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Bevan Lee said:
Wow. I'm not sure what to say to that. But it's interesting to have some background to the storyline.
Sons & Daughters Watching/rewatching/discussing The Aussie Hit Show
Wow. I'm not sure what to say to that. But it's interesting to have some background to the storyline.
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- 44
I'm a little envious that you have that many more episodes to look forward to.
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- 27
Episodes 264-270
Did I only watch 7 episodes? It felt more like 27 - my head's still spinning.
So many departures, characters returning, moving in, moving out, plotlines being wrapped up to make way for new ones...
The "what happened in the room" mystery turns out to be a strom in a teacup, not because of what (it's rather shocking) but how it's being dealt with.
It reminded me of that loss of momentum when Patricia revealed the truth about John & Angela.
However, I had not expected them to revisit the incest storyline, and for a moment I hoped it would start all over again.
The whole therapy thing was hilariously soapy, but hey, it worked.
David and Beryl had return-from-prison sex, which seems an obvious thing to do of course, but I didn't think they would show it in such a suggestive way. Beryl could barely disguise her afterglow!
Will read your thoughts as soon as I've watched the episodes, Mel O'Drama.
Did I only watch 7 episodes? It felt more like 27 - my head's still spinning.
So many departures, characters returning, moving in, moving out, plotlines being wrapped up to make way for new ones...
The "what happened in the room" mystery turns out to be a strom in a teacup, not because of what (it's rather shocking) but how it's being dealt with.
It reminded me of that loss of momentum when Patricia revealed the truth about John & Angela.
However, I had not expected them to revisit the incest storyline, and for a moment I hoped it would start all over again.
The whole therapy thing was hilariously soapy, but hey, it worked.
David and Beryl had return-from-prison sex, which seems an obvious thing to do of course, but I didn't think they would show it in such a suggestive way. Beryl could barely disguise her afterglow!
Will read your thoughts as soon as I've watched the episodes, Mel O'Drama.
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#315
I’ve decided Lynn must be on something. It’s the only explanation for that little laugh at the end of every third line*. Even when it’s entirely inappropriate.
How was this not developed into a Kimberly Shaw style cliffhanger?
The mini-feud between Charlie and Amanda was great fun.
The leather Chesterfield sofas at Toorak play havoc with the sound. They’ve already added comedy flatulent sounds to a seduction scene between Charlie and Phillipe.
More nods to early episodes with Christine Matthews as an Eighties version of Sixties Patricia… knocked up, broke, desperate and ruthlessly seeking out a rich daddy for her baby (twins, as it turned out, sledgehammering the point home in case we didn’t get it). As it turned out, there was an enjoyable psychological drama going on there, reminiscent of the “cuckoo in the nest” genre that would become popular half a decade down the line. I enjoyed the irony that it was John who delivered the babies that would end up destroying Angela’s marriage. She must’ve been well-played, because I was rooting for Angela to smack her one.
Now Christine’s gone and shacked up with Paul's alpaca turtleneck offscreen. Paul returned and left again, but had what seemed to be a definitive goodbye conversation with his wife. We'll see.
The formidable Dee’s landed. In the space of an episode and a half she made life hell for Patricia, Stephen and Barbara; plotted with Amanda; put Charlie back in her box and had a heart attack. Now there’s much drama over Dee’s will. The conflict she’s creating is very promising.
A couple of surprises about Mary Ward. The first is that she is still apparently going strong at the age of 104. And the second is that she has a great set of pins when wearing a knee-length skirt.
#313 had a genuine vein of excitement running all the way through it with news of the letter from Beth***; Fiona and John racing to stop the wedding and then the twist… S&D’s first genuine back from the dead.
Oh good lord. Wayne’s best man is the very handsome Greg Flynn. For an episode and a half I was thinking he was like a younger, better looking Sean Rowan. Then I checked the cast list and saw he’s played by… James Healey.
* And half the lines that don't end with a laugh end with some kind of weird exhaley sound as though she's on the verge of a laugh. And some lines even begin with a little laughy sound.
**This is an actual line.
***It’s a shame they didn't bring Beth back for the reveal, but the double and triple bluff between Fiona and Wayne with the letter added tension and kept the story going believably
I’ve decided Lynn must be on something. It’s the only explanation for that little laugh at the end of every third line*. Even when it’s entirely inappropriate.
^**
How was this not developed into a Kimberly Shaw style cliffhanger?
The mini-feud between Charlie and Amanda was great fun.
The leather Chesterfield sofas at Toorak play havoc with the sound. They’ve already added comedy flatulent sounds to a seduction scene between Charlie and Phillipe.
More nods to early episodes with Christine Matthews as an Eighties version of Sixties Patricia… knocked up, broke, desperate and ruthlessly seeking out a rich daddy for her baby (twins, as it turned out, sledgehammering the point home in case we didn’t get it). As it turned out, there was an enjoyable psychological drama going on there, reminiscent of the “cuckoo in the nest” genre that would become popular half a decade down the line. I enjoyed the irony that it was John who delivered the babies that would end up destroying Angela’s marriage. She must’ve been well-played, because I was rooting for Angela to smack her one.
Now Christine’s gone and shacked up with Paul's alpaca turtleneck offscreen. Paul returned and left again, but had what seemed to be a definitive goodbye conversation with his wife. We'll see.
The formidable Dee’s landed. In the space of an episode and a half she made life hell for Patricia, Stephen and Barbara; plotted with Amanda; put Charlie back in her box and had a heart attack. Now there’s much drama over Dee’s will. The conflict she’s creating is very promising.
A couple of surprises about Mary Ward. The first is that she is still apparently going strong at the age of 104. And the second is that she has a great set of pins when wearing a knee-length skirt.
#313 had a genuine vein of excitement running all the way through it with news of the letter from Beth***; Fiona and John racing to stop the wedding and then the twist… S&D’s first genuine back from the dead.
Oh good lord. Wayne’s best man is the very handsome Greg Flynn. For an episode and a half I was thinking he was like a younger, better looking Sean Rowan. Then I checked the cast list and saw he’s played by… James Healey.
* And half the lines that don't end with a laugh end with some kind of weird exhaley sound as though she's on the verge of a laugh. And some lines even begin with a little laughy sound.
**This is an actual line.
***It’s a shame they didn't bring Beth back for the reveal, but the double and triple bluff between Fiona and Wayne with the letter added tension and kept the story going believably
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Well...
I'm feeling so very very sorry for Rob, I hope this isn't going to be the endgame for him.
I don't think I could ever buy Angela and Paul as a couple, at first because he was too good to be true and now because he's tainted (even more than Wayne's ever been).
For a moment I was worried that Matt was going to move into Gordon's study, but I hope he's going to stay on for a while.
According to IMDB he played David Palmer in Number 96.
I'm also very happy to see Beth making a comeback, I guess the writers recognized the potential, like we did. It's always nice when the writers respond to our feedback
Who could have predicted that innocent little Lynn would turn the tables and make Kevin bend over backwards to save their marriage.
At this point I don't even know how I feel about the situation, can't wait to figure it out. I find her very convincing as the popular model, she's got that sexy-girl-getting-killed-in-a-70s-horror-flick-look.
Victor Hardy continues to be a very entertaining supporting character, all his scenes are full of energy and strike the right balance between drama and comedy.
I can understand Barbara's concern for her brother's well-being, but she comes across as a spiteful busybody. Mother Morell gets an off-screen introduction, and it appears that the Morells are a dysfunctional family too. Well, bring it on!
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It could have been interesting, especially now they've had so much brother/sister time.
Oh my. I must have filtered that out of my memory.
When you put it that way it makes perfect sense.
Yes. He's so infrequent he could easily go under the radar, but he's consistently watchable.
Oh, I love Barb's stubborn sister bit.
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#325
Change is in the air once again. In the episodes leading up to #319 there were three major departures in Angela, Rob and Paul. Plus some secondary characters such as Tony and Christine.
It’s gratifying that Angela and Rob in particular were given a proper exit from the series. In many ways it felt like the long goodbye: the reunion; the announcement; leaving the Palmers… any one of them could have been their final scene and worked, but the writers and characters recognised their importance and took their time.
#317 had one of the first identifiable tunes. Playing on the Hansens’ record player or radio was a department store rendition of Aura Lee (A.K.A. Love Me Tender).
Wayne was a character I found quite engaging the first time round but I’m finding him very far less so. Ian Rawlings gives good smirk and good smug but self-pitying and suicidal Wayne is a drag to watch.
Lynn and I have finally had a moment. Exposing Amanda’s lies to Rob in a direct way, in front of Amanda and without a single giggle is a Lynn I’d like to see more of. Now Amanda’s setting her sights on Kevin in an attempt to cuckquean Lynn.
What an entrance for Lisa Cook (AKA Pippa II). Driving whilst using Australia’s first car phone. And being a high flying fashion designer used to making all the right connections she’s naturally very eager to dine at The Terrace.
Can you believe Beryl and Barbara have their very first encounter in episode #324.Beryl summed up the meeting perfectly:
Dee’s 65th birthday party is a Roaring Twenties affair (for everyone but Barb). Patricia arrived home while Fiona, Beryl, Barbara and Dee were chattering upstairs and Amanda couldn’t help commenting on the state of play:
The confrontation between Dee and drunken gatecrasher Charlie was hilarious.
Speaking of Charlie, Isabella has made her debut. And adorable she is too.
Dee’s presence is bringing out some previously unseen facets of the characters. A good thing. There have been a lot of raised voices and a fair bit of bottled up anger flying round. In particular the journey with Barbara has been quite beautiful and unexpectedly moving. The “happy birthday, Mother” scene was S&D at its sentimental best.
Change is in the air once again. In the episodes leading up to #319 there were three major departures in Angela, Rob and Paul. Plus some secondary characters such as Tony and Christine.
It’s gratifying that Angela and Rob in particular were given a proper exit from the series. In many ways it felt like the long goodbye: the reunion; the announcement; leaving the Palmers… any one of them could have been their final scene and worked, but the writers and characters recognised their importance and took their time.
#317 had one of the first identifiable tunes. Playing on the Hansens’ record player or radio was a department store rendition of Aura Lee (A.K.A. Love Me Tender).
Wayne was a character I found quite engaging the first time round but I’m finding him very far less so. Ian Rawlings gives good smirk and good smug but self-pitying and suicidal Wayne is a drag to watch.
Lynn and I have finally had a moment. Exposing Amanda’s lies to Rob in a direct way, in front of Amanda and without a single giggle is a Lynn I’d like to see more of. Now Amanda’s setting her sights on Kevin in an attempt to cuckquean Lynn.
What an entrance for Lisa Cook (AKA Pippa II). Driving whilst using Australia’s first car phone. And being a high flying fashion designer used to making all the right connections she’s naturally very eager to dine at The Terrace.
Can you believe Beryl and Barbara have their very first encounter in episode #324.Beryl summed up the meeting perfectly:
Dee’s 65th birthday party is a Roaring Twenties affair (for everyone but Barb). Patricia arrived home while Fiona, Beryl, Barbara and Dee were chattering upstairs and Amanda couldn’t help commenting on the state of play:
The confrontation between Dee and drunken gatecrasher Charlie was hilarious.
Naturally, it wouldn't be a party without a slap round the chops. And the most comical to date. I can't wait to see it added to Willie's Bitch-Slap Archive.
Speaking of Charlie, Isabella has made her debut. And adorable she is too.
Dee’s presence is bringing out some previously unseen facets of the characters. A good thing. There have been a lot of raised voices and a fair bit of bottled up anger flying round. In particular the journey with Barbara has been quite beautiful and unexpectedly moving. The “happy birthday, Mother” scene was S&D at its sentimental best.
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Here's Margaret in 60s DOCTOR WHO:
https://2.bp.blogspot.com/-rytWHZGm...KMaXrBItHm-QCLcB/s1600/Kidnap+%28Carol%29.jpg
https://2.bp.blogspot.com/-rytWHZGm...KMaXrBItHm-QCLcB/s1600/Kidnap+%28Carol%29.jpg
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#338
336 and 337 are two of the most dynamic episodes the show has put out to date. We really are in a golden era of the series now. Dee injected a shot of drama into the series and now, Jock Ewing style, her legacy is rippling out in death to create tidal waves of further drama all over the shop.
337 - the video will episode - is a true classic. Things were tense and awkward even before the bombshells started flying round. Even the medium of communication was given its own dramatic introduction in the previous episode.
Dee’s convoluted, conditional will promises more drama still to come. In recognition of becoming an offscreen power, one of the surprise beneficiaries of her will is another character who has spent more time absent than present and who hasn’t been seen onscreen for some five months. I’m glad it’s paving the way for the return of Margaret Dunne.
Naturally, Patricia is livid. The look of icy fury on her face on hearing Dee’s televisual announcement is electrifying.
Pat’s none too happy about the other surprise beneficiary: one Beryl Palmer. She goes as far as going to Beryl’s home, hoping to guilt Beryl into handing the money over to Stephen, only for Beryl to say she won’t get “a brass yazoo”* for her trouble. This leads to a magnificent (and hilarious) drunken rant as Patricia relays the story to Stephen:
In order to grab their share, Wayne and Amanda have married. I can't bring myself to care all that much. It's just another of Wayne's schemes and they all seem to blur together after a while.
I know Fiona is a soap character, but does she have to be so inappropriately, self-indulgently dramatic all the bloody time. If there’s a calm situation she’s guaranteed to find some chaos and milk it for all it’s worth.
She’s far more damaging as a friend than an enemy, and Terry is a case in point. Now that Fiona has finished manufacturing drama over hating him she’s decided she loves him. And her first act is to blurt out that she’s his mother just as he’s coming round from an operation to cure his blindness, causing him stress and confusion. Not to mention his poor parents.
Incidentally, where are Terry’s parents in all this? He’s been through major surgery, and there’s no sign of them. The only people waiting in the corridor are Fiona (the woman who hated his guts until he lost his sight); Pippa II (an old flames he hasn’t seen in years who is only there because she’s been talked into it) and John (John’s apparent best friend who has just proposed to Terry’s once and almost future girlfriend).
*How’s that for an Aussie expression.
336 and 337 are two of the most dynamic episodes the show has put out to date. We really are in a golden era of the series now. Dee injected a shot of drama into the series and now, Jock Ewing style, her legacy is rippling out in death to create tidal waves of further drama all over the shop.
337 - the video will episode - is a true classic. Things were tense and awkward even before the bombshells started flying round. Even the medium of communication was given its own dramatic introduction in the previous episode.
Dee’s convoluted, conditional will promises more drama still to come. In recognition of becoming an offscreen power, one of the surprise beneficiaries of her will is another character who has spent more time absent than present and who hasn’t been seen onscreen for some five months. I’m glad it’s paving the way for the return of Margaret Dunne.
Naturally, Patricia is livid. The look of icy fury on her face on hearing Dee’s televisual announcement is electrifying.
Pat’s none too happy about the other surprise beneficiary: one Beryl Palmer. She goes as far as going to Beryl’s home, hoping to guilt Beryl into handing the money over to Stephen, only for Beryl to say she won’t get “a brass yazoo”* for her trouble. This leads to a magnificent (and hilarious) drunken rant as Patricia relays the story to Stephen:
In order to grab their share, Wayne and Amanda have married. I can't bring myself to care all that much. It's just another of Wayne's schemes and they all seem to blur together after a while.
I know Fiona is a soap character, but does she have to be so inappropriately, self-indulgently dramatic all the bloody time. If there’s a calm situation she’s guaranteed to find some chaos and milk it for all it’s worth.
She’s far more damaging as a friend than an enemy, and Terry is a case in point. Now that Fiona has finished manufacturing drama over hating him she’s decided she loves him. And her first act is to blurt out that she’s his mother just as he’s coming round from an operation to cure his blindness, causing him stress and confusion. Not to mention his poor parents.
Incidentally, where are Terry’s parents in all this? He’s been through major surgery, and there’s no sign of them. The only people waiting in the corridor are Fiona (the woman who hated his guts until he lost his sight); Pippa II (an old flames he hasn’t seen in years who is only there because she’s been talked into it) and John (John’s apparent best friend who has just proposed to Terry’s once and almost future girlfriend).
*How’s that for an Aussie expression.
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257
I'm still some way behind but just binge-watched through a dozen episodes. 250-257 are all excellent. Pat has just morphed in to Abby from Knots at the end of this episode. I wondered how long it would take before she really gets nasty. When she burns that suicide letter that would have got David out of jail, she smiles with a look of pure evil. Reminds me of Abby burning those diary papers that implicated her in the theft of Val's babies.
I'm sure some of the Knots writers were closet S&D fans - so many slightly similar story overlaps here, Angela's miscarrying (loss of a child) then losing her memory, running off and then not recognizing anyone... Gordon letting Pat's shares go under when he finds out about all her deceptions - rather like Gary throwing Abby off the ranch and freezing her assets after finding out about Apolune. Really clever how they kept up the complex writing & plots for a show going out nightly 4-5 times a week. Even though its all getting a bit ridiculous it's still hugely compelling. Looking forward to the next batch of episodes now...
I'm still some way behind but just binge-watched through a dozen episodes. 250-257 are all excellent. Pat has just morphed in to Abby from Knots at the end of this episode. I wondered how long it would take before she really gets nasty. When she burns that suicide letter that would have got David out of jail, she smiles with a look of pure evil. Reminds me of Abby burning those diary papers that implicated her in the theft of Val's babies.
I'm sure some of the Knots writers were closet S&D fans - so many slightly similar story overlaps here, Angela's miscarrying (loss of a child) then losing her memory, running off and then not recognizing anyone... Gordon letting Pat's shares go under when he finds out about all her deceptions - rather like Gary throwing Abby off the ranch and freezing her assets after finding out about Apolune. Really clever how they kept up the complex writing & plots for a show going out nightly 4-5 times a week. Even though its all getting a bit ridiculous it's still hugely compelling. Looking forward to the next batch of episodes now...
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Wow. I hadn't made that connection at all until you pointed it out. Good spot.
Glad you've enjoyed the last batch, JG. You and Willie are almost in alignment.
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#342
It’s rewarding to feel that characters can become irritated with other characters’ shortcomings in the same way that I as a viewer can. Take Fiona’s attraction to drama and secrets. I mentioned it a few posts ago. So Barbara chewing out Fiona during one of the latter’s airy veiled references to some secret she couldn’t discuss was very cathartic.
Fiona: “He wouldn’t be as blasé if he knew as much as me”
Barbara [slamming her palms down onto her jigsaw puzzle]: “Well then for heaven’s sake tell him whatever it is. I’m sick and tired of you dropping hints and saying nothing.”
Fiona: “Oh, thank you very much.”
Barbara: “I am not unsympathetic, but I think you’d better make up your mind once and for all if you’re going to spit it out or not, and if not then have the decency to keep the subject to yourself.”
Fiona being Fiona stewed on it for a few minutes before making an even more dramatic revelation about Terry being a rapist. Some people can’t help themselves. One almost feels she did it to make sure Barbara didn’t get the last word. But to my enjoyment it resulted in another - albeit milder - dressing down from Barb:
Fiona’s whims may alter from episode to episode depending on where the drama is (just an episode or two earlier she’d given Patricia a good slap round the face for spoiling her relationship with Terry), but Terry’s reasons for looking down on sex workers were expounded in a monologue to Lisa where he recalled a sex worker in Vietnam who was all for having sex in front of her young child. It brought to life not only his his reasons for being disappointed to find out about Fiona’s past but also why, in his mind, it was OK to treat Jill like dirt when he thought she was the prostitute at Woombai. There was a poetic, almost romantic feel to the scene (it began with a long arty shot of Terry and Lisa in the distance, with lovingly shot red roses in the foreground).
Bevan Lee’s comments about turning Terry from “rapist to hero in ten episodes” linger on. It’s been more than ten weeks in real time now and while Terry may not be a hero, he’s certainly a more sympathetic and likeable character than I would have thought possible in his earliest episodes. The more I see of this character, the more impressed I am that he wasn’t brought in for a dozen episodes as a “villain” before getting his just desserts. Where they’ve gone with it is far more interesting.
Stephen and Tony have bonded during a bromantic montage. It seems a bit sudden and I’m not sure where it’s going, but the chemistry is good. In other Stephen/young man news he’s just tracked down his long lost son, Andrew Green. Another character I remember with, to say the least, restrained enthusiasm. But one scene in and it’s so far so good.
It was only during the second episode to feature Stephen’s moustachioed, softly spoken and articulate lawyer Malcolm that I realised it was coarse and shouty Max from Neighbours.
It’s rewarding to feel that characters can become irritated with other characters’ shortcomings in the same way that I as a viewer can. Take Fiona’s attraction to drama and secrets. I mentioned it a few posts ago. So Barbara chewing out Fiona during one of the latter’s airy veiled references to some secret she couldn’t discuss was very cathartic.
Fiona: “He wouldn’t be as blasé if he knew as much as me”
Barbara [slamming her palms down onto her jigsaw puzzle]: “Well then for heaven’s sake tell him whatever it is. I’m sick and tired of you dropping hints and saying nothing.”
Fiona: “Oh, thank you very much.”
Barbara: “I am not unsympathetic, but I think you’d better make up your mind once and for all if you’re going to spit it out or not, and if not then have the decency to keep the subject to yourself.”
Fiona being Fiona stewed on it for a few minutes before making an even more dramatic revelation about Terry being a rapist. Some people can’t help themselves. One almost feels she did it to make sure Barbara didn’t get the last word. But to my enjoyment it resulted in another - albeit milder - dressing down from Barb:
Fiona’s whims may alter from episode to episode depending on where the drama is (just an episode or two earlier she’d given Patricia a good slap round the face for spoiling her relationship with Terry), but Terry’s reasons for looking down on sex workers were expounded in a monologue to Lisa where he recalled a sex worker in Vietnam who was all for having sex in front of her young child. It brought to life not only his his reasons for being disappointed to find out about Fiona’s past but also why, in his mind, it was OK to treat Jill like dirt when he thought she was the prostitute at Woombai. There was a poetic, almost romantic feel to the scene (it began with a long arty shot of Terry and Lisa in the distance, with lovingly shot red roses in the foreground).
Bevan Lee’s comments about turning Terry from “rapist to hero in ten episodes” linger on. It’s been more than ten weeks in real time now and while Terry may not be a hero, he’s certainly a more sympathetic and likeable character than I would have thought possible in his earliest episodes. The more I see of this character, the more impressed I am that he wasn’t brought in for a dozen episodes as a “villain” before getting his just desserts. Where they’ve gone with it is far more interesting.
Stephen and Tony have bonded during a bromantic montage. It seems a bit sudden and I’m not sure where it’s going, but the chemistry is good. In other Stephen/young man news he’s just tracked down his long lost son, Andrew Green. Another character I remember with, to say the least, restrained enthusiasm. But one scene in and it’s so far so good.
It was only during the second episode to feature Stephen’s moustachioed, softly spoken and articulate lawyer Malcolm that I realised it was coarse and shouty Max from Neighbours.
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#285
Wayne has a staircase moment and he decides to fake being paralysed, Nellie Oleson-style, in order to make Gordy suffer.
Barbara finds out and pushes him into the swimming pool, Laura Ingalls-style.
Stephen and Patricia are going to visit London, but the soap must go on.
Most of the recent storylines are created by unreasonable behaviour and demands, and it's just another example of "we don't care how get there as long as we get there".
Although, thinking back, Jill's rape could be linked to Wayne's tampering with Brian's postcard.
John has basically become a robot with a "press here to upset me" button, and apparently he still hasn't figured out what a notorious stirrer Wayne Hamilton is.
He also misses the discipline of the airforce, therefore he takes it out on the workers at Woombai, but then Beth comes up with a brilliant idea: if he'd become a fitness instructor he'd have a legitimate cause to shout and boss people around.
Yes, I think they said it in those exact words. Unbelievable.
He angrily confronts Jill with the postcard, but the funny thing is that Jill also misinterprets Brian's fake message (the additional comment written by Wayne) which weakens her defence where there shouldn't be any kind of defence to begin with. This is the part that I really liked.
Nevertheless, they're going to try to work things out.
John (trying to make conversation): I've never seen anyone eat an orange like that.
Jill (annoyed): Like what?
John: So...slowly.
It was a nice little throwback to the goofy Scott-John from the early episodes.
David's ex-cellmate is a troubled kid and David feels it's his responsibility to save him. This results in all the predictable domestic arguments but ironically it's Tony himself who turns out to be the saving grace in this rather generic scenario.
The young actor does a good job playing him as a cocky rascal, and I'd say he's one of the most entertaining characters right now.
Never thought I would say this but I just love the way he aggravates Kevin, maybe because he reminds me of the John and Kevin from the early episodes.
And he's great with David and Davey.
This is model Neil, do we know him? He looks so familiar.
It makes perfect sense that Barbara doesn't approve of her brother's impulsive decision to marry Patricia. She's aware of the events prior to Pat & Gordon's divorce, and to be honest she's never liked her ex-neighbour whom she's always considered to be a crass, upper class-wannabe (easy to say when you're on Old Money snob).
And yet there's something OTT about her open hostility as she used to be such a cool and dignified person.
Furthermore, Patricia has a way of digging her own grave once she's on top of the world and think she has the right to control everyone and everything, so it's only a matter of time anyway.
Stephen and Patricia's apartment looks quite swanky by S&D standards - the Aussie version of Alexis Colby's penthouse - and in case you hadn't noticed it then Patricia will explain in detail what's so great about the place.
While working overseas, Lynn's had an escapade amoureuse with a guy from Paris, and now he keeps sending her huge bouquets of flowers.
Ms Collins advises Lynn to nip the whole thing in the bud before things get out of hand. Quelle surprise (not!) when he shows up at the coffee shop in the very next scene.
If you think Brian's Irish accent was laughable then you haven't met Phillipe yet. His best French is "C'est la vie!".
Ms Collins is the archetype of the 1980s no-nonsense career woman, she's not unlikeable or anything like that but she does remind me of the Racine and Pamela Lynch types.
It's getting harder and harder to see any redeeming qualities in Paul, especially in his scenes with Rob, but when Patricia organizes a dinner for no other reason than to sideline and humiliate Paul (as she did with Scott-John) he suddenly becomes the underdog.
And now David becomes a total *sshole again when he gives Kevin an ultimatum, and eventually a boot in the backside.
Fiona declares war on her future long-lost son, and Wayne has managed to isolate Jill. And with Beth being out of the way it looks like his scheme has finally paid off.
Wayne has a staircase moment and he decides to fake being paralysed, Nellie Oleson-style, in order to make Gordy suffer.
Barbara finds out and pushes him into the swimming pool, Laura Ingalls-style.
Stephen and Patricia are going to visit London, but the soap must go on.
Most of the recent storylines are created by unreasonable behaviour and demands, and it's just another example of "we don't care how get there as long as we get there".
Although, thinking back, Jill's rape could be linked to Wayne's tampering with Brian's postcard.
John has basically become a robot with a "press here to upset me" button, and apparently he still hasn't figured out what a notorious stirrer Wayne Hamilton is.
He also misses the discipline of the airforce, therefore he takes it out on the workers at Woombai, but then Beth comes up with a brilliant idea: if he'd become a fitness instructor he'd have a legitimate cause to shout and boss people around.
Yes, I think they said it in those exact words. Unbelievable.
He angrily confronts Jill with the postcard, but the funny thing is that Jill also misinterprets Brian's fake message (the additional comment written by Wayne) which weakens her defence where there shouldn't be any kind of defence to begin with. This is the part that I really liked.
Nevertheless, they're going to try to work things out.
John (trying to make conversation): I've never seen anyone eat an orange like that.
Jill (annoyed): Like what?
John: So...slowly.
It was a nice little throwback to the goofy Scott-John from the early episodes.
David's ex-cellmate is a troubled kid and David feels it's his responsibility to save him. This results in all the predictable domestic arguments but ironically it's Tony himself who turns out to be the saving grace in this rather generic scenario.
The young actor does a good job playing him as a cocky rascal, and I'd say he's one of the most entertaining characters right now.
Never thought I would say this but I just love the way he aggravates Kevin, maybe because he reminds me of the John and Kevin from the early episodes.
And he's great with David and Davey.
This is model Neil, do we know him? He looks so familiar.
It makes perfect sense that Barbara doesn't approve of her brother's impulsive decision to marry Patricia. She's aware of the events prior to Pat & Gordon's divorce, and to be honest she's never liked her ex-neighbour whom she's always considered to be a crass, upper class-wannabe (easy to say when you're on Old Money snob).
And yet there's something OTT about her open hostility as she used to be such a cool and dignified person.
Furthermore, Patricia has a way of digging her own grave once she's on top of the world and think she has the right to control everyone and everything, so it's only a matter of time anyway.
Stephen and Patricia's apartment looks quite swanky by S&D standards - the Aussie version of Alexis Colby's penthouse - and in case you hadn't noticed it then Patricia will explain in detail what's so great about the place.
While working overseas, Lynn's had an escapade amoureuse with a guy from Paris, and now he keeps sending her huge bouquets of flowers.
Ms Collins advises Lynn to nip the whole thing in the bud before things get out of hand. Quelle surprise (not!) when he shows up at the coffee shop in the very next scene.
If you think Brian's Irish accent was laughable then you haven't met Phillipe yet. His best French is "C'est la vie!".
Ms Collins is the archetype of the 1980s no-nonsense career woman, she's not unlikeable or anything like that but she does remind me of the Racine and Pamela Lynch types.
It's getting harder and harder to see any redeeming qualities in Paul, especially in his scenes with Rob, but when Patricia organizes a dinner for no other reason than to sideline and humiliate Paul (as she did with Scott-John) he suddenly becomes the underdog.
And now David becomes a total *sshole again when he gives Kevin an ultimatum, and eventually a boot in the backside.
Fiona declares war on her future long-lost son, and Wayne has managed to isolate Jill. And with Beth being out of the way it looks like his scheme has finally paid off.
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#348
It seems Patricia likes Diana Ross. One of Miss Ross’s albums is prominently displayed at the front of the record collection at the Morrell apartment over Charlie's shoulder. And Stephen has mentioned to Andy that he leaves purchasing music to Pat.
Pat and Stephen have split up. And so have Amanda and Wayne. Barbara is thrilled and there are good vibes at Dural. It can never last.
Ian Rawlings is at times quite a horrible actor, I’ve decided. He smirks well, but that whiny petulant child thing when Wayne is meant to be sad makes Charlene Tilton look like Meryl Streep. Never mind though, because all of this ceases to matter when he shares a scene with Anne Haddy, silently watching her show him how it’s done while dancing effortlessly between intensity and subtlety:
Speaking of petulant child-men, it’s getting more and more difficult to distinguish between Wayne and John these days. Recent episodes have seen John strutting round the Hamilton house pouting. He’s blackmailed Terry in order to win back the woman he wants ownership of, and smirkingly oversaw his wishes carried out. Now he’s gone back on his word to Terry and told Lisa everything anyway. I’m glad to see things backfire on John. Lisa spoke a sentence in #342 that sums up how how the viewer is intended to feel about Terry at this point:
Now Lisa has left, but not before psychically paraphrasing the future words of Sharleen Spiteri:
I’ll miss Lisa. There’s a likeable earthiness to Debra Lawrance’s performance. It was the characters’ “thing” to be her own person, but it feels that Debra lived that truth for the character by making Lisa more than just a secondary character brought in to create conflict. She was a fully rounded character in her own right and one I wish had a longer tenure. She was far more interesting and watchable than the likes of Amanda and Lynn.
Speaking of whom, Kevin and Lynn being on the verge of divorce has reinforced - as is the case with many people who are so relentlessly outwardly “nice” - how selfish Lynn really is. She had a night of passion with Phillipe, moved him in with her, did everything she could to cover it up and when Kevin found out she went straight into recovering victim mode (again), chanting - to Kevin, to Beryl and to Phillipe - about how she refused to apologise to Kevin because he expected her to be the little woman so it was his fault. All the same, it added some interest to Lynn who has now returned to floating round the Palmers’ living room being helpful. And nice.
The writing also highlighted the double standards of a number of characters. Not least Beryl who took Lynn’s side over her own son, despite some strong reactions when Angela did something similar not so long ago. The great thing is that it’s completely in character. This is the Beryl who, when speaking about David and Patricia, dashed to put the kettle on while commenting she didn’t like to think about it. Beryl is S&D’s ultimate WASP and, I suspect, would be more irritated by someone disrupting her world making a big deal out of cheating than by the actual act. And perhaps, if Beryl’s honest, it’s simply because a divorce wouldn’t mean losing a daughter. It would mean losing an eager little domestic helper.
Jill has returned, sans Brian. Since I first read this storyline via the novels in the Eighties I’ve thought it extremely tacky of the writers to invoke a terrible real world situation with such insouciance while being so far removed from it. That still stands. But - as with their treatment of other “taboo” subjects - it is further proof that there are no sacred cows on this show.
Tony continues to be a very enjoyable character. He’s got the innocence that the series has been missing. He’s the Kevin or John that no longer exist because they’re too busy wearing suits and being. His Mum Alice could give Lynn competition in the helpful and nice stakes, but she’s got an edge to her. And of course I’m viewing her through the prism of someone who knows the big picture, so she’s kind of exciting on that level.
After Tony framing his Dad and getting him imprisoned, Joe has escaped, having sworn revenge against his family and the Palmers both. There are just four episodes left of Season Two*, so I know we’re well on the way to excitingville.
*My current plan is to watch the final four episodes this evening, holding off on commencing Season Three until tomorrow evening to allow that cliffhanger to resonate. If my willpower is strong enough.
It seems Patricia likes Diana Ross. One of Miss Ross’s albums is prominently displayed at the front of the record collection at the Morrell apartment over Charlie's shoulder. And Stephen has mentioned to Andy that he leaves purchasing music to Pat.
Pat and Stephen have split up. And so have Amanda and Wayne. Barbara is thrilled and there are good vibes at Dural. It can never last.
Ian Rawlings is at times quite a horrible actor, I’ve decided. He smirks well, but that whiny petulant child thing when Wayne is meant to be sad makes Charlene Tilton look like Meryl Streep. Never mind though, because all of this ceases to matter when he shares a scene with Anne Haddy, silently watching her show him how it’s done while dancing effortlessly between intensity and subtlety:
What a fantastic scene.
Speaking of petulant child-men, it’s getting more and more difficult to distinguish between Wayne and John these days. Recent episodes have seen John strutting round the Hamilton house pouting. He’s blackmailed Terry in order to win back the woman he wants ownership of, and smirkingly oversaw his wishes carried out. Now he’s gone back on his word to Terry and told Lisa everything anyway. I’m glad to see things backfire on John. Lisa spoke a sentence in #342 that sums up how how the viewer is intended to feel about Terry at this point:
Now Lisa has left, but not before psychically paraphrasing the future words of Sharleen Spiteri:
I’ll miss Lisa. There’s a likeable earthiness to Debra Lawrance’s performance. It was the characters’ “thing” to be her own person, but it feels that Debra lived that truth for the character by making Lisa more than just a secondary character brought in to create conflict. She was a fully rounded character in her own right and one I wish had a longer tenure. She was far more interesting and watchable than the likes of Amanda and Lynn.
Speaking of whom, Kevin and Lynn being on the verge of divorce has reinforced - as is the case with many people who are so relentlessly outwardly “nice” - how selfish Lynn really is. She had a night of passion with Phillipe, moved him in with her, did everything she could to cover it up and when Kevin found out she went straight into recovering victim mode (again), chanting - to Kevin, to Beryl and to Phillipe - about how she refused to apologise to Kevin because he expected her to be the little woman so it was his fault. All the same, it added some interest to Lynn who has now returned to floating round the Palmers’ living room being helpful. And nice.
The writing also highlighted the double standards of a number of characters. Not least Beryl who took Lynn’s side over her own son, despite some strong reactions when Angela did something similar not so long ago. The great thing is that it’s completely in character. This is the Beryl who, when speaking about David and Patricia, dashed to put the kettle on while commenting she didn’t like to think about it. Beryl is S&D’s ultimate WASP and, I suspect, would be more irritated by someone disrupting her world making a big deal out of cheating than by the actual act. And perhaps, if Beryl’s honest, it’s simply because a divorce wouldn’t mean losing a daughter. It would mean losing an eager little domestic helper.
Jill has returned, sans Brian. Since I first read this storyline via the novels in the Eighties I’ve thought it extremely tacky of the writers to invoke a terrible real world situation with such insouciance while being so far removed from it. That still stands. But - as with their treatment of other “taboo” subjects - it is further proof that there are no sacred cows on this show.
Tony continues to be a very enjoyable character. He’s got the innocence that the series has been missing. He’s the Kevin or John that no longer exist because they’re too busy wearing suits and being. His Mum Alice could give Lynn competition in the helpful and nice stakes, but she’s got an edge to her. And of course I’m viewing her through the prism of someone who knows the big picture, so she’s kind of exciting on that level.
After Tony framing his Dad and getting him imprisoned, Joe has escaped, having sworn revenge against his family and the Palmers both. There are just four episodes left of Season Two*, so I know we’re well on the way to excitingville.
*My current plan is to watch the final four episodes this evening, holding off on commencing Season Three until tomorrow evening to allow that cliffhanger to resonate. If my willpower is strong enough.
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Yep.
I've found with blondeJohn that just when I think there's no hope, there'll be a scene or two that make the perseverance seem worthwhile. And then it's back to the robotics for a dozen or so episodes.
I was going to make a Capricorn Crude parallel here, but I'm not sure if you've watched that series before so I won't.
The writers love the old written miscommunication stuff. There's been a fair bit of it in the episodes I've watched in recent days. It's grippingly frustrating.
I couldn't agree more.
There's a definite pattern there. Around the time of the episodes you're watching, I wrote...
There's more, but... spoilers.
On that level, you've still the tail end of a phone call with his family to look forward to.
I loved that scene and how it contrasted with Angela bringing naif Scott home to dinner in the beginning. I wrote this about it:
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This is about where I've got to. Anywhere in the world but on this thread, thirty-something episodes in a week would seem like a lot, but here it's a mere spit in the ocean.
Is it something to do with the almost relentless domesticity? All of Beryl's cooking and cleaning, the washing up and what's for tea and do your homework, young man ... it's what I dismissed as the boring stuff back in the day, but it's absolutely what grounds the show in some sort of reality. You can have characters on the run for murder and falling in love with twin sisters they never knew they had, but getting the tea on the table is treated with almost as much importance. It's that mixture of the mundane and the melodramatic that all the British soaps do now, but seemed so eccentric back then (when the UK soaps were still compartively tame).
Yes, and it's interesting how slowly it's all revealed as well. It takes about twenty episodes to find out that Gordon and Fiona have even met before, let alone that they share an association that goes back a generation or two.
It's so fascinating when the various different characters from different families finally meet on screen. At the point I'm at, I think it's just Gordon and Wayne who have yet to come face to face with David and Kevin and Beryl (and Susan, but no-one cares about her). I think that aspect of the show -- where we know all the characters really well but they don't yet know each other -- is unique to S&D.
David and Beryl's back story -- him riding to her rescue following her pavlova-related accident in the diner where she worked -- is very Gary and Val -- if Abby had already dumped him before they'd ever met.
Yes! I remembered this post when I watched that scene the other day. I'm not sure I'd have clocked that moment otherwise. It's great.
I'm not sure whether its the limitations of the actress playing Angela, but her empty-headed, self-absorbed insensitivity towards everyone else, especially when she first moves in with the Palmers, is very believable. She's almost like a real-world version of the pampered princesses of the American soaps -- Fallon, Lucy, Constance.
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Don't you just love all those letters, and the hassle of making a phone call, or when it stops ringing just before someone can answer it?
"It's a private call, I'll take it in the study". That kind of secretiveness doesn't exist anymore.
Personally I feel that most of Patricia's character is defined by that fatal decision to take baby Angela and leave baby John.
Not necessarily guilt or anything like that, but more like a determination not to regret it. Her compulsive interfering and need to control her children would retroactively justify her decision.
Lord have mercy.
Wonderful! I hadn't even considered John's part in it. I mean...wow! indeed.
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Sad but true.
But probably more the former to the casual observer.
Yes - I think you've put your finger on a large part of the appeal. Those scenes are so important for character.
Getting ahead of myself, I am curious to see how I feel about the last half of the series on this level this time round. My memory tells me the balance between domesticity and crises changes somewhat, and even using prosaic household objects is not without high stakes.
Absolutely. I was still marvelling at this when I was into the hundreds (by episode count) this time round. Even in the last batch of episodes from Season Two, I felt excitement at two characters being forced into interacting more, including their first business lunch. So I think there are layers to the associations. Some are still polite and formal even more than three hundred episodes later. Which makes the "potential drama" canvas still feel very broad.
Early Families had a similar setup, but that was pretty much an early S&D rip-off anyway. It was fun, but not as fun as S&D, and the writers seemed to forget about it after a fairly short time.
Rewatching S&D and the fact that we're appreciating this aspect makes me wonder why it wasn't done more once the concept was out there.
Oh yes. I hadn't consciously thought of that and I like it.
Talking about this scene now has highlighted that there's less of this stuff going on as I reach the end of the '83 episodes. The continuity, references and nods to the past are still there, but I can't remember a small really subtle moment like this. But then maybe you'll spot something I missed and wow me all over again.
Agreed. And it's been used to good effect in pretty much all of her key storylines, I think.
It's strange to think that these aspects of the series are curios to viewers who were born post 1990 or so.
In much the same way that the Barlows having a bath in the living room or Elsie Tanner spitting into her compact to moisten her eyeshadow is slightly exotic to me.
That makes complete sense to me.
And it ties in with what you said earlier about a soap character's loss of innocence.
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#352
Well, there's little I can say that can do justice to the greatness of the multiple end-of-season cliffhangers. But I had to check in as it's a milestone.
One thing that I both appreciated and felt sad about was the twins' birthday being acknowledged as it was in the previous year's finale. It's a definite marker and a reminder of how much has changed in the last year. It's also reinforced that Angela leaving has really signalled the end of original recipe Sons And Daughters in many ways. It seemed wrong that she wasn't there, but hats off to the writers for finding the time to mention it more than once even with all the unrelated drama happening.
Rather than a celebration, the brief birthday card scene felt more like an ending for viewers. I can't recall whether or not the twins' birthday is noted in future end-of-season episodes, but I suspect this will become more difficult with things having mushroomed from the relative simplicity of the first year's stories.
I managed to restrain myself from watching the premiere of Season Three last night, even though it would have been easy to justify, as I'm watching them both on DVD rather than YouTube. And I'm glad I've given the cliffhangers a little time to breathe in my mind as the stakes feel even higher today than they did when watching last night.
Season Three, here I come...
Well, there's little I can say that can do justice to the greatness of the multiple end-of-season cliffhangers. But I had to check in as it's a milestone.
One thing that I both appreciated and felt sad about was the twins' birthday being acknowledged as it was in the previous year's finale. It's a definite marker and a reminder of how much has changed in the last year. It's also reinforced that Angela leaving has really signalled the end of original recipe Sons And Daughters in many ways. It seemed wrong that she wasn't there, but hats off to the writers for finding the time to mention it more than once even with all the unrelated drama happening.
Rather than a celebration, the brief birthday card scene felt more like an ending for viewers. I can't recall whether or not the twins' birthday is noted in future end-of-season episodes, but I suspect this will become more difficult with things having mushroomed from the relative simplicity of the first year's stories.
I managed to restrain myself from watching the premiere of Season Three last night, even though it would have been easy to justify, as I'm watching them both on DVD rather than YouTube. And I'm glad I've given the cliffhangers a little time to breathe in my mind as the stakes feel even higher today than they did when watching last night.
Season Three, here I come...
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Actually, I'm a little worried that the beautiful Amanda Morell has already shown up. Because these are supposed to be included in the really good episodes and I've still got 680 episodes to watch.
So I wonder, what happens after the Morell era?
There's Allison Carr, of course. I think the Palmers got new neighbours at some point, Jim and Helen? And that annoying skinny twat Andy (Barbara's nephew?), Fiona's brain tumor, the gangster storyline (Carlyle?) and I think his son was also the son of Stephanie Harper, the gay storyline (Andy's friend, Todd or something), the nasty Karen Fox and the even nastier Leigh Palmer, a few exploding equipments here and there...but still, I hadn't expect the Morells to show up before episode 400 or so.
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