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Rob may perceive himself as the hunk of Weatherfield, but he
has serious competition, and anyway, whether he is or not, who wants to see Rob’s
pants and Rob himself humming and slapping his thighs first thing in the morning?
As Deirdre points out, ‘I’m a very forgiving person Rob, but this is not a
nudist colony.’
Rob offers to wear Ken’s kimono but it’s not about kimonos –
it’s more about Rob and Tracy behaving inappropriately and disrespectfully, but they would behave this
way, of course they would, they are Rob and Tracy – each one the centre of
his/her universe. Quite reasonably, Deirdre does not wish them to parade their
sexuality in front of her while she is trying to eat her boiled egg.
Rob, (now fully clothed) who is clearly attracted to Tina,
bumps into her and ask her what’s up. Thinking it could only be something to do
with the kiss they shared a while ago, he mentions that and wonders if that is why she appears down in the dumps. Not
so, claims Tina but willingly accepts a lift into town from him. On their
return Peter, who happens to be in the right place at the right time, is furious
as he witnesses the peck on the cheek between Tina and Rob. Peter storms into
Barlow’s Bargains and claims he’s angry with Rob for his behaviour with Tina,
because he’s looking out for Tracy. As Rob points out Tracy is only Peter’s stepsister,
so the blood thicker than water case that Peter is pursuing, doesn't wash.
So Peter has Rob pinned up against the wall when Tracy enters
and immediately sides with Rob. Naturally, Peter persists in playing the part
of the defending brother but it is clearly his raging jealousy that is the
reason he is so ferocious towards Rob. It convinces those around him for now,
because Rob and Peter have never got on, so succeeds in shrouding the real reason. ‘You
have terrible taste in men,’ Peter tells Tracy.
Does the terrible taste in men include Steve? In The Rovers
the mother of Steve hears Tracy use the word bully. ‘Bully? Run in the family
does it?’ asks Liz. Tracy replies, rather oddly, ‘Oh Liz, if looks could kill
you’d be choking on your split ends.’ OK – an unpleasant comment in essence,
but it just seems odd. There’s more. Liz
accuses Tracy of milking the idea that Rob was attacked and oddly Liz says, ‘I’ll
send round a cow; you can milk that too.’ Tracy replies, ‘Cows, you’d know
about those.’
Clearly the purpose of this exchange is to show the viewer
the persistent and ongoing dislike between the ex-mother and daughter- in-law,
but both women are verbally sharper and wittier than that exchange shows them
to be, and it felt like a disservice to both. So, so important to get the
dialogue absolutely right.
Tracy and Rob, after having been overheard by Deirdre,
talking about how much cheaper it would be if they could move in with her, make
her a meal with all the marrow trimmings. Deidre uses this opportunity to tell
them just how much she would like a new plasma screen TV. Why not put the idea
into their selfish heads? She might as well get something out of them.
Deirdre’s great line tonight, after she had said that Rob
and Tracy were like her shadow, was in response to Tracy saying that most parents
would be glad of their offspring wanting to spend time with them. ‘Most parents
don’t have offspring like you!’ So good! All gone is the ‘Oh Tracy, love,’ of old.
And now, over to Sophie,
editor of The Times, if Sally could have her way. Sophie is going to write a
couple of pieces for the Weatherfield Soup Kitchen magazine, all proceeds to
charity, but Sally, ever the social climber, sees her younger daughter as the
new Janet Street Porter.
Maddie Heath, the handbag thief, ridicules and mocks the
idea of Sophie writing for the magazine, asking Sophie exactly what experience
she has of living on the streets. As we
know, and as Maddie knows, she has none. Taking on the character of Sophie,
Maddie says, ‘From the comfort of your own centrally heated home…’ Sophie
stands her ground and tells Maddie that she only wants to help. When Sophie
stands up, she asks Maddie if she would like some vinegar. ‘What for?’ asks
Maddie. ‘For that chip on your shoulder,’ comes the thought-provoking reply. ‘When you’re in your
big comfy bed tonight, think of me won’t you?’ says Maddie.
Kal is proving to be an excellent addition to the cobbles.
He appears as a ball of energy and eager for his clients to do their best, and
thus better their lives. He does ask rather a lot of questions though as Leanne
discovered, some of them perhaps a bit too personal, but Leanne has no problem
telling him to keep his nose out. He asks several probing questions but is very
circumspect when it comes to himself and his own personal life. Here’s hoping
for some revelations soon.
So Leanne has gone to live with Stella for a while and
Stella thinks this is a good idea. Gail is less sure though and maybe feels
Nick is being abandoned. Still, Gail has her Alpine Meadow shower gel as
consolation and must be pleased that Nick is cutting down his working hours.
Tonight’s star performance came from the brilliant Alison
King, playing Carla. When Hayley said that a few close friends would have to be told
just how close to death she is, she wanted Carla to be included. Dutifully Roy
calls at Carla’s, totally unprepared for Carla’s reaction. ‘She doesn’t want
any visitors,’ says a hapless Roy to which Carla replies, ‘Come on Roy,’and off
they go to see Hayley. At the upstairs door in the café, Roy becomes more
assertive, but he’s no match for Carla and into the bedroom she goes.
With such sincerity and genuine friendship, Carla tells Hayley
that though she cannot see them, all her friends are there with her. ‘If you
can’t see us, we’re there.’ It is an unexpected, unusual friendship in that on
the surface, at least, Hayley and Carla are two very different women. Each,
though, recognises the other’s worth and it is a scene so sweet to see Carla and
Hayley hugging each other and crying.
Hayley’s fear of death is evident and each of us must relate
to her in thinking of our own mortality. ‘You’ve touched so many lives,’ Carla
says, whereas she feels she has touched many pay packets. The fear Hayley
expresses is raw and terrifying and she hates that she cannot carry on, rather
like the time Hayley and her mum got stuck on a chairlift going down to the
beach and her mother was petrified.
What was so brilliant about the Carla, Roy and Hayley scene
was the writing got it just right. When asked by Roy if she took sugar, Carla,
jokingly affronted, asks him, ‘Do I look like I take sugar?’ Just the right amount
of levity, so deftly done.
Meanwhile Tina and Peter give in to their desire for each
other, and somehow, it seems all the more ‘wrong’ (trying to avoid moralizing)
that Carla is sobbing with her friend while her husband of just a few weeks,
decides to betray her.
‘What’ve we done?’ asks Tina. ‘Something rather beautiful,’
says Peter, plumbing the depths of the cliché.
Roy’s bag pulls them up sharp though. As Roy explained, life
without his notebook is tricky. He reclaims it, within its bag and Peter
virtually shoves him down the stairs.
The final scene of Tina, alone and crying and silent speaks more
eloquently than a thousand words.
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