Daisy the dresser - all went on tour to Australia (oh dear. That doesn’t bode well). I did warm to this story, and it certainly had its moments, even if it felt very much that all three were transplanted into the series to do this one story for a couple of weeks before leaving, so the whole scenario felt more contrived than if, say, Jane had been in Daisy’s place.

Jane herself has left the series, to look after Mrs Sullivan with whom she used to live (there have been a lot of dramatic “with immediate effect” resignations recently, and it seems nobody is safe), and I’ll miss her as she’s been a solid, consistent character with a true voice. All soaps need their characters who aren’t drama queens to react to and earth the ones who are. I’m really hoping Jane isn’t gone for good, but I fear the worst.

Her exit has left Diane on her own in the flat. Enter: the stalker. I can’t help being amused that Diane’s being MeTooed by Oddbod from Carry On Screaming! For some reason, Tom Clegg’s IMDb seems to omit Crossroads entirely, but I have to say it’s proved mildly thrilling at times. The scenes where he forced his way in to her flat to sketch her weren’t without their moments for both Tom and Sue Hanson, who did a nice job of being empathetic and scared at the same time.

This storyline also gave an archetypal soap fake out when a shadowy stranger forced entry into Diane’s home, hand over her mouth and ordered her - in a very threatening tone - not to say a word. It felt very intense for this series, and sits just below the rape of Glenda as a top “how did they get away with this at teatime in the late Seventies?” moment. However it was all undone in the next episode with the reveal that said intruder was a police officer who had been summoned by the landlady. To be fair, there was some reference to the fact that he hadn’t observed protocol with him asking Diane not to reveal the extent of his zeal, but it still fits firmly into the “why let the facts get in the way of a good cliffhanger” category. I did enjoy that the same officer also made it clear he was interested in Diane. It’s certainly an interesting way to take someone’s mind off being harassed.
 

James from London

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Hugh was kidnapped and killed by international terrorists (and I’d thought the reference in The Making Of Acorn Antiques was just OTT silliness) which included David’s son and a mysterious French girl who were staying at the motel at some point. Sadly, the episodes in question were missing, but since it took place in Australia I assume it was all off-screen anyway
Yes, apparently the first John Bentley, who'd played Hugh on and off since the sixties, knew that he was being killed off for good was when his fatal heart attack was mentioned on screen!
 
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