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<blockquote data-quote="Mel O&#039;Drama" data-source="post: 404840" data-attributes="member: 23"><p>It's always good to get the added context of responses from the era. These are actually very valid points, but then again...</p><p></p><p></p><p></p><p></p><p>So's this.</p><p></p><p></p><p></p><p></p><p></p><p></p><p>Yes. This was even touched upon in dialogue, and it really does help swing it. I think this is why Matty <u><em>needed</em></u> to be a secondary character, as well. It was important to realistically show the spiral of devastation from long-term unemployment but it could be just too bleak if this was happening to a series regular for this length of time. Paul, Bobby, Billy, Damon... we've taken that journey with each of them for periods of time, but Matty's feels the most profound due to its intensity.</p><p></p><p></p><p></p><p></p><p></p><p></p><p>There were a few episodes where Mo started to make digs at Sheila and I was concerned the writing could easily head into a lack of nuance... making Mo the clear antagonist in order to redeem Matty and let him off the hook. But as I'm sure <em>Brookside's</em> official line would have been "keep watching and it'll all become clear" I can look back and say they were right.</p><p></p><p>I can completely see the Julie Walters tone now you mention it.</p><p></p><p></p><p></p><p></p><p></p><p></p><p>It was a wonderful scene, and I like it even more now you'd pointed out the similarities in those other screen relationships.</p><p></p><p></p><p></p><p></p><p></p><p></p><p>Yes to both of these. She may be a functional character, but it all serves the surrounding story so well it works.</p><p></p><p></p><p></p><p></p><p></p><p>Oh yes. She will.</p><p></p><p></p><p></p><p></p><p></p><p>Even the news that she had Tench's job came in a throwaway line amid the pre-wedding hubbub. I don't think she even had a chance to share second hand details about her first day with Nick (and us) because of the disruption caused by his children. It's quite a turnaround as there have been lengthy periods where we barely set foot in Number Nine because Heather was permanently at the office.</p><p></p><p></p><p></p><p></p><p></p><p></p><p>Ooh. So the siege was a response to <em>EastEnders</em> itself, and this whodunnit was a response to a specific storyline on that series.</p><p></p><p>Fascinating that the series which essentially began life with the intent of being to the Eighties what <em>Corrie</em> was to the Sixties is now looking directly at its contemporary competition. It also shows what an impact <em>EastEnders</em> made from the beginning.</p><p></p><p>Funny you mentioned Jimmy Mac coming up with this storyline. Looking at <a href="https://brookside.fandom.com/wiki/List_of_Episodes/1986">this list of episodes from 1986</a> I noticed there's a gap of almost four months between episodes written by him, and it's from the beginning of June until the end of September. Since this period is when the rape story was happening I'd wondered if there was a reason for Jimmy's absence and come up with the dramatic thought that perhaps he disagreed with the storyline and stepped back on principle. Clearly (and thankfully) I was wrong.</p><p></p><p></p><p></p><p></p><p></p><p></p><p>Every titbit you drop about this show makes me more and more curious. It's going to have to happen one day.</p><p></p><p></p><p></p><p></p><p></p><p>I completely get that parallel.</p><p></p><p>I found Karen and Damon's responses really interesting because their immediate outlooks were switched from my expectations. I love how protective they both were of Sheila, but I'd have envisioned Karen pushing to contact the police immediately (in fact as I watched I thought of Michelle stopping Kathy from taking a bath at the Fowlers because she knew it would wash away evidence), but it seems that Karen's distrust of the system overpowered her desire for justice and protecting Sheila from further intrusion was her priority, so she actually fought that option because she didn't feel Sheila was ready.</p><p></p><p>I also loved feisty Karen getting defensive with the questions</p><p></p><p></p><p></p><p></p><p></p><p></p><p>Same here. I've assumed Shirley Stelfox was busy doing something else at this point. If it's not theatre, looking at IMDb the only screen work that might fit would be <em>Personal Services </em>(which would certainly make a change from taking Harry through his clutch control if it is the case).</p><p></p><p></p><p></p><p></p><p></p><p></p><p>Thinking about it, it's actually quite meta. Anyone reading that thread who isn't familiar with the series or storyline would see just another headline - very much as Harry and Ralph did - and so it builds on the message of that scene, which very much got me thinking about how lack of detail can distort a story and almost dehumanise its subject.</p><p></p><p>I found it fascinating seeing it in that context. It's also funny you should say about it feeling wrong, because I wanted to give it a Winner rating for the reasons in the paragraph above... but I ended up giving too much consideration how that might look to someone seeing it without context.</p><p></p><p></p><p></p><p></p><p></p><p></p><p>Gosh. I'm impressed that it wasn't public knowledge ahead of time. It was easier then to avoid spoilers, but I really thought the powers that be might have wanted to draw in viewers with some promotion ahead of it.</p><p></p><p>I can only imagine the shock of watching the story organically without any knowledge of it.</p><p></p><p></p><p></p><p></p><p></p><p></p><p>God yes. Back then there were so many things that wowed me that I ended up just sitting with or having it resonating in my head for days or weeks. Having the forum to decompress makes for a different experience, but I'm very glad I don't do social media and get zillions of interpretations of a scene within seconds of watching.</p><p></p><p></p><p></p><p></p><p></p><p>It's bloody brilliant, but it also feels voyeuristic for exactly the reasons you've said. It's weird, but it feels almost a privilege to be part of such intimacy.</p></blockquote><p></p>
[QUOTE="Mel O'Drama, post: 404840, member: 23"] It's always good to get the added context of responses from the era. These are actually very valid points, but then again... So's this. Yes. This was even touched upon in dialogue, and it really does help swing it. I think this is why Matty [U][I]needed[/I][/U] to be a secondary character, as well. It was important to realistically show the spiral of devastation from long-term unemployment but it could be just too bleak if this was happening to a series regular for this length of time. Paul, Bobby, Billy, Damon... we've taken that journey with each of them for periods of time, but Matty's feels the most profound due to its intensity. There were a few episodes where Mo started to make digs at Sheila and I was concerned the writing could easily head into a lack of nuance... making Mo the clear antagonist in order to redeem Matty and let him off the hook. But as I'm sure [I]Brookside's[/I] official line would have been "keep watching and it'll all become clear" I can look back and say they were right. I can completely see the Julie Walters tone now you mention it. It was a wonderful scene, and I like it even more now you'd pointed out the similarities in those other screen relationships. Yes to both of these. She may be a functional character, but it all serves the surrounding story so well it works. Oh yes. She will. Even the news that she had Tench's job came in a throwaway line amid the pre-wedding hubbub. I don't think she even had a chance to share second hand details about her first day with Nick (and us) because of the disruption caused by his children. It's quite a turnaround as there have been lengthy periods where we barely set foot in Number Nine because Heather was permanently at the office. Ooh. So the siege was a response to [I]EastEnders[/I] itself, and this whodunnit was a response to a specific storyline on that series. Fascinating that the series which essentially began life with the intent of being to the Eighties what [I]Corrie[/I] was to the Sixties is now looking directly at its contemporary competition. It also shows what an impact [I]EastEnders[/I] made from the beginning. Funny you mentioned Jimmy Mac coming up with this storyline. Looking at [URL='https://brookside.fandom.com/wiki/List_of_Episodes/1986']this list of episodes from 1986[/URL] I noticed there's a gap of almost four months between episodes written by him, and it's from the beginning of June until the end of September. Since this period is when the rape story was happening I'd wondered if there was a reason for Jimmy's absence and come up with the dramatic thought that perhaps he disagreed with the storyline and stepped back on principle. Clearly (and thankfully) I was wrong. Every titbit you drop about this show makes me more and more curious. It's going to have to happen one day. I completely get that parallel. I found Karen and Damon's responses really interesting because their immediate outlooks were switched from my expectations. I love how protective they both were of Sheila, but I'd have envisioned Karen pushing to contact the police immediately (in fact as I watched I thought of Michelle stopping Kathy from taking a bath at the Fowlers because she knew it would wash away evidence), but it seems that Karen's distrust of the system overpowered her desire for justice and protecting Sheila from further intrusion was her priority, so she actually fought that option because she didn't feel Sheila was ready. I also loved feisty Karen getting defensive with the questions Same here. I've assumed Shirley Stelfox was busy doing something else at this point. If it's not theatre, looking at IMDb the only screen work that might fit would be [I]Personal Services [/I](which would certainly make a change from taking Harry through his clutch control if it is the case). Thinking about it, it's actually quite meta. Anyone reading that thread who isn't familiar with the series or storyline would see just another headline - very much as Harry and Ralph did - and so it builds on the message of that scene, which very much got me thinking about how lack of detail can distort a story and almost dehumanise its subject. I found it fascinating seeing it in that context. It's also funny you should say about it feeling wrong, because I wanted to give it a Winner rating for the reasons in the paragraph above... but I ended up giving too much consideration how that might look to someone seeing it without context. Gosh. I'm impressed that it wasn't public knowledge ahead of time. It was easier then to avoid spoilers, but I really thought the powers that be might have wanted to draw in viewers with some promotion ahead of it. I can only imagine the shock of watching the story organically without any knowledge of it. God yes. Back then there were so many things that wowed me that I ended up just sitting with or having it resonating in my head for days or weeks. Having the forum to decompress makes for a different experience, but I'm very glad I don't do social media and get zillions of interpretations of a scene within seconds of watching. It's bloody brilliant, but it also feels voyeuristic for exactly the reasons you've said. It's weird, but it feels almost a privilege to be part of such intimacy. [/QUOTE]
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