Would it have been a Wednesday in March, maybe? that's how long it’s been since I last wrote a Corrie double episode review! I’d seen a Morrissey gig in Leeds and then that was that. To quote Hamilton the Musical 'the world turned upside down', but hey it’s good to be back and diving deep into Weatherfield's post-COVID drama. So where are we now?
Kel Hinchcliffe is dead. The predatory paedo has left this mortal coil via Weatherfield canal. A body found and positively identified, but of course, this leaves conflicting emotions for Paul. Stockholm syndrome has long since been discredited, however, victims of grooming / sexual assault will commonly feel emotional ambiguity towards their oppressor. The police question Paul about the death, yet, are we meant to think he finished him off? I’m not sure. In fact, and here’s an idea, has Todd Grimshaw killed him? We know he was around that area, assuming the girl with his mobile was telling the truth. Am I right?
New character Klaxon! Corrie has a new undertaker. George Shuttleworth, son of the late great Archie, has Mary flustered with his flowery funeral requirements. It’s a nice introduction. Is this a new love interest for Mary, maybe, or are we due a few more deaths?
Addiction issues tie Abi and Peter together and it’s a shared connection that not many other street residents would understand, but are the fires about to reignited between these two? Old foes Debbie and Sally gossip in the shop about Abi’s flakey behaviour and Sally defending her seems to put paid to any of Debbie’s suspicions. It seems though, that Abi is still looking for her next fix and fails to contact Peter for guidance. Lost and seeking redemption, I wasn’t expecting her to confide in Debbie, to be honest, so I kind of wonder where this is going now? These kind of affairs aren’t ever conducted in honesty, so is the Peter & Abi story arc just insinuation?
David’s sinkhole worries worsen, with the developer going bust and spurious insurance claims, Adam also offers little in legal advice. With Shona not wishing to move, David tells Ray that he’s not selling, after all. Will Ray really stop there with his dodgy property acquisitions? I’m very doubtful.
With Oliver’s sudden deterioration, the heartbreaking scenes at the hospital lend certain dark undertones to post-COVID Corrie, yet paradoxically, I’m enjoying it? The acting I mean, as a parent myself, you just couldn’t imagine. Nick’s taking it particularly hard and appears to be blindsided now that Steve has stepped up to the plate. Suddenly discovering he has a Son of his own, well, the weight must be a heavy burden. He has however found time to find an experimental treatment that could help Oliver which reignites Leanne’s desperation. Is Nick going to tell Leanne about Natasha’s revelation, any time soon? It’s small fry in relation to Oliver’s diagnosis, with doctors admitting he’s now terminal and advise turning off the little mite’s life support. Nick tells Natasha that he can’t be there for his biological son, at this point. It’s understandable but I’m guessing it won’t end there. This story is going to get a whole lot darker but huge kudos to Corrie for being brave enough to do this justice, an incredible ensemble cast performance.
As the reality of Oliver’s condition hits home, I’m reminded again of Hamilton the musical, I think the song ‘Dear Theodosia’ would be worth a listen for Leanne.
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How stupid is Leanne? Jane Danson portrays her grief and desperation very well, but the scriptwriters do her no favours. She accuses the doctors of conspiring to kill Oliver but what would be the point in that? Sadly it is all too true that many illnesses are fatal and incurable. The German doctor who Leanne lied to is in for a shock. Her other stupid comment was about cost being irrelevant - where on earth would she and Steve find half a million pounds?!
ReplyDeleteCoco, I think the writers are just showing her desperation to keep her only living child alive and what lengths she'd go to as a mother. I just wish they'd stop repeating the same huff and puff and storm out of the room with her. Jane is an amazing actress but the stomping and storming off is a bit tedious.
ReplyDeleteThe storyline about Oliver’s disease is being very well acted. Of course Jane Danson portrays Leanne brilliantly, even if she is frustrating to watch at times. But it does makes sense for her character.
ReplyDeleteSimon Gregson (ignoring sausage gate) has stepped up very well and is getting the right amount of screen time.
Ben Price was excellent again last night, especially in that powerful scene with Nick and Natasha. However I imagine he will change his mind about getting to know Sam and that there is more to come for Natasha. But that was the right decision from Nick considering the circumstances and him telling Natasha was a superbly written and acted scene.
I agree. I don't like Nick and didn't rate Ben Price as an actor, but he has played a blinder recently. The scene with Natasha was very moving and she does seem to have matured.
ReplyDeleteI too didn’t think much of Ben Price as an actor, but recently he is proving to be one of the best actors on the show.
ReplyDeleteIt makes me wonder what more he can do if Nick was given as much storylines as other characters such as David, Daniel, Carla, Abi.
It is extremely ridiculous that Gemma and Gary have been given lots of storylines as well and they don’t deserve any of them.
I think the Oliver storyline works because of the actors involved. Jane is always superb imo but like previously said I really love the acting of Ben and Simon. It doesn't matter to me if the kid playing Oliver is there or not because there's so much material for the adults. I guess that was the plan all along so for that I say well done. I don't think this would have worked if it was another group of actors.
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