Sons & Daughters Watching/rewatching/discussing The Aussie Hit Show

Discussion in 'Australian & New Zealand Soaps' started by JROG, Sep 12, 2017.

  1. Mel O'Drama

    Mel O'Drama Super Moderator Staff Member

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    So true. It's that paradox of needing to know what happens next and at the same time needing space so you don't have too much of a good thing.



    Yes. More's the pity. Because she's been absolute gold in the episodes I'm currently watching. I very much appreciate the way she's kept Patricia surprising and compelling even though she's no longer the subtle, social climbing, bread tearing snob.



    SPOILER:
    It's already made a couple of appearances in late Season Three.


    [​IMG]
    (As in "I don't want to go back to that...").
     
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  2. Victoriafan3

    Victoriafan3 Soap Chat Well-Known Member

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    Thanks again for all your super writings Mel. Yes sadly the salad days are over. Season four doesn’t feel like S&D anymore after the first couple of months. But season five def gets it back on track and focussed again. Just in a different way but it is well worth watching. Yes Rowena must have been exhausted playing that. Let alone dealing with the public and the press. She said in 1985 ‘It was getting to the stage I couldn’t where I couldn’t go to the supermarket without seeing myself on the cover of a magazine’. Some would say that’s not a bad thing but I think she wanted her life back. Pat the Rat had almost taken over her life. She really was superb in the show
     
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  3. Mel O'Drama

    Mel O'Drama Super Moderator Staff Member

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    Season Four holds very nostalgic memories for me as I first discovered the series towards the end of Season Three, and I found some storylines very exciting - especially all the Rio stuff. I still feel a little excitement when I think about that now, so I'm curious about how I'll feel watching it this time.


    I can't imagine anyone could have foreseen just what a breakout character Patricia would become, and how much interest there would be in Rowena. And of course Patricia had to be in the centre of the biggest storylines once things took off.

    I'd be interested to know more about some of her breaks from the series. I'm guessing it was to recharge the batteries.


    Imagine what she'd say if she came to your house!!! :yikey:
     
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  4. Victoriafan3

    Victoriafan3 Soap Chat Well-Known Member

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    Lol imagine what Victoria Principal would say if she came to my house let alone Rowena?! I don’t have over 800 full covers of VP at all. Lol.
     
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  5. Mel O'Drama

    Mel O'Drama Super Moderator Staff Member

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    I think the bigger question is what would you say if VP came to your house?!



    :eyes:
     
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  6. Victoriafan3

    Victoriafan3 Soap Chat Well-Known Member

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    I’d introduce her to my cute dogs and I wouldn’t get a look in ;-) haha
     
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  7. Mel O'Drama

    Mel O'Drama Super Moderator Staff Member

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    You have cute dogs?! How very Charlie Bartlett of you.
     
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  8. Willie Oleson

    Willie Oleson SoapLand Battles Moderator

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    I've watched it from the beginning, but the first image that always sprung to mind was Angela and Paul the impostor-gardener.
    The idylle that wasn't meant to be, I guess.
    This thread is becoming very pro-dog, and that sort of thing just isn't fair on Jill's p-ussy.
    (okaaay, somebody had to say it)
     
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  9. Mel O'Drama

    Mel O'Drama Super Moderator Staff Member

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    #536

    Season Four Beryl is rather slap happy. Indeed, like some bizarre hybrid of Karen Mackenzie and Jessica Montford she’s beginning to resemble a robot whose morality circuits have fused, compelling her to go around bitch slapping immoral young women. She was nonplussed - incensed even - that Katie was in bed with Alan (Alan!! Oh, Katie). This was understandable, because it was Beryl’s bed. But then she completely blew up when Katie reminded her that Heather and Mike - the parents of two children - had also had sex. This upset her enough not just to get physical with Katie but also to evict the homeless neighbours who were staying under her roof. Even after she cooled down, there was no discussion of her allowing Heather and Mike to stay with her, which is most un-Beryl-like. Now she’s slapped new arrival Leigh for seducing Jim and so breaking up that relationship (I’m hugely thankful that both the discovery of Alan and Katie and Leigh’s seduction of Jim were offscreen). Again, Leigh had it coming, but something about Beryl seems quite OTT at the moment. As though she's battling acid blooded aliens rather than tolerating snotty little brats. Her guttural roar of “You little slut” as she laid into Katie was quite a spectacle (immediately followed, naturally, by that gaspy hyperventilation thing to which Beryl has always been prone).

    When it comes to Katie I’m torn. On the one hand I feel for her being oppressed by Heather and Beryl’s unrealistic view of her as the “good girl”. But on the other she’s actually far more interesting as the sensible big sister than she is as the drama queen.

    Katie’s love life is also, perhaps, an embodiment of the romantic dearth in which the series' characters find themselves. She’s had a crush on John and Andy. And dalliances with Wayne, Alan and now Ross. In return, all the aforementioned men have worked or are rotating between Katie, Jill, Amanda, Karen, Barbara... if she's in the cast she's fair game. This series needs its incest, but this is incestuous in all the wrong ways. In fact it’s positively Melrosian. They're flying thousands of miles to all these different locales and all ending up dating the same few people. This has always been the case to some extent with this series (and most soaps), but it’s a contrivance that feels like it's been stretched too thin now that more plot driven scenarios are highlighting its limitations. So it’s difficult to invest as a viewer. Because we just know that next week Katie will be heavily into the next young man of the week. Or David. Or Gordon.

    Is Katie’s new bad girl persona some kind of “grief coming out sideways” thing? And could Beryl’s regular outbursts of violence be related to pregnancy hormones? Or is this part of the series’ new “throw it at the wall and see if it sticks” philosophy? Will we soon have a cliffhanger where Beryl short circuits entirely and falls to the floor gasping and hyperventilating while repeating the phrase “I thought Katie was a good girl”?

    Speaking of bad girls, Leigh is on the scene, and being immediately touted as mini-Patricia. Like Karen Fox, characters are drawing similarities between Leigh and Patricia. The difference here is that the observation comes from Patricia herself. Not that this has elevated Leigh from so far being anything other than a one-note Trixie Trouble. She makes me pine for Leanne, although at the same time I’m grateful they didn’t ruin Leanne with a series of plot-based antics. But the silver lining is that we got a couple of Rosie scenes. Her final ones, as history had it. Not that there was time to give her any kind of closure. But I’ll take what I’m given.

    Charlie’s visit to Patricia in hospital was just pure, unadulterated joy. Using the guarding officer and nurse as packhorses for her numerous giftwrapped offerings for Patricia was funny enough, but the clincher was when Patricia suggested she’d brought everything but champagne and Charlie responded by unzipping a cuddly toy and producing some. Trust Charlie's hospital drama to consist of throwing champagne from her glass into Ross Newman’s face.

    Speaking of Charlie adding drama, let's not forget it was her suggestion to throw that fateful party with the most contrived crisis to date: the bomb in the wheelchair. It bears saying again... the bomb in the wheelchair.

    The timing is ironic, isn’t it? A party to welcome someone home from hospital ending up with serious casualties. And the O’Briens moving in with David after their house was burnt to the ground only for their new temporary home to be blown up.

    The suspense of the bomb worked well. We’d seen the armrest replaced with a bomb that would explode when the lever was operated, and all through the episode people took turns sitting in the wheelchair and/or almost touching the lever… leaning towards it, stumbling onto it (too much champers, Babs?)… any which way there is to almost trigger an explosion was covered.

    I remembered the SFX being rather poor for the explosion scene, but actually it was better than memory told me. I'd misremembered it as all shaky cameras and people waving arms about, but it was actually offscreen, with some soot thrown at Heather in the corridor. In fact, I found the scene in which Heather walked into the darkened room with its charred walls, only to realise the doorframe she's holding onto is covered in blood, to be dark and chilling in a low budget horror kind of way. The unseen can be much more psychologically effective than anything produced by the props and makeup departments.

    Fortunately, there was only one fatality. Who’d have guessed it would be a character who has been on the series for a full half a dozen episodes? After some overwrought hand wringing about whether to accept a proposal and even more overwrought angonising over the discovery that her fiancé is a killer, Barney’s death gave Fiona carte blanche to grieve being robbed of her husband-to-be (in the most overwrought way possible, of course). Now there’s drama over Barney’s diary and Fiona’s got the army after her. She’s loving it!

    Incidentally, I’m curious about the background to Colonel Bainbridge. He hasn’t shown up yet, but each time his name is mentioned the characters mouths say something different, with “Bainbridge” dubbed over. I suppose the writers decided on a different name at the last minute, perhaps for legal reasons. I wonder what he'd originally been named. Parker? Sanders?!

    Fiona’s journalist friend Wal Mackay seems to have appeared in a number of episodes through to the latter part of this season. I don’t remember him so I’m looking forward to seeing how he’s used.

    The other person most affected by the bomb was Alan. In the space of an episode he went from commenting that he’d rather be dead than be in a wheelchair to being paraplegic. Subtle it isn’t. Fortunately for him (if not for us), being paraplegic hasn’t removed Alan’s special ability to loudly smack his lips at the start of each line (a graduate, methinks, of the Brian Blain school of acting).

    Oh yes - Andy’s got amnesia as a result of the blast. But turns out he’s only lost the memory of that single day. The day when he’d just overheard Ross admitting to trying to murder Patricia. How inconvenient. His mullet has survived intact, though, so he's not too distraught.

    Patricia’s pre-explosion speech was really quite touching, and I imagine Rowena Wallace’s last scene with so many assembled key characters was a driving force. As it is whenever a similar scene arises, it’s easy to believe that in this moment Pat sincerely meant what she said about building bridges and making up for wrongs. But we’ll never know, because…

    As endings go, #536 feels pretty damned satisfying. It shouldn’t, because there’s still so much unfinished business. But in giving a central character such a sense of closure, there’s that part of me that feels this episode would have made a great series ending, in much the same as Swan Song would for Dallas. As we’ve discussed in the Art Of Dallas thread recently, a series that doesn’t wrap up all its storylines can be very satisfying. If Sons and Daughters hadn’t had an ENDING*, then this would have made a near perfect lowercase ending. That final shot of Patricia in her plane seat looking pensive resonates more than almost any other sepia freeze frame in the series. And that’s saying something. (In my mind she’s always been looking directly out of the aeroplane window, and each time I watch this episode I’m surprised when it’s established that she’s in the middle row of seating).

    Patricia’s final arc being so eventful could have detracted from the emotion of her departure. But in between scenes of exploding wheelchairs, arch revenge schemes and false passports, the writers - and certainly the actors - made the time for small moments of (often unspoken) closure. In every interaction between Patricia and other characters in recent episodes, there’s been a sense of finality. For a character who was so hard to read, I appreciate the ambiguity of most of these goodbyes. Tellingly, the only direct goodbye she said - to Charlie - was spoken in whispers in the most suffocatingly inhibited of environments. She never got to say it out loud.

    Easy to say when it’s not the case, but I feel I might have been OK with most of the unresolved situations had the series wrapped here. Patricia handing the flame of revenge to Leigh has always felt symbolic rather than anything else. We don’t need to see Leigh execute her schemes. It’s enough to know that the machinations will continue. Less is more. Would David wait for Patricia or go back to his pregnant ex-wife? Would Wayne discover that Mitch is alive? Would Andy’s memory return? What will Fiona do with Barney’s mysterious diaries? I like the idea of some of these threads lingering in the collective memory, enhancing the series’ legend, rather than being acted out on screen. Though to be fair not telling us if Gordon and Barbara reconcile is just unnecessarily cruel. So the series needed to continue for that alone.



    * [​IMG]JfL 2019
     
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  10. Mel O'Drama

    Mel O'Drama Super Moderator Staff Member

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    "Wainwright". My lip reading skills are paying off. But it still doesn't explain why it was changed.
     
  11. Willie Oleson

    Willie Oleson SoapLand Battles Moderator

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    In a spectacular twist (that would blow any S&D storyline out of the water), I, too, have managed to get my slippery soapy hands on more Sons & Daughters drama.

    I could pretend that my previous last view was a summer-stop finale, and since the real summer has practically ended….
    Funnily enough, the next episode (411) actually feels like a season premiere.
    Terry has lost his curls, David has lost some weight (and sometimes it gives him a Ted Shackelford look), Beryl has lost interest in her charity empire and Patricia has reinvented herself yet again.
    I'm going to be even more extreme and say that it looks like there's been a time-jump during the time I wasn't watching. Does this still make sense?

    Jeff has received a letter from buddy Luke Carlyle.
    Heather pleads with him not to contact that person from the past, she even bribes Jeff with the promise to rein in uncle Jim who, according to Jeff, is feeling a little bit too comfortable in his brother's house.
    The message is clear, the Carlyles are very Unwanted People.

    I'm not sure if I understood correctly, I've played the part a few times, but I think I heard a perculiar Knots Landing reference when Barbara said:
    "Gordon's got to go to court tomorrow, and knots-landing him (on??) with Andy is not going to help matters".
    If I misheard the word "knots", what else could it have been?

    Despite the not-so-convincing circumstances regarding the cult and Andy's brainwashing, they really try to turn it into something tense and energetic.
    They take Andy to what looks like a deserted Woombai and it becomes a potpourri of characters, especially when Lynne shows up to do her part of the un-brainwashing.
    Wayne helps Andy to escape, but when Lynne hysterically chases after Andy and then hysterically cliffhangers into the water, it shocks him back to reality (soon thereafter, anyway).
    I think they should keep Lynne, and let her fall in/off all sort of things.

    Kathleen does the thing I've been waiting for, I loved the expression on her face when she realizes she's going to hit the wrong person.

    Brian's grandfather Sean O'Donnell has arrived, he sounds like Uncle Colm from "Derry Girls" ha-ha.
    Who would have guessed that a secondary character like Brian would resonate for such a long time?
    When Sean talks about his grandson I feel I get to know him all over again. The emotional-manipulative music in the background helped a little.
    Or maybe off-screen Brian has always been more interesting than on-screen Brian.

    Incidentally, I'm not a movie-score buff but I think Sons & Daughters has some great music.

    David and Patricia's living arrangement is simply mind-blowing, and also the most spin off-ish situation I have seen so far. They could be a comedy couple, the George & Mildred of SoapLand.
    Jim O'Brien's shameless attitude towards Beryl and Patricia puts David in a much more likeable spot, and Margaret's accident has taken away the choice to go back to Beryl or not.
    David doesn't want to, but that's not the point.
    Either way, the situation paints a clearer picture of Mike O'Brien's unreliable brother.

    But then Lynne swoops in and gives Patricia something to sink her teeth into.
    "I'm just glad I could help".

    Yess!!
     
    Last edited: Sep 19, 2019
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  12. Mel O'Drama

    Mel O'Drama Super Moderator Staff Member

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    You could well be right, and I think it's possibly true of several characters.


    All library music as far as I know. Tracks from S&D were also used in Prisoner and even Dallas during the 1980 musicians' strike.. Some tracks are available on different CDs under random names but I haven't been successful in tracking any down.


    It's funny, but I've really grown to like Jim despite his occasionally seedy outlook.


    You have to love soap obligation.
     
  13. Mel O'Drama

    Mel O'Drama Super Moderator Staff Member

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    #540

    For the first time since Episode 4, there have been two timelapses in recent episodes, including the series' biggest one. #531 lost three days in order to move along Patricia's homecoming from hospital and Charlie's party arrangements.

    And then following Karen's blackmail proposal to Wayne, #540 jumped forward three whole months, with the next scene being their wedding.

    Both were accompanied by glorious onscreen captions (albeit #540 used a different font to the previous ones):
    [​IMG]
    [​IMG]

    As I remember, Season Four uses a number of these lapses, and this is the first time we've moved forward in "real time" (the first few episodes jumped from '62-'82 and then just had captions for the different cities).

    I'm undecided if this is devilishly clever writing... or extremely lazy. I get the impression it's done to keep things leaner by cutting out time-consuming stuff like Alan's recovery process (he's walking on crutches after the time lapse) and the wedding plans. And on that level it's a success.

    It means, too, that Mitch has been "dead" for much longer. Patricia has been absent from Australia for a significant period of time. Leigh has been around long enough to get established and draw up her plot to destroy Patricia's enemies (one would hope, though she still seems to be winging it). Gordon and Barbara have been estranged for many, many months and Ross has been wooing Barbara for that much longer. Heather and Mike have moved onto a caravan park and so are further removed from the series, floating round like satellites (which seems a shocking waste to me). Oh, and Beryl has been pregnant for something like two years - or at least that's how it feels.

    Having been spoilt by seeing similar time lapses utilised on on series like One Tree Hill and Desperate Housewives, what's missing here is the element of major surprise. For such a twisty series, there are no shock pairings, new additions or conspicuous absences. And nobody's hair is dramatically different, though Amanda's seems a bit blonder and a bit straighter.

    Somehow part of the appeal of soaps is living with characters through these things and seeing them unfold organically. Perhaps they got away with this one on S&D simply because not much had happened and so we didn't feel too cheated out of seeing something critical.

    Quite a few "stunts" already this season. The bomb. David's lorry crashing into a car that somersaulted. And now Beryl's just fallen down the abandoned mineshaft!
     
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  14. Mel O'Drama

    Mel O'Drama Super Moderator Staff Member

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    Fiona's posh voice is getting on my nerves. For a lot of her screen time she speaks like Lizzie Birdsworth, but whenever she's in a scene of heightened drama, or during her frequent passive-aggressive frosty scenes, she attempts some kind of theatrical Cowardesque thing.

    Like when she was asking about a break-in at her flat:

    I've noticed it's worse when when she's wearing her oversized sunglasses. Could it be related? Perhaps due to the weight or something?
     
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  15. Willie Oleson

    Willie Oleson SoapLand Battles Moderator

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    That didn't stop them from keeping Wayne in a horizontal position for 3 months in season 1.
     
  16. Willie Oleson

    Willie Oleson SoapLand Battles Moderator

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    Thanks, that makes more sense. I didn't think she was actually referring to TV Knots, but something like "knotty" knots.
    Heather's "moral compass" opinion reflects on him too, I think. She's aware of his flaws but she likes him anyway, and he was there when she needed somebody (that's a whole chunk of soap that we've never seen!)
    But he also pretended not to realize that (to Beryl) he had become a little more than "just a neighbour popping in for a cuppa", and then he half-jokingly nipped Beryl's expectations in the bud because he knew exactly how she felt.
    Anyway, that was before Lynne and then Patricia started to interfere.
    Or was that an expression of art? [​IMG]
     
  17. Willie Oleson

    Willie Oleson SoapLand Battles Moderator

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    If Sons & Daughters isn't the best soap, then at least it has to be the soapiest soap. I agree with Mel that season 3 feels like The Very Best Of, the good stuff just keeps coming and coming.

    Sean O'Donnell creates quite a dilemma for Poor Jill, and of course Fiona wants to take charge of everything, resulting in a series of heated arguments.
    There was even a shouting-match in front of comatose Robin Elliott!

    Angela pays the sons and daughers a surprise visit, her gorgeous hair shinier than ever. Actually, she's come to take John away from us, but at the same time it just feels right.
    John even admits that he's been sort of directionless ever since he broke up with Lisa Cook - and that's a long time without direction.
    At the end of the same episode, Margaret dies on the operation table (off-screen, but still).

    The next episode starts with the funeral, and snippets of the aftermath are shown in sepia flashbacks. I found it very creative and effective, and then the episode ends with a deliciously disturbing scene.
    Amanda's left arm is still in bandages, I wonder if she had had a real accident.

    It looks like the Palmer marriage is beyond saving now.
    "Have a good life, Beryl". "You too, David". It's a short scene that drips with poignancy.

    The Carlyles have arrived, and it's very possible that Roger has crossed paths with Sean O'Donnell who was just departing SoapLand Downunder.
    The O'Brien household seems to be a hotbed of secrets and misguided suspicions, and the kids can't do anything without being sneaky.
    Jeff and Luke are an odd friends couple, Jeff is a mousy downer and Luke is a natural scene-stealer.

    Terry, still on the run with Baby F, finds a place to stay in Irene's boarding's house. Irene appears to be an independent woman with a dirty laughter.
    Fiona persuades Jill not to contact the police, but Patricia manages to change Jill's mind. (ha!ha!)
    The police catches Terry and that's when the situation becomes extremely tense.
    Fiona hates Jill, she really hates her now! Jill, however, is none the wiser because Fiona has to restrain herself from lashing out since Jill could make Terry's case even worse than it already is.
    The scene in which she tries to comfort a seething Fiona is just priceless.

    And another surprise return! It's my favourite Matt Kennedy! He's come back to offer Patricia a happy ending in Europe.
    He's perfect husband material: handsome, smart, funny and maybe a little bit too cynical about his own profession.
    "If you were paying me 50 dollars an hour I'd try out some sort of gobbledygook".

    But Patricia chooses her revenge mission over a ride off into the sunset. She knows it, she hates it and yet she can't help herself. They.Must.Pay.
     
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  18. Mel O'Drama

    Mel O'Drama Super Moderator Staff Member

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    True, Willie. That's why I think this new timelapse is a symbol of the series' faster pace for Season Four.





    Regarding your latest episodes, here are some sepia flashbacks to my earlier comments to match up with your own and see how our experiences match up:















     
  19. Mel O'Drama

    Mel O'Drama Super Moderator Staff Member

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    #548


    The first act of #545 has a frisson of great excitement. It’s filled with daytime cliches, but when it works this well, good for them I say.

    The first time I watched this storyline grabbed me. It seems so heady and exotic, helped by the onscreen caption introducing us to Rio.
    [​IMG]

    This particular storyline has always seemed to me a clear pastiche of RTE, the mini-series that had been a phenomenal success around eighteen months before these episodes aired. It’s kind of funny that S&D introduced these themes to a prime time serials before the ongoing RTE series which was still around another year and a half away.

    On our first visit to Rio we find Patricia, learn that she lived with Roberto Quinteros - the man on the plane - for months and is now in hospital having been beaten beyond recognition by him. We see her ask the doctor to tell Charlie she’s dead and we see her telling her surgeon she wants a new face. Weeks, perhaps months, of storyline. Playing out in minutes. For a series with so many episodes per season, it’s very impressive. Ballsy, even.

    The Patricia-in-bandages scene also has an eerily similar tone to the Margaret Michaels as Pam Ewing scene, where she takes that decision to cut ties with her loved ones and to continue without them because it seems better that way.

    One mystery for me remains the “Patricia” who appears swathed in bandage as she organises her future from the hospital bed. Is it Rowena Wallace? I’d have been convinced, were it not for the fact that her speaking voice appears to have been overdubbed by Rowena (after 545 episodes, this episode marks the very final appearance of Rowena’s title card). But neither does it seem to be B****** *****N whose teeth are different.

    I’ve always assumed that when she left the series Rowena left a recording of her voice speaking Patricia’s lines from this episode and a lookalike stood in for her. But I’d love to know for sure. With details.

    Beryl’s given birth to baby Robert. Offscreen, thankfully. The writers have taken this opportunity to introduce some exciting new characters and subplots, like Yellow Pill Woman:
    Wronged Ross enlisting the help of his brassy redheaded friend Gloria who initially wants no part of it reminded me of Dynasty’s Joel and Rita, who would have been introduced shortly after this. Anyway, she was convinced and so now Robert’s been kidnapped. Beryl looks shocked, but we know it’s really because she may not have time to try out the Peruvian fish recipe she’s just found.

    Leigh continues to blackmail and basically use everyone. In the main it feels barren and meaningless. Perhaps because she does little else other than to blackmail and use. Even shallow Charlie was moved to ask Leigh:
    As always, Leigh responded that she liked nice things. Her motive is that she was poor and wants to work her way up. It works for Abby Ewing, but somehow doesn’t seem enough here. Perhaps because Leigh doesn’t have children or responsibilities she seems that much more shallow and selfish. There are some sledgehammer Snow White scenes (crying over the injured cat and getting all snuggly wuggly with Isabella) which seem an attempt to make Leigh more human, but they actually make Leigh seem more binary and even less defined.

    The Angel Of Death has arrived. Cheri Nolan, AKA S&Ds very own Harold Shipman. She was with Todd at the end and she’s just euthanised Robin (it was good of the actor to return after all this time to simply lie there). And there’s more to come. Regina Gaigalas is an actress I remember best as Andrea in Neighbours (mother to that evil child that she convinced Des was his). This time round she’s very watchable for me in these initial S&D episodes. There’s a naturalism and immediacy to her acting that occasionally surprises me in the best way possible.

    Barbara is at rock bottom with her drug addiction. And who’d want Andy trying to boss you around when you’re feeling that way. My sympathy levels have escalated. But Gordon’s just arrived, so hopefully there’ll be a happy ever after.

    The tweaked opening credits feel strangely generic without Patricia’s presence. And I’m fairly sure that serif font for the “7 Network Presents” title is new. Jill has been demoted to lowly Kevin Palmer status (or perhaps this is the beginning of the final picture being the equivalent of a dramatic “And… as…”). And Charlie is now an official resident of the series!!
     
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  20. Willie Oleson

    Willie Oleson SoapLand Battles Moderator

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    I agree, the idea that he'd postone his pursuit of happiness in order to support his grieving father made him that loveable guy from season 1 again.
    And that's how I prefer to remember him,
    As you said, their departure was rather low-key ("thanks for dinner, Mom. Bye") but Beryl sort of released him from being The "Sons & Daughters"-son, and maybe that's what made their no-frills goodbye feel more bittersweet than how it actually looked on-screen.

    Hmm, I hadn't expected Lynne to stay, and now that lukewarm fatal attraction problem between her and Andy - well, mostly her problem - becomes a storyline again, eventhough she's staying with Beryl, and Andy's living with the Hamiltons in Sydney.
    She desperately needs a job to occupy her mind, and she has to lose weight for the bikini photoshoots. Her diet becomes a recurring topic, so it's easy to see where this is all going.
    This could have worked in the first stage of her modelling career, but now all I can think of is Just go back to England, Lynne. Please.

    Patricia carries out her multiple avenge scheme, and to some of her victims the results could be quite devastating.
    It's always fun to watch how she pulls the wool over everybody's eyes (a popular expression in S&D) but I also feel there's an ingrediënt missing this time.
    It's revenge for the sake of revenge, there's no "David" or "Stephen" or "Ramburg" that glues the various plots together - and that's why it feels like there really isn't much at stake, apart from the result of her manipulations.

    She's already managed to cause problems for Wayne and Amanda, but I don't think they needed much help from anyone.
    Wayne does one of his infamous tantrums, and he does it so well. His attempts at showing remorse usually aren't very convincing, but I can enjoy it for being so-awkward-it's-good.
    When he visits Amanda in the Sydney Apartment he asks her "what's that dreadful music you're playing?"
    Ha! And I thought it was a mood-enchancer from the TV music library.

    The meatiest part of Patricia's plan is how Jill's opinion of Terry and Fiona is going to affect the hearing/trial.
    Patricia even has the gall to remind Jill of "we both know what he's capable of". !!

    There's a fabulous showdown in the Dural hallway, and it ends with a dramatic sepia freeze for Gordy.
     
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