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It’s the morning after the night before and Carla’s got a thick head and a cut hand. She’s in denial about having a drink problem but Peter knows the signs. He’s been there, drunk that, fallen off that sofa, sent his flat up in flames and almost killed his kid. But he’s still lying to Leanne about where he’s spent the night and says he’s been helping out a drunk mate called Carl. Mind you, there’s so many lies between Peter and Leanne at the minute, it’s hard to keep track. Nick offers Leanne a job at his new wine bar. In part one of the episode, Leanne says no to the offer but you just know that in part two she’ll change her mind and say yes. And although Peter says he’s happy for Leanne to work there, he’s clearly not. Meanwhile Leanne keeps telling herself she feels nowt for Nick, not any more, when she clearly does. Ken, however, is keeping a keen eye on his soon-to-be daughter in law’s new job with her old husband. Alright, John?In No. 9 Jack wants to make the most of the time he’s got left on this mortal coil. He secretly buys tickets for Cabaret and gives them as a present to Sally Webster when he hears Tyrone sing Sally’s praises over her help with baby Jack. And then he sends Julie a red rose when he overhears her in the bar saying there’s nothing she’d like more than a romantic red rose from a mysterious admirer. Wotcha, John? But when another of his wishes is to visit a lapdancing club and he ropes in Tyrone, Molly spies them all getting into Steve’s taxi done up in their best suits and demands to know what’s going on. Tyrone ends up telling Molly Jack’s news, which had me in tears this week. Jack’s got cancer, an aggressive and advanced Hodgkins lymphoma with only weeks to live.
We also said goodbye to Ryan this week when he left WIPA for Glasgow Uni, John.
One of the best stories this week has been the unravelling of John Stape. It’s been a comic joy which started when John’s ex-colleague Brian turns up. Brian, you’ll remember, still thinks that John is Colin Fishwick so is somewhat surprised when Owen comes to the door and demands to know from John where Chesney is, John. And if he sees Chesney, John, he tells him to keep away from his daughter, John. Got that, John? Bye then, John. When Owen’s gone, Brian furrows his brow. “Why was he calling you John, Colin?” John jumps in with a story about how he’s really called Colin but has assumed the identity of John Stape after going on the run when he witnessed a murder. It’s all quite ridiculous and very, very funny. But just when John thinks he’s seen the last of Brian, he only runs into him in the Rovers later, singing a Barbara Streisand duet with Julie. Brian and Julie have connected, you see, over their shared love of Neil Diamond’s Cracklin’ Rosie. So John’s not out of the Fishwick mess just yet, John, not by a long way, John.
And in other news this week, Tina continues to ignore David after he attacked her the other week. Which is all well and good but she hasn’t told Graeme who thinks Tina’s being rude to his best mate, Dave.
And that's just about that for this week.
Coronation Street writers this week were Debbie Oates, Peter Whalley, Martin Allen, Joe Turner and Mark Wadlow.
Glenda Young
Blogging away merrily at http://flamingnora.blogspot.com/
7 comments:
Tonight's best scenes were the Owen/John/Brian - absolutely gold and the scene when Steve thought Emily had been to a lap dancing club! lol
I can take any amount of the Stape carry-on. Brilliant!
Was the song Brian & Julie were singing "You don't bring me roses" aka theme tune from Prisoner Cell Block H? and if so, am I very sad for knowing that?!
Owen visiting John in an attempt to find Chesney, reminded me of a documentary I saw once in which Alfred Hitchcock describes when an undiscovered murderer hears two strangers talking and using the word 'knife' in their vocabulary the word jumps out at the nearby murderer who's guilty conscience can't take the occasional use of the word 'knife'.
Then to demonstrate the skill of the great auteur, a clip is shown from the film (from 1920's I think) - and personally I've never seen anything so funny. Everytime the word 'knife' was used the character saying it would increase the volume until they were shouting the single word so loud it resembled something akin to a Monty Python sketch.
I was starting to quietly laugh when I could no longer keep count of the number of times Owen needlessly called John, 'John'. And although he didn't shout the name John, it was as if the writers were in an 'egg word' mood, you know - how many words can you say which include the word egg? As in - eggciting, eggstremly, eggsactly etc., etc., Only the contest on this occasion was how many times can you call a character by his name, without the conversation disintegrating?
I mean, how could the actor keep his face straight when asked to say lines something in the manner of:
"Hello John, is your son Chesney in, John? ... Oh, he's not your son John? Only he's been seeing my daughter John, and she's only 16 John, so you will speak to him John, won't you, John? Thank you John." - and so on until it was impossible to count the number of times he mentioned 'John' needlessly during the whole exchange.
Probably worth getting the repeat just for the fun of counting the actual John's used, LOL!
Worthy of being a stand alone sketch in its own right.
In some parts of the country, dahn sahf mainly, some men call complete strangers John, the same way you would use "mate" - think of that old song, "Hello John, got a new motor"
I was thinking maybe our John would use that as a get out clause.
Although on paper the Stapewick story stretches the limits of credibility, Graeme Hawley is a complete star and playing this whole thing perfectly, with a perpetual air of the Innocent in Disasterland (how did this happen to me then?). I know it will have to end sometime, and possibly in tears, but I certainly hope that TPTB use the kind of magic skills that 'forgets' My Other Son, Amber, Ken's extended family etc etc and lets this story play. Jolin Stapewick rocks! (But please can we have less of Fiz's high pitched warbling? It makes my ears bleed).
Yes, lest we forget - Fiz chose to marry him whilst he was still a prison inmate serving time!!!
No one held a gun to her head, so wailing and carrying on, is a bit rich when the only way she could marry him was inside a prison - against the wishes of everyone at the time - including John!
It's like those Jeremy Kyle/ Jerry Springer shows - "I married a jailbird but now he's out he's breaking my heart with his lies and deceit".
Oh Surprise! Surprise! - what are the odds of a convicted jailbird re-offending? Who'd have thunk it? She'd wail in her letter to the shows.
It's not John that's in urgent need of a brain transplant - it's Fiz! He's only behaving true to form, whilst she stubbornly refused to consider anyone's advice who was against the marriage.
Fiz? Bah humbug! I think she enjoys being the queen of wailing martydom.
Chickens home to roost, and you make you're bed...etc., etc.,
oh how I love it when JOHN is back in hot water. He's no fun when he's happy. Also loving Brian and Julie as a couple; I thought it was a bit contrived as he's too old for her, but it really worked. Their Babs/Neil duet was brilliant.
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