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Congrats, you've just watched the equivalent of an episode and a half of a weekly primetime show!
Sons & Daughters Watching/rewatching/discussing The Aussie Hit Show
Congrats, you've just watched the equivalent of an episode and a half of a weekly primetime show!
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Does that mean you've already finished watching the Aussie hit show, JROG? I had expected a few more updates, or was there really nothing more to say
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# 300
Charlie is just as excited about Patricia's upcoming vendettas as we are. Sometimes it feels as if she's narrating the scene - yes, that's a scary thought but I like to take a walk on the wild side every now and again.
The current problem is stepdaughter Amanda, who behaves like a proper soap-minx i.e. lots of hair and a semi-innocent/semi-seductive voice.
Stephen himself is also a bit of a twisty person and Mother Morell appears to be the kind of person who could make Satan cry.
In other words: it's a happy TV family.
The revamped interior of the Shepard mansion looks ghastly. I'm sure it's supposed to be chique and neo-classic but it almost looks like a painted interior, like the ones they use in theatres for a humorous play or a children's story.
And then when all the furniture has been stolen (because there's a black market for stolen couches?) it just looks as if someone has used an eraser to remove them from the picture.
It's so fabulous that Wayne of all people should discover the truth about Terry Hanson, and they kept me guessing how he was going to use that information.
I found it very entertaining to watch everybody react to the "unexpected" occurrences.
The most recent episodes I've watched was a string of glorious showdowns and meltdowns, starting with Beryl who gives the twins a piece of her mind. Leila Hayes knows how to play angry and hurt at the same time.
John and Angela discover the truth about the letter and decide to cut all ties with mother.
After the confrontation, Patricia has her "we're ruining liiiiives" moment, and of course that has to happen at Gordon and Stephen's business launch party.
There's a follow-up confrontation, but the twins decide to stick to their guns. Patricia, wounded to the core, lashes out. It gets even more sinister when she starts to plot revenge against Angela (!), "I want her to know how it feels to be lonely".
I found Brian's off-screen death surprisingly sad. Maybe because he's already been written out, it makes him so defenceless.
And he wore his speedos very well eventhough they were a size too small. Such a waste (sighs).
A hideous creature arrives at the Dural mansion, it turns out to be the surrogate mother who's heavily into hocus-pocus stuff. Could there be any problems?
David and Patricia, both down on their luck, have an unexpected meeting at Woombai. It's a nice little scene that sizzles with irony and melancholy. David even considers to show some support, but then he changes his mind and walks away.
Charlie is just as excited about Patricia's upcoming vendettas as we are. Sometimes it feels as if she's narrating the scene - yes, that's a scary thought but I like to take a walk on the wild side every now and again.
The current problem is stepdaughter Amanda, who behaves like a proper soap-minx i.e. lots of hair and a semi-innocent/semi-seductive voice.
Stephen himself is also a bit of a twisty person and Mother Morell appears to be the kind of person who could make Satan cry.
In other words: it's a happy TV family.
The revamped interior of the Shepard mansion looks ghastly. I'm sure it's supposed to be chique and neo-classic but it almost looks like a painted interior, like the ones they use in theatres for a humorous play or a children's story.
And then when all the furniture has been stolen (because there's a black market for stolen couches?) it just looks as if someone has used an eraser to remove them from the picture.
It's so fabulous that Wayne of all people should discover the truth about Terry Hanson, and they kept me guessing how he was going to use that information.
I found it very entertaining to watch everybody react to the "unexpected" occurrences.
The most recent episodes I've watched was a string of glorious showdowns and meltdowns, starting with Beryl who gives the twins a piece of her mind. Leila Hayes knows how to play angry and hurt at the same time.
John and Angela discover the truth about the letter and decide to cut all ties with mother.
After the confrontation, Patricia has her "we're ruining liiiiives" moment, and of course that has to happen at Gordon and Stephen's business launch party.
There's a follow-up confrontation, but the twins decide to stick to their guns. Patricia, wounded to the core, lashes out. It gets even more sinister when she starts to plot revenge against Angela (!), "I want her to know how it feels to be lonely".
I found Brian's off-screen death surprisingly sad. Maybe because he's already been written out, it makes him so defenceless.
And he wore his speedos very well eventhough they were a size too small. Such a waste (sighs).
A hideous creature arrives at the Dural mansion, it turns out to be the surrogate mother who's heavily into hocus-pocus stuff. Could there be any problems?
David and Patricia, both down on their luck, have an unexpected meeting at Woombai. It's a nice little scene that sizzles with irony and melancholy. David even considers to show some support, but then he changes his mind and walks away.
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Does that mean you've already finished watching the Aussie hit show, JROG? I had expected a few more updates, or was there really nothing more to say
LOL! Hardly. I'm up to episode 48.
I plan to watch more soon, so there will definitely be updates.
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#356
Fickle creature that I am, I usually skip the recaps on series like Dallas and Dynasty, while finding the ones on Sons And Daughters essential viewing. Perhaps it’s because they feel more integrated into the episode. I’m always curious about which point they’ll choose to start the recap after the Grundy logo, and if the scene will carry on directly or end and transition to another. More often than not it crosses my mind that this could be somebody, somewhere’s very first impression of the series, and seeing it through that filter adds to the excitement.
The multiple recaps at the start of the season are even better than the standard ones. Again, there’s the excitement of seeing which scenes were chosen, and it was fun that some carried on directly and some new shots were included to resolve some of the mysteries. As I recall, this is something that they got slicker at with later premieres, so I don’t think my tradition of watching them will be going anywhere.
Even with the cliffhanger resolutions these early Season Three episodes are notable for not feeling particularly “different” from late Season Two. There are no new faces (other than one returnee); no dramatic hairstyles; and little in the way of new locations (so far, the only fresh sight has been Scott Thompson’s home, which from the little I’ve seen looks rather like Ramsay Street). But that’s all to the good. Everything was working well with Season Two so why not continue it.
Curiously, while there is a lot happening in these opening episodes, they’re somewhat lacking in energy. It’s as though everyone is still warming up: not quite back into the groove after their holidays.
The theme song is as comfortingly familiar, but even on this front there are small but significant tweaks. For the opening credits, “The Seven Network Presents” font has changed size again. Gone from the last picture credit is Kevin. Adding insult to injury, Lynn is still present and sweetly smiling away. Even worse… he's been replaced by Andy Green!
The end credits have returned to playing the second verse used for some early episodes, which is in a different time signature to the “first verse” version. Its first (re-)use was perfect, since it played over David’s apparent demise. If I was watching for the first time I’d have read so much into the "past tense" lyrics ("love can happen now and it happened then") over that freeze frame, thinking they’d pulled a Sid Fairgate on us.
I’m thoroughly enjoying the theme song this time round. Perhaps more than ever. It’s very Carpenter-esque, right down to Kerrie Biddel’s voice.
As I've mentioned the time signature:
Until this time round I’d never noticed that there were two different recordings of the theme in different time signatures. Even once I realised, it took me a few times back and forth between the two to hear how it was different. The "love can happen now..." version is apparently from the 4/4. Not being a muso, I’m still not clear what the difference between 3/4 time and 4/4 time is, but the 4/4 version seems to have more “space” between the notes and sounds a little more pleasant and grown up to my ears. But the 3/4 version is the one I most associate with the series - probably because of the opening theme.
Oh my. It’s started already. Now nobody can even play their tapes in safety…
Fickle creature that I am, I usually skip the recaps on series like Dallas and Dynasty, while finding the ones on Sons And Daughters essential viewing. Perhaps it’s because they feel more integrated into the episode. I’m always curious about which point they’ll choose to start the recap after the Grundy logo, and if the scene will carry on directly or end and transition to another. More often than not it crosses my mind that this could be somebody, somewhere’s very first impression of the series, and seeing it through that filter adds to the excitement.
The multiple recaps at the start of the season are even better than the standard ones. Again, there’s the excitement of seeing which scenes were chosen, and it was fun that some carried on directly and some new shots were included to resolve some of the mysteries. As I recall, this is something that they got slicker at with later premieres, so I don’t think my tradition of watching them will be going anywhere.
Even with the cliffhanger resolutions these early Season Three episodes are notable for not feeling particularly “different” from late Season Two. There are no new faces (other than one returnee); no dramatic hairstyles; and little in the way of new locations (so far, the only fresh sight has been Scott Thompson’s home, which from the little I’ve seen looks rather like Ramsay Street). But that’s all to the good. Everything was working well with Season Two so why not continue it.
Curiously, while there is a lot happening in these opening episodes, they’re somewhat lacking in energy. It’s as though everyone is still warming up: not quite back into the groove after their holidays.
The theme song is as comfortingly familiar, but even on this front there are small but significant tweaks. For the opening credits, “The Seven Network Presents” font has changed size again. Gone from the last picture credit is Kevin. Adding insult to injury, Lynn is still present and sweetly smiling away. Even worse… he's been replaced by Andy Green!
The end credits have returned to playing the second verse used for some early episodes, which is in a different time signature to the “first verse” version. Its first (re-)use was perfect, since it played over David’s apparent demise. If I was watching for the first time I’d have read so much into the "past tense" lyrics ("love can happen now and it happened then") over that freeze frame, thinking they’d pulled a Sid Fairgate on us.
I’m thoroughly enjoying the theme song this time round. Perhaps more than ever. It’s very Carpenter-esque, right down to Kerrie Biddel’s voice.
As I've mentioned the time signature:
Until this time round I’d never noticed that there were two different recordings of the theme in different time signatures. Even once I realised, it took me a few times back and forth between the two to hear how it was different. The "love can happen now..." version is apparently from the 4/4. Not being a muso, I’m still not clear what the difference between 3/4 time and 4/4 time is, but the 4/4 version seems to have more “space” between the notes and sounds a little more pleasant and grown up to my ears. But the 3/4 version is the one I most associate with the series - probably because of the opening theme.
Oh my. It’s started already. Now nobody can even play their tapes in safety…
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Dive away, Canon. A dozen soapchatters can't be wrong.
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#370
The revelation about Andy’s father - Andy’s real father - really put the cat amongst the pigeons. Gordon and especially Barbara having some meaty scenes has been very welcome. The dynamic between Barbara and Andy has been reminiscent of that between Miss Ellie and Ray around the time of The Fourth Son, and I’ve found scenes between Barbara and Helen Green rather poignant and real.
And we've had what I believe is the first mysterious and dramatic death at Dural. The shockwaves are rippling out.
And all credit to the writers. They’ve found ways to make Wayne a little more fleshed out and sympathetic while working with Ian Rawlings’ range at this point. The letters from Nancy discovered in the old clock seemed initially like a plot contrivance (which they were), but the writing around it was so heartfelt that I was surprised to find myself drawn in and rooting for Wayne. The price for this is that in order for it to work, Gordon needed to be written as intransigent and unforgiving, but even that worked with the history between these characters. If anything it improves Gordon’s character, as he’s breaking free from the cycle of taking Wayne back under his wing whenever Wayne juts out his lower lip.
Speaking of plot contrivances that work, Beryl is so enjoying wearing her new business bonnet that she’s flown interstate and spent the last ten episodes or so going through finances with Wayne. That’s right. S&D’s resident hausfrau - who used to panic if David didn’t finish his dinner - has practically abandoned her recovering-from-a-life-threatening-gunshot-wound husband during his biggest crisis. But, do you know what? With the way it’s played out, it hasn’t felt wrong.
This has given Margaret the opportunity to get David into her obsessive clutches at Woombai. What’s more, Patricia has also arrived, and the two of them are in a pseudo tug of love, even though Patricia is also working Stephen, Robin and Matt at the same time. Which of them - if any - she wants is unclear. But what is clear is that she doesn’t want Margaret to have David. Why else would she give Margaret tips on how to win him over?
As an aside, I feel I need to comment on the way Margaret slightly slurs when delivering her sister’s name. It often sounds like “Pratricia”, even though when I play it back she’s saying it properly.
What’s also a little contrived is that Fiona has suddenly chosen this time to stop stickybeaking into everyone’s business, standing idly by while a woman she doesn’t trust at all nursemaids the houseguest she has been entrusted to look after and protect. It’s very out of character indeed and (as far as I can remember in hindsight) was achieved primarily through keeping Fiona out of any scenes that involved David or Margaret. I only noticed it once Beryl returned and Fiona immediately started butting in again, so the writers blindsided me, if only temporarily (incidentally, if you were looking after someone recovering from a gunshot wound, wouldn’t shaping your hand into a pistol and pretending to fire it be considered bad form? Good one, Fiona).
Anyway, Curly is back doing what she was born to do - making picnics and generally being mumsy. #369 was a revelation for the Palmers. For the first time in goodness knows how long, the entire family is together again. Granted, they’re at Woombai rather than at home, but there’s something joyous and celebratory about it. And while certain characters have things on their mind, everyone is getting along with one another. It’s been quite nostalgic - in the best possible way. Surely it's too good to last.
There have also been a couple of subtle nods to earlier episodes. The kind I very recently commented I’d been missing. In particular, I appreciated seeing Patricia being objectified by a lusty workman while overseeing work at Woombai. This time, the workman in question was someone we know - Terry Hansen. Terry also had a major role in another nostalgic storyline, recently: the old workers-strike-at-Woombai-after-a-beloved-local-is-sacked storyline.
Woombai is currently enjoying its second fire in screen history. This has led to a pivotal moment at the end of #370, which is a heady combination of Alexis and Krystle in the cabin and a reverse version of last season’s Patricia-takes-advantage-of-a-crisis-and-stands-by-to-watch-Dee-die classic episode ending. Which has given the series its most strikingly dramatic freeze frame yet.
The revelation about Andy’s father - Andy’s real father - really put the cat amongst the pigeons. Gordon and especially Barbara having some meaty scenes has been very welcome. The dynamic between Barbara and Andy has been reminiscent of that between Miss Ellie and Ray around the time of The Fourth Son, and I’ve found scenes between Barbara and Helen Green rather poignant and real.
And we've had what I believe is the first mysterious and dramatic death at Dural. The shockwaves are rippling out.
And all credit to the writers. They’ve found ways to make Wayne a little more fleshed out and sympathetic while working with Ian Rawlings’ range at this point. The letters from Nancy discovered in the old clock seemed initially like a plot contrivance (which they were), but the writing around it was so heartfelt that I was surprised to find myself drawn in and rooting for Wayne. The price for this is that in order for it to work, Gordon needed to be written as intransigent and unforgiving, but even that worked with the history between these characters. If anything it improves Gordon’s character, as he’s breaking free from the cycle of taking Wayne back under his wing whenever Wayne juts out his lower lip.
Speaking of plot contrivances that work, Beryl is so enjoying wearing her new business bonnet that she’s flown interstate and spent the last ten episodes or so going through finances with Wayne. That’s right. S&D’s resident hausfrau - who used to panic if David didn’t finish his dinner - has practically abandoned her recovering-from-a-life-threatening-gunshot-wound husband during his biggest crisis. But, do you know what? With the way it’s played out, it hasn’t felt wrong.
This has given Margaret the opportunity to get David into her obsessive clutches at Woombai. What’s more, Patricia has also arrived, and the two of them are in a pseudo tug of love, even though Patricia is also working Stephen, Robin and Matt at the same time. Which of them - if any - she wants is unclear. But what is clear is that she doesn’t want Margaret to have David. Why else would she give Margaret tips on how to win him over?
As an aside, I feel I need to comment on the way Margaret slightly slurs when delivering her sister’s name. It often sounds like “Pratricia”, even though when I play it back she’s saying it properly.
What’s also a little contrived is that Fiona has suddenly chosen this time to stop stickybeaking into everyone’s business, standing idly by while a woman she doesn’t trust at all nursemaids the houseguest she has been entrusted to look after and protect. It’s very out of character indeed and (as far as I can remember in hindsight) was achieved primarily through keeping Fiona out of any scenes that involved David or Margaret. I only noticed it once Beryl returned and Fiona immediately started butting in again, so the writers blindsided me, if only temporarily (incidentally, if you were looking after someone recovering from a gunshot wound, wouldn’t shaping your hand into a pistol and pretending to fire it be considered bad form? Good one, Fiona).
Anyway, Curly is back doing what she was born to do - making picnics and generally being mumsy. #369 was a revelation for the Palmers. For the first time in goodness knows how long, the entire family is together again. Granted, they’re at Woombai rather than at home, but there’s something joyous and celebratory about it. And while certain characters have things on their mind, everyone is getting along with one another. It’s been quite nostalgic - in the best possible way. Surely it's too good to last.
There have also been a couple of subtle nods to earlier episodes. The kind I very recently commented I’d been missing. In particular, I appreciated seeing Patricia being objectified by a lusty workman while overseeing work at Woombai. This time, the workman in question was someone we know - Terry Hansen. Terry also had a major role in another nostalgic storyline, recently: the old workers-strike-at-Woombai-after-a-beloved-local-is-sacked storyline.
Woombai is currently enjoying its second fire in screen history. This has led to a pivotal moment at the end of #370, which is a heady combination of Alexis and Krystle in the cabin and a reverse version of last season’s Patricia-takes-advantage-of-a-crisis-and-stands-by-to-watch-Dee-die classic episode ending. Which has given the series its most strikingly dramatic freeze frame yet.
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# 317
My goodness, this soap is relentless! Every shocking revelation or twist is almost immediately topped by another one. Gordon's last words at the end of episode 317 floored me.
And in between all this mayhem Beryl asks David, who's been watching a quiz show on tv, if the teacher has won the cruise.
Dee Morell arrives with guns blazing and it's just as entertaining as I remembered.
Dee to Patricia: "As one schemer to another, welcome to the family".
Stephen becomes more and more unlikeable, even more so because of his hypocritical reaction to Patricia's ruthless character.
As for Amanda, her hair is constantly moving.
At this point in this series I've only seriously rooted for two couples: David & Beryl, and Rob & Angela.
Eventhough John is still considered the romantic lead, Rob has become my #1 S&D man. If he leaves (with or without Angela) there's going to be a meltdown at Willie's.
What a marvellous twist at the end of the wedding episode because I thought John and Fiona had arrived in that taxi.
Although I must say there was something suspicious about the additional and rather unnecessary details regarding Brian's death in one of the previous episodes. Because these details are usually anthing but unnecessary.
Either way, he still looks like an adorable serial killer to me, and I'm pretty sure that Jill didn't love him at the time he left Dural (or Woombai) so that part of the storyline has been retconned.
Somehow I thought Paul would resume his career as a priest, which would be the reason for his exit. Oh well, maybe that happened in another soap.
I find Patricia's easy-going attitude towards Jill fascinating. She doesn't have a reason to dislike Jill, but she's always supportive of Jill's decisions.
Patricia can be very nice as long as your storyline doesn't overlap with hers.
I'm going back, can't wait to see Beryl as Dee's nurse and then the shocking video will!
My goodness, this soap is relentless! Every shocking revelation or twist is almost immediately topped by another one. Gordon's last words at the end of episode 317 floored me.
And in between all this mayhem Beryl asks David, who's been watching a quiz show on tv, if the teacher has won the cruise.
Dee Morell arrives with guns blazing and it's just as entertaining as I remembered.
Dee to Patricia: "As one schemer to another, welcome to the family".
Stephen becomes more and more unlikeable, even more so because of his hypocritical reaction to Patricia's ruthless character.
As for Amanda, her hair is constantly moving.
At this point in this series I've only seriously rooted for two couples: David & Beryl, and Rob & Angela.
Eventhough John is still considered the romantic lead, Rob has become my #1 S&D man. If he leaves (with or without Angela) there's going to be a meltdown at Willie's.
What a marvellous twist at the end of the wedding episode because I thought John and Fiona had arrived in that taxi.
Although I must say there was something suspicious about the additional and rather unnecessary details regarding Brian's death in one of the previous episodes. Because these details are usually anthing but unnecessary.
Either way, he still looks like an adorable serial killer to me, and I'm pretty sure that Jill didn't love him at the time he left Dural (or Woombai) so that part of the storyline has been retconned.
Somehow I thought Paul would resume his career as a priest, which would be the reason for his exit. Oh well, maybe that happened in another soap.
I find Patricia's easy-going attitude towards Jill fascinating. She doesn't have a reason to dislike Jill, but she's always supportive of Jill's decisions.
Patricia can be very nice as long as your storyline doesn't overlap with hers.
I'm going back, can't wait to see Beryl as Dee's nurse and then the shocking video will!
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I was always relieved Jill and Patricia got on. As they are my two fav characters it was nice they didn’t spar. Jill almost marrying Wayne was my fav episode. John didn’t manage to save the day but Brian unexpectedly did. I always felt for Beryl. Leila is so down to earth and natural in her part. They put her through so much. So Glad she ended up happy by the end of the show. Though a lot younger, Beryl always felt like the Miss Ellie, even with lampshades, curtains and tablecloths as her wardrobe, she grounded the show. And I rooted for her like you Willie. She definitely deserved better than David as Gordon deserved better than Patricia. Charlie was always fun to watch too. The show def lost its way on 1985 with so (tooo) many of the original cast gone and some very odd and dull new characters who got let go at the end of ‘85 but it definitely found itself again by 1986. Unfortunately the viewers had switched off by then and it never recovered its ratings glory days. Still it’s all hail Kim and Rowena in the meantime 
wait til Mark Conroy as Glen enters in his Speedo’s. Phoooar. The only soap man I’ve seen who could give RTEs Warren Blondell a run for his money...I’m really enjoying your reviews Willie and Mel O’Drama. Thank you both!!
wait til Mark Conroy as Glen enters in his Speedo’s. Phoooar. The only soap man I’ve seen who could give RTEs Warren Blondell a run for his money...I’m really enjoying your reviews Willie and Mel O’Drama. Thank you both!!
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Yes, although it was a weird combination
I see that Ally Fowler is no longer in the opening credits. It looks like Angela and Rob are gone for good
I don't remember him and Bing doesn't have any images so this is going to be a nice surprise (I hope!)
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Sorry Willie. You don’t see Rob and Angela again :-( They were indeed a great couple. Mark Conroy is in it for about a year. Very sweet character, nice guy and utterly gorgeous. No, sadly hardly any posed pix of him anywhere. Even in TVWeek from Oz, which used to love S&D, by that stage S&D didn’t have much coverage and barely any proper photos of him, especially smiling as he has a beaut smile. Like Warren he was also a male model. No prizes for seeing why. Weird maybe with Beryl and Gordon but sweet and logical to me. Neither of them would ever hurt the other. Their last scene in the last episode is quite touching. They work well together. Glad they ended up happy.
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I thought I’d share a few magazine covers from my collection. This isn’t all of them but it is some of the best ones. Rowena (apart from Kylie Minogue) was the most covered Aussie actress on TV Week in the 80s. ACPs Penny Cook, Anne Tenny and Grant Dodwell featured on several also. Sons and Daughters was also very popular in Belgium, the number one show there at the time. I haven’t got any covers from Belgium, though there are some out there. I’d really love to see some Belgium covers if any of you have them to share?? Oops a couple of TYD hotties in there aswell. Enjoy!
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A real favourite - something you never see onscreen unfortunately. They look so happy and friendly
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And saving the best for last, my fav, and Sons and Daughters second most popular cover star during the shows run...she is such a sweetheart! Her smile is so warm A few here from the Restless Years too, Kim Lewis was literally picked from school by an agent to be a star. Hailed a sex symbol at 16 by the press.
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I've been totally shipping Gordon and Barbara this time round.
Isn't it a thriller? So do I take it you didn't know this was coming, Willie. Or had you just forgotten?
Yes - that's crossed my mind also. It feels a little off that Pat would be so fond of Jill. But I really like that if anything it makes Patricia seem even more unpredictable and dangerous.
That sums it up perfectly.
I loved it. Here's what I said about it a week or so ago. Or was it yesterday? Time seems so fluid with Sons And Daughters.
^^ @Willie Oleson - did you notice a future Dynasty regular attended the wedding?
Beryl is a character I haven't pay much attention to on previous watches. She was just a comforting constant that I took a little for granted. This time round I'm finding her a complete gem.
I had either forgotten or not previously noticed what a schemer she was in her early episodes. I remember her as an ally of Pat's of course, but I always thought of her as more hapless and under the thumb. But in those episodes where Pat and David meet all those years later, it's Charlie who is pushing Patricia and facilitating the affair. She's actually not a very nice person at all.
They seem to have amped up her ditziness in Season Three, and she's more like the Charlie I remember. There has been some amusement at Dural in recent episodes, with Barbara thinking that things are as bad as they can get and then in walks Charlie, all smiles and "darling"s, and drives her over the edge. I'm currently watching some "fashion show at Woombai" episodes, with Charlie in the thick of it.
Wow. I'm floored. That is one amazing collection, Vf3!!! And great to see it shared here.
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Thanks very much Mel it kinda shows just how popular it was in Australia (like I said that was just some of what they were on). I’m glad you enjoyed them
I have a Return to Eden collection like that also. And Dallasty, esp of VP (around 800 full cover mags I have of her and counting). But that’s another thread another time ;-)
I was thinking apart from one in the last episode ever, and one in 1986 I don’t recall any main character in SAD, whose face appeared on the opening sequence to ever be killed off. I think that was really good. Always left the door sensibly open for any of the main ones to return.
And Willie I forgot! Rob does return in 1987 for one or two episodes for his sisters wedding ;-) Yay! You do get to see him again!!
it kinda shows just how popular it was in Australia (like I said that was just some of what they were on). I’m glad you enjoyed themI have a Return to Eden collection like that also. And Dallasty, esp of VP (around 800 full cover mags I have of her and counting). But that’s another thread another time ;-)
I was thinking apart from one in the last episode ever, and one in 1986 I don’t recall any main character in SAD, whose face appeared on the opening sequence to ever be killed off. I think that was really good. Always left the door sensibly open for any of the main ones to return.
And Willie I forgot! Rob does return in 1987 for one or two episodes for his sisters wedding ;-) Yay! You do get to see him again!!