“Not exactly Raffles, is it?”: Watching Tenko

[Zable]

The business with making the five hundred hats

I learnt how to fashion a needle! Admittedly, not one bit personally useful as me making do with a rounded metal seive over a flame to replace a toaster.

Sable filching a woman's hatpin to deflate Dex's lido reminds me of this story. A bit of mischief that sharply contrasts the two sets of circumstances.

I recall, when a child, just the one time, being surround by great piles of plastic straw in different colours, and made to weave great lengths of them; two straws at a time, bent in half and extended by inserting fresh straws into their tips. For it all to be collected and given to an acquaintance's relative, who had them fashioned into hats and baskets. To sell, of course. I had the impression the lengths of woven straw were stitched together, one colour here, another there to match and blend or use as trimming. I never coud figure out how the hats and baskets were moulded though. A budding cottage industry for somebody off the backs of unsuspecting child 'labourers', lol.

 

[Zable]

The fallout between the Dutch and English prisoners

Sylvia's growing acceptance of Christina

...there’s a great disparity between Blanche surviving the best part of a week tied to the post while Lia appeared to die in the course of one night. There could be all kinds of reasons for this, I suppose, including their treatment before being tied...

Organic examples of the continuation of pre-war rivalries and prejudices, I feel.
1. The intra rivalries among the expatriate communities, especially among the colonial powers, that was more than about just wealth and station.
2. The already existing discrimination felt by POC, including the growing number of Eurasians in the region, such as Christina; who most usually were the offspring of a long term illicit liasion than legal union. By European mores, the white planter or trader was expected to pick a wife from his home country. How many Eurasians were acknowledged by their father's estate I wonder.
3. Then, of course, there was the wretched state of the Sino-Japanese relationship. I heard that of the local races in the Far East, the Chinese by far suffered the most under Japanese occupation.

...singing Jerusalem...

My LVth common room was an important Allied ops room during WWII, it was spookily cold in one corner; and everytime we sang that hymn during morning chapel, the hairs on the backs of my arms would stand, and there would be tingles down my spine like there were ghosts among us, but my heart would swell.

 

[Mel O'Drama]

Series Two



Part One



It was clear from the end of Series One that the new series would see a new direction with new characters. It’s difficult, though, not to reflect on the loss of Blanche, Sylvia and Nellie. I’m sure it’s perfectly accurate that groups were separated this way, and the audience’s lack of “closure” with these characters gives a taste of what onscreen characters are experiencing. All the same, I can’t help feeling there are behind-the-scenes contractual reasons for these characters disappearing. All three brought something very special to the mix and I’m already missing their presences even with all the change going on. I’m sure this will only be intensified once they settle into the new camp.

Debbie’s death, I assume, was part of the same "new direction". On reflection, I find myself wondering why not kill off Blanche and Debbie during or after the escape. To bring them back for just an extra episode or two only for Blanche to disappear seems a little odd. But then I suppose this way there’s potential for Blanche, Sylvia and Nellie to appear in future series or the reunion (don’t tell me. I’m looking forward to being surprised. Or disappointed)

Joss Holbrook’s arrival goes some way towards making up for the series’ losses. Her instant chemistry with the other characters is wonderful, and she feels “right” for this ensemble from her very first moment on screen. To this jaded viewer it’s obvious she’s filling the “upper class stubborn old mule” gap left in the absence of Sylvia. But since it’s well-plotted and she’s so likeable and such a terrifically strong character in her own right I can accept it.

Marion is getting on my nerves at times. Once every couple of episodes she’ll scream at someone without any consequence at all. Screaming at the other women I can understand, but I find it a stretch that she’s permitted to get away with talking back in such a way to the guards taking them to the new camp, or even to Yamauchi. No matter how much mutual respect there might be, or how difficult the situation she is in, there’s also a hierarchy with very clear consequences for those who step out of line. And it feels untruthful that Marion’s regular impassioned outbursts are overlooked. Ann Bell is very good much of the time and perfectly believable as being constantly “on the edge”, with the dewy eyes; the quivering lip; the shaking hands and the occasional burst of hysterical laughter. But she doesn’t sell these more overwrought moments to me at all. Perhaps I’m judging her more harshly since she appears to receive top billing - something I feel naturally cynical towards in most ensemble pieces, but especially one filled with such incredible talent as this series.

The image of the women standing over their new accommodation on this particular date also highlights the stark contrast between the indulgence of the previous New Year which we had seen in the opening episodes. Such a marker of time passing in the series feels very special. It feels more important because of the repetitive routines in the camp, and how meaningless time has become for the women as a result (it was even mentioned in Series One that most of the women no longer even have periods due to malnourishment and stress, so that's yet another aspect of time cycles that's been taken away from them). With the huge emphasis placed on Christmas in Western culture, it's telling of their situation that at the end of this episode the women have suddenly realised it's the First Of January. Someone's (I think it was Rose) comment that they'd been "walking through Christmas" was very poignant. As was the beautiful rendition of Auld Lang Syne. What I enjoy about these very British sing-songs is that they highlight the coming together of cultures. The Dutch prisoners don't join in (presumably because they're unfamiliar with the pieces) but seem to enjoy being present and find themselves as lifted as the Brits. During Auld Lang Syne, the guards Sato and Shinya observed with something that could be interpreted as respectful enjoyment.

There may have been comments during the episode about missing tenko and the labour, but the fact that the women were so relieved to arrive at their new camp was intriguing. It suggests they view it as a place of safety. Perhaps much in the same way that people who have spent long periods of time in prison or hospital become institutionalised and find it difficult to cope without the rigid routines within those environments. I'm looking forward to seeing what awaits in this new camp.

 

[Mel O'Drama]

Organic examples of the continuation of pre-war rivalries and prejudices, I feel.
1. The intra rivalries among the expatriate communities, especially among the colonial powers, that was more than about just wealth and station.
2. The already existing discrimination felt by POC, including the growing number of Eurasians in the region, such as Christina; who most usually were the offspring of a long term illicit liasion than legal union. By European mores, the white planter or trader was expected to pick a wife from his home country. How many Eurasians were acknowledged by their father's estate I wonder.
3. Then, of course, there was the wretched state of the Sino-Japanese relationship. I heard that of the local races in the Far East, the Chinese by far suffered the most under Japanese occupation.

Oh absolutely. I'm sure it's a hugely complex situation which the series can only begin to encapsulate (though I think it does a nice job of getting these aspects across to people like me who are less knowledgeable about the underlying politics).

My LVth common room was an important Allied ops room during WWII, it was spookily cold in one corner; and everytime we sang that hymn during morning chapel, the hairs on the backs of my arms would stand, and there would be tingles down my spine like there were ghosts among us, but my heart would swell.

I can believe it. The lyrics themselves are very powerful and the tune is anthemic, but in this context it would be taken to a whole new level.

 

[Zable]

(though I think it does a nice job of getting these aspects across to people like me who are less knowledgeable about the underlying politics).

Lol. I was stating the obvious, wasn't I.

 

[Mel O'Drama]

Lol. I was stating the obvious, wasn't I.

Not at all. I'm finding it fascinating to get your perspective on these aspects as someone who understands the history and culture so well.

 

[Barbara Fan]

re Jerusalem (Its in my will, I want it sung at my funeral, I get brought into the Dallas theme tune BTW!!)

Steph Cole wasnt looking forwards to singing, this is what she had to say about the scene

Hope this works @Mel O'Drama

 

[Mel O'Drama]

re Jerusalem (Its in my will, I want it sung at my funeral, I get brought into the Dallas theme tune BTW!!)

Steph Cole wasnt looking forwards to singing, this is what she had to say about the scene

Wow. That's great. Thanks for sharing it, BF. After reading this I just had to buy a copy of the book, didn't I?!

 

[Mel O'Drama]

Series Two
Part Two


Just as Tenko proper began with Part Three of the First Series, so it’s with this instalment that the new direction begins. As with the earlier example, this episode feels very much like a dance for characters and audience both, as the women try to tap into the new rhythm in order to fall into step with (to use a phrase trending in 2020) their “new normal”.

Inscrutability is the order of the day. Something’s off-kilter from the moment the women enter the new camp and the existing prisoners don’t greet them. This is compounded by the emphasis on efficiency and propriety - the former represented by Dr Trier and Miss Hasan; the latter embodied to some extent by Marion’s old friend Lilian Cartland and her son Bobby, and - most disturbingly of all - by Verna Johnson. Like a Forties Stepford Wife, everything about Verna screams a warning. With her coiffed hair, frozen smile and hospitality (she has access to coffee and alcohol which she orders her “helper” to serve to her guests), she seems too good to be true. And of course, she is.

As a viewer I found myself empathising greatly with the women. Adjusting to the new setup with its characters and rules isn’t the most comfortable of experiences and I found myself feeling strangely nostalgic for Yamauchi and the energy of the earlier camp. Almost as though I’d developed a sympathetic Stockholm Syndrome.

The moment when the women were herded into their new quarters only to have the door locked behind them was chilling when thinking of how the Nazis similarly herded people into gas chambers under the guise of showering. The women being asked to remove and hand over their clothes for cleaning before hit similar notes. It’s easy to imagine the unease these orders would create given the unpredictability of their captors.

The image of Beatrice wearing Trier’s Treasure (I’ve seen it, @Barbara Fan!!) loudly confronting Miss Hasan in the courtyard without realising who she’s talking to was a very welcome bit of fun. I’m sure there’ll be repercussions. Her contribution to the swearing to annoy Verna ("knickers") was a great moment too.

 

[Barbara Fan]

I think that Stephanie Cole, Ann Bell and Veronica Roberts remain my favourite Tenko actors and their characters and you cared about them, what happened to them, as as you will see in the Reunion, just how life turned out for them

I also liked Blanche and Joss, Although Louise jamieson who had 2 children in quick succession said she never timed her pregnancies well! And watch her boobs go up and down in size

 

[Mel O'Drama]

Stephanie Cole, Ann Bell and Veronica Roberts

All three are terrific.

Joss

Oh - Joss is already a favourite of mine. She steals every scene in which she appears. I love how direct she is, and how she's thinking up ways to make life difficult for the Japanese.

 

[Mel O'Drama]

Series Two
Parts Three to Five


Mixed feelings about Sally’s suicide. It’s terribly sad of course, and I'll miss the character. But given the situation, the view of death is different and I thought it interesting to focus on the freeing aspect and the fact that the suicide was timed to sabotage the camp inspection.

The response to it highlighted how societal views towards suicide have, in many ways, progressed in the last three quarters of a century. It’s perhaps understandable that Sister Ulrica would view it through a certain prism. Not to mention that priest (ugh - what a thoroughly horrible man). Young Daisy focussing on the sin rather than the person seemed a little shocking. Indeed, the person who initially responds to the suicide for what it is - the tragic death of a woman who deserves to be lovingly remembered - is atheist Beatrice.

As with Sally’s suicide, the characters’ responses to Dorothy’s wish for an abortion tell us much about them. Once again, there are some surprises. For Kate - one of the most outwardly free and liberal characters - it erupts into anger that a fellow medic could even consider supporting Dorothy in her choice. Once again, it’s Ulrica who overcomes her discomfort at Dorothy’s choice and does what she can to support her once the decision is made.

Ulrica’s journey these past few episodes has shown us more to her than ever before (literally, at times, with her habit being washed). Going against her vows to preside at Sally’s funeral and allow her a dignified burial on consecrated ground. Choosing to serve the hard labour along with the women. And then breaking the silence enforced on her by the sadistic pig of a priest in order to reach Dorothy who was in torment. They’ve all shown what a caring woman she is, and what good instincts she has. She knows that she couldn’t live with herself if she hadn’t done all she could to help, no matter what the cost to her body or soul. And now she’s left the camp, apparently for good. Which for me is even sadder than Sally’s death. Because Ulrica will have to live with the consequences of her choice.

Dorothy’s friendship with Shinya(?), teaching him English in lieu of giving him a good time has been lovely to watch. It’s brought out interesting sides to her character. I’m curious to see where this goes.

Verna is very difficult to read, isn’t she? Her motives and the true structure of the camp are still unclear to me. The more I see her, the more it’s apparent she’s not as in charge of things as first appeared. Certainly not when she’s around Miss Hasan. But then Miss Hasan herself isn’t in charge either. Yamauchi is back, and Miss Hasan has already put her foot in it by saying the women “lacked discipline” when they arrived, without knowing they’d come from Yamauchi’s camp.

 

[Barbara Fan]

Not to mention that priest (ugh - what a thoroughly horrible man).

Oliver Ford Davies appeared in one of my fav John Thaw shows Kavanagh as Head of Chambers and i dont think i ever forgave him for his treatment of Sister Ulrica

Re The scene with Dorothy was wonderful, "I need you" and i rememebr gasping when she broke her vow of silence to respond!! Go Girl!!

Verna - out for herself and her cat and sod the rest and i do love Miss Hassans temper tantrums and hissy fits. Suicide Markham, poor Sally but it did spoil the day!!

 

[Mel O'Drama]

Series Two
Parts Six to Eight



It’s certainly an eventful old time at (and around) the camp.

The best news has been the return of three characters who have been absent: Yamauchi, Christina and Blanche. The latter two returned thanks to Yamauchi after Marion cornered him to ask what had happened to them, prompting them to make enquiries. A great scene of Joss and Marion getting one over on the furious Miss Hasan, leading to a chain of fury that was passed down from Hasan to Verna to Marion.

Christina’s absence in particular brings mystery about what she has been doing in the meantime. What we’ve learnt is troubling. She’s been forced to work for the Japanese and sat in on some interrogations. Now she’s once again working for Yamauchi, all of which is creating suspicion in the minds of her fellow prisoners which bubbled away nicely before boiling to a head that dovetailed wonderfully with a number of other stories.

Apart from the joy of having Blanche back in the ensemble, it’s been enjoyable - now that we’re more familiar to the setup of this camp - to see her incredulous reaction to characters like Miss Hasan and Verna. Her collusion with Joss to sabotage has been a delight Joss is a firm favourite of mine now. Every line - every look - is a gem. Scenes of her stealing planks of wood from literally underneath the Japanese in order to build a table have been funny and heartening).

Perhaps most importantly, Blanche’s return has given the opportunity to explore some unfinished business between she and Rose. Rose was visibly delighted to learn that Blanche had arrived and ran to meet her, only for things to shift from awkward to downright frosty when Blanche learnt that Debbie was dead.

Indeed, a key aspect of the returnees has been the opportunity for the viewer to reflect on how much irrevocable change has happened in a very short time. From Dorothy telling Blanche about her pregnancy and abortion to Dorothy casually asking Rose how Sally is, not realising she’s dead. This has been a two-way process, and the audience has learnt along with the characters that Nellie is still well but Sylvia has died of cholera.

These snippets of information about what’s going on outside the camp have provided tantalising plot points. First with the existence of a nearby factory (at which most of the women have ended up labouring). Then with the dawning realisation that internees from the men’s camp are working nearby. With Christina’s help and insight, notes have been passed between camps - specifically between Rose and her lover Bernard - and a liaison arranged.

It’s a pep talk from Joss that encourages Blanche to talk over her feelings for Rose (Joss is the perfect advocate here. Not only is she full of common sense and quick to speak out, she also has the benefit of being somewhat objective around the situation, since she wasn’t at the camp where the escape attempt had happened). I becomes apparent that Blanche misses the friendship as much as Rose does (the hurt Rose feels when being shunned by Blanche is almost tangible) and she doesn’t blame Rose for Debbie’s death nor - deep down - for the fact that Blanche and Debbie were caught. She even admitted it wasn’t a good idea to have taken Debbie with her.

Despite everything, Blanche becomes one of the few to know about Rose’s plan to sneak out to meet Bernard. It’s partly out of necessity, since Blanche and Joss had plans for some serious sabotage on the night in question, which Rose has to ask them to postpone. But with Blanche sore about Rose for a perceived betrayal, it’s a huge leap of faith for Rose to trust her with that information. And it’s rewarded.

There’s a lovely natural scene of understanding to them. Importantly, it takes place in the ablutions hut, and so mirrors their last scene as friends before the escape attempt, in which they said their goodbyes and Rose handed Blanche her ring. As with the earlier scene, there’s a strong sense that pride is keeping both from being too open about their love for the other. A lipstick swiped from Metro Goldwyn becomes Blanche’s white flag as she proffers it to Rose who is doing all she can to make herself presentable to Bernard. A makeup scene in every sense.

This leads to Blanche offering to accompany Rose on the illicit liaison to see Bernard. Which gives opportunity for the two women to find one another again as they bond. Rose shares her fears over meeting Bernard. Specifically that things will now be different between this couple who have been happy to enjoy each other without a legal contract, the patter of tiny feet and even without using the “L” word.

Bernard’s eventual appearance, of course, is another reminder of how things have changed for everyone. We haven’t seen him since the beginning of Series One, and the man we meet is changed. A little slighter, perhaps. Understandably dishevelled. The gleaming white teeth now coated in a drab brown hue. He is emotionally and physically scarred from his experience, his arms bearing the cigarette burns his captors used to stop him from falling asleep in the “dog kennel” of solitary confinement, where he strongly implies he was kept for weeks at a time to live surrounded by his own waste.

It’s a reminder, too, of the change and growth in Rose. Her greeting to Bernard is a reprimand for being later than expected. It’s a flash of the old Rose who, after being shipwrecked, greeted Bernard with annoyance that her luggage was missing. Then, it was a symptom of her self-centredness. Now, the greeting is softer - a tongue-in-cheek callback to the pre-internment Rose’s dialogue. If anything, it shows a degree of self-awareness and perhaps even appreciation of who she has become. The greeting may have been typical, but their priorities are now completely different. This is perhaps best summed up by Rose’s emotional appreciation of the gift Bernard brings her: a jar of yeast extract which she shares with him in humble thanks.

The conclusion to the scenario is a sequence that gives way to one of the series’ more shocking outcomes: word reaching the Japanese through betrayal; the gentle Shinya finding Rose and Bernard; and the women at the camp listening in absolute horror as two gunshots ring out.

This leads to an even greater shock when Rose is dragged back to the camp, a bullet removed from her back, saving her life but leaving her paralysed. Permanently. And when something permanent happens in Tenko, it stays permanent. All this, and Stephanie Beacham let out two of the most blood curdling screams I’ve ever heard during Rose’s torture in an attempt for the Japanese to discover her collaborator (I felt relieved to discover that she was “faking” it, since she couldn’t actually feel what they did to her due to the paralysis).

I know this is leading up to the big spoiler that I had before going into the series. And I also feel a little dread about seeing it play out. Things are already so grim. It seems almost unthinkable that they can get grimmer. Even though they will.

The question of who betrayed Rose hovered over the series like a ghost until the reveal. Naturally, Christina was suspected and was on the end of a witch hunt. The committee meetings are giving some enjoyably satisfying Marion moments, from helping save Christina from kangaroo court to forcing democracy into the meetings by insisting on votes rather than nepotism.

In terms of the betrayal, my gut told me that Lillian had done it. Though I also suspected Daisy at one point. I loved the way the reveal came - with Joss and Marion - in the middle of an attempted sabotage - accidentally stumbling on Lillian covertly feeding her son. One of those scenes that looked to be going into one direction before taking us to the real intrigue.

Now the two questions are: what will Marion and Joss do with their information. And how will the others react if word gets out?

Oliver Ford Davies appeared in one of my fav John Thaw shows Kavanagh as Head of Chambers and i dont think i ever forgave him for his treatment of Sister Ulrica

I suspect it's a great part for an actor because the character is so disturbing. Everything about the priest screams that he's abusing his authority. OFD's acting CV is very impressive. He's obviously very accomplished and is still getting great parts at the age of 80. I'm intrigued by the filmed performances with the RSC.

Re The scene with Dorothy was wonderful, "I need you" and i rememebr gasping when she broke her vow of silence to respond!! Go Girl!!

Same here. Just terrific performances. Even with everything happening these last few episodes, I do miss Sister Ulrica.

 

[Barbara Fan]

Joss was such a welcome addition to the cast and have to say i much preferred her to Sylvia / Renee Asherson who was disapoointed to be written out

Jill Hyem (production) in the book says Renee was the sort of person who wanted to be young and leapt about and acted a bit like Peter Pan

When jean Anderson arrived said do you want me to take my teeth out!

And they didnt want to write Louise Jamieson out as she was prgnant so sent her to another camp only to return when she had her baby

Veronica Roberts called her character Grotty Dotty!

You will enjoy the next few epiosdes @Mel O'Drama and you will just have to watch and see! Its all rather exciting, sad, heart warming, great drama!

I dug out an old epiosde of Only Fools and Horses this week to watch and Miss Hassan is now Del Boys Dr!

 

[Mel O'Drama]

Joss was such a welcome addition to the cast

She's been a highlight of Series Two for me.

Renee Asherson who was disapoointed to be written out

Oh, that's a shame. I wasn't sure if she had chosen not to come back or had health problems or something. But if it was a producer's decision, that's never easy.

Jill Hyem (production) in the book says Renee was the sort of person who wanted to be young and leapt about and acted a bit like Peter Pan

When jean Anderson arrived said do you want me to take my teeth out!

Yes, I can see the contrast between the two characters. Jean Anderson does have a kind of frailty to her, and I'm far more conscious of her age than I was Sylvia's. It adds a level of threat to certain scenes - for instance, when Miss Hasan ordered one of the guards to whack Joss on her broken arm, it seemed more shocking because she looks like an old lady. But it also works to make her cheeky comments seem even more cheeky. Her swearing at the Japanese soldiers under her breath seems more naughty (and amusing) than when, say, Blanche or Dorothy do it, because of how unexpected it seems.

And they didnt want to write Louise Jamieson out as she was prgnant so sent her to another camp only to return when she had her baby

Ah. That's why. Thanks for clearing that up. The Remembering Tenko book is now in my possession, so I'll be diving into it once I finish the series. I'm looking forward to it.

Veronica Roberts called her character Grotty Dotty!

Ha. That's very apt!

You will enjoy the next few epiosdes @Mel O'Drama and you will just have to watch and see! Its all rather exciting, sad, heart warming, great drama!

I've finished Series Two this evening. Will write a few reflections of my thoughts in the next day or so, and I hope to start Series Three tomorrow evening.

I dug out an old epiosde of Only Fools and Horses this week to watch and Miss Hassan is now Del Boys Dr!

Oh, funny. I think I'd find it difficult to imagine her as anyone other than Miss Hasan now.

 

[Mel O'Drama]

Series Two
Parts Nine and Ten




Well, Series Two has done a nice job of adding layers to the original story and the world in which the characters exist. The new setting, new characters and arguably more complex situations have made this feel like what it is: a quality sequel to a near perfect series that is difficult to improve. Whether it has improved on the first year is debatable, but the fact has been that it’s remained as consistently watchable and of a standard that’s practically on par with the first. In some respects it’s an improvement: one only has to look at Joss to see how the casting and writing is as strong as ever. I did miss the relative simplicity of the first series, but do appreciate the changes made were to expand the story in a way that feels authentic. And it’s all felt so seamless that there’s no real division for me between the two series. It’s just one big story.

Even more than the first year, I have to applaud Series Two for its risk-taking in making changes. We’ve had the temporary character absences of Blanche, Christina and Yamauchi, and the more permanently absent Nellie, as well as the departures of Sister Ulrica, Dr Trier, Lillian and Bobby.

Bolder still are the main characters who’ve died for the sake of the story. Series One had just one main character dying onscreen. Series Two has killed off Sylvia and Bernard offscreen. And onscreen we’ve had the deaths of Debbie, Sally and Rose, as well as Miss Hasan and Shinya. At this point, I feel there’s nobody on the series that couldn’t be killed (with the probable exception of Marion who frequently seems to be held in higher esteem than other characters by the writers).

Rose’s exit from the series was very poignant. Somehow, that haircut seemed very symbolic. Rather like Aslan’s mane being shorn before he was killed in The Lion, The Witch and The Wardrobe.

As with her tortured scream an episode or two before, Stephanie Beacham let out a horrifically pained sound on learning of Bernard’s death. Her stage background shone through. The reality of Rose’s condition was very powerful indeed, with the references to her stinking infected sores that could lead to gangrene, and the incontinence. There was no mistaking how much emotional pain she would be in, and this was beautifully portrayed by Stephanie B. As always, this is about the ensemble, and Rose’s situation gave us that journey for Blanche of overcoming her aversion to illness to visit her friend and talk with something approaching real hope of the two of them buying a house in the country together. It’s one of the series’ finest moments. There was also the contrast between who Rose was and who she’s become. Her reminiscence of her first dance with the sweaty boy she treated like dirt while looking out for something better was pure Rose.

Before watching, I knew how Rose died. I was relieved that the actual death was offscreen. Anything else might have been too much, and it packed more of an emotional blow this way. This series knows when to pull no punches in intensity and when to take the “less is more” approach.

Beatrice’s growing burden is one of the more interesting aspects of this series. It’s fairly implicit, but it hangs over the series in a way that’s quite troubling. I’ve also enjoyed the occasional exploration of her atheism (or perhaps even agnosticism), such as her watching the hymn singing and prayers with something akin to envy while she was weighed down with her moral decision about ending Rose’s suffering. I badly miss her friendship with Sister Ulrica.

Back when Nellie was becoming attached to Sally, Beatrice was the first to recognise Nellie’s sexuality, and try- in her way - to make things easier for Nellie. Given a few snippets of dialogue in Series Two, I’m now wondering if Beatrice herself is lesbian. One in particular jumped out at me, but now I’m blowed if I can remember to whom it was spoken. Anyway, it was a character saying they could see how much Beatrice missed Nellie, to which she replied something like “Thought you might”. There was just something about the delivery that made the line even more meaningful.

Dorothy’s forgiveness of Shinya as he was preparing to leave was nicely done. I’ve loved the friendship between these two this year and would have been saddened had it not ended well. This is even more the case since Shinya ended up very dead within the day. The irony of him being on the site of the bomb because of Joss’s sabotage wasn’t lost on me.

Likewise, Marion and Lillian’s farewell felt very right. Ann Bell was top notch in the scene, where Marion spoke of friendship but looked at Lillian with intense pity. I could almost feel the internal wrestling going on. And there was that tantalising moment where Lillian tried to warn Marion but was interrupted by Vera.

The inevitable uprising against Vera was satisfying to watch. Seeing the characters all too slowly work out what had been happening with the Red Cross parcels and the store cupboard was frustrating at times, and this made the scenes of realisation really enjoyable. I’m curious to see if and how Vera makes it into Series Three (at the moment, my guess is she won’t, but I’ll be happy to be wrong).

Something in my memory tells me there were no plans for further episodes beyond Series Two. I know there was a two year gap between this and Series Three, and those multiple freeze frames at the conclusion of Series Two feel have an air of finality. But the story is so open-ended and unfinished, that I’m glad there is more to come. I suppose I’ll know more details once I can dive into the book after watching.

Well, I’m now two-thirds of the way through the entire run. So far it’s been among the most consistently high quality series I’ve viewed. @Barbara Fan has commented that the first two are the best, so I feel it might be helpful to lower my expectations for the third series, but that’s difficult. I’ve just come to expect really good things from every episode.

 

[Mel O'Drama]

The biggest Tenko travesty as far as I'm concerned is that James Harpham's beautifully haunting score doesn't appear to have been made officially available anywhere.

I can't even find a generic reproduction of the theme tune anywhere. And it's not for want of trying.

 

[Barbara Fan]

I will be interested to see what you think of S3, its different and is still great viewing - but i do miss one or 2 characters
also Burt Kwouks clothing allowance that season, you are in for a treat!

 

[Mel O'Drama]

I will be interested to see what you think of S3

I've started watching it this evening, so I'll throw in a few thoughts tomorrow after I've reflected on the episode.

its different and is still great viewing - but i do miss one or 2 characters

So far I'm in agreement on all these counts.

also Burt Kwouks clothing allowance that season, you are in for a treat!

Ooh - intriguing. I can't wait to see!!