After a promising first half-hour, even with all the secrets and lies coming to the fore, the second half-hour fell flat. The second half-hour was DTC's contingency plan and last-ditch effort thrown into making us sympathise with Shirley.
Shirley cried. She's cried before. She pleaded. She's pleaded before, but until we hear Shirley address the reason why she abandoned Jimbo, Carly and Dean, I'll be hard put to find any sympathy for her. We're hardly about to get any reasons now, especially since Babe, to whom Shirley made some sort of veiled remark about Jimbo's birth some months ago, has been exiled outside the Carter fold.
The squalid history of the Carters centering around Shirley trying to clear her name as "the villain of the family" came across as extraneous, almost contrived, and clearly had a reason, but at the end of the day, the very fact that Shirley walked away from three very small children, cheated continuously on her husband and left him to bring up two children who weren't his and their own disabled son, clearly marks her as ... guess what? ... the villain of the family.
Sorry, Shirl.
The Kids Are Alright.
It just dawned on me as I watched this episode that the Carter kids and their parents were all just kids together, they were that young. Linda and Mick grew up fast, at last, after everything that happened at the copshop, and now the next big hurdle is telling the children, but that's not possible; because there's another big Carter surprise do being planned back at the Vic, with its purpose twofold: Mick's surprise birthday lunch (courtesy of Babe) and a farewell lunch for Sylvie, who was bound for some care home in Chislehurst.
There they all were, a rogues' gallery of gothic EastEnd descendents of Jack the Ripper, all sat in the Vic front room:- Stan, the errant patriarch; Sylvie, the mystery mother; Babe, whom we later found out didn't really have a given name at all; and Nancy and Lee.
Sylvie was asking incongruent questions, like wondering if Shirley were "showing" yet. Nancy was acting like a putz and wondering where Shirley was and why she wasn't there.
Nancy, who started out as such a promising and refreshing ingenue character on the programme, has regressed, in recent months to an overgrown parody of a twenty-one year-old with the behavioural instincts of a twelve year-old. We have the sing-songy voice, the spoilt child demeanour, and her conviction that Linda was the bugaboo behind the Christmas kerfuffle due to her having had an affair with Dean. That's as far as she's thought things. Now, she's taken her immature thinking to another level - she now thinks that Mick and Linda are going to split up, especially since their parents want to speak to them as soon as they return from wherever it is they haven't told the kids they are going.
For all Nancy and Lee are young adults in their twenties, they have been mollycoddled to such an extent that they have behavioural traits of much younger people. Linda, herself, has openly admitted that she wanted to keep her children as young as possible, thus, her babying them incessantly. It's ironic that the first to fly the coop is the youngest.
Try as they might to honour the birthday event, Mick and Linda were forced to speak to Lee and Nancy about what happened, and in the end, it was Nancy who could only voice what her mother couldn't say about what happened to her. The fact that she had been raped, and by Dean, was overwhelming.
Lee couldn't look at his mother, and the scene in the Vic cellar between Mick and Lee was, arguably, Danny-Boy Hatchard's strongest scene in months. The explosion of emotion against his father was palpable, as palpable as his desire to avenge Linda by beating the shit out of Lee. To watch father and son collapse, not once but twice, in each other's arms - the first time, the father comforting the son's anguish, followed by the father begging for the son's help and support in his own emotional turmoil - was a powerful scene and executed brilliantly by Hatchard and by Danny Dyer.
Lee's inability to look at Linda troubled me. It was as if he saw his mother as sullied or soiled in some way, but I was glad he eventually manned up and kissed her, acknowledging that what happened wasn't Linda's fault. I could tell that this bothered her, and maybe she was wondering if he saw her that way. And Nancy grew up instantly in the way she dealt with Dean, after he was ordered from the pub, as "scum", by Mick when he brought the collapsed Stan into the pub. The line of the night went to Nancy:-
Nancy: Oi, Dean ... stay away from my family.
Dean: He's my grandad, Nancy.
Nancy: She's my mother.
There was more than a soupcon of foreshadowing as both Lee and Nancy speculated about the paternity of the baby Linda's carrying. Lee reckons that the baby is Mick's, otherwise Mick wouldn't have "let" Linda have it. Nancy knows better and is worried - that's exactly what Mick would do, if the child wasn't his.
The Power of the Pub.
The overriding image I have of Shirley throughout this storyline is her standing in front of the pub and gazing in a welter of pride, greed and desire at her name on the brass plaque, naming her as licensee, above the door of the Vic.
That's what Shirley wants.
The Vic denotes power and respect for Shirley. She had that, laterally, through her association with Phil, and now she has it again, in what she imagines is her own right. It isn't. Her name is there via the emotional blackmail she levied on Mick early last year. It was a cheap trick, and she doesn't want to lose that souce of perceived power and respect, as much as she doesn't want to lose Mick, and so she does, still, believe that Linda is lying.
Shirley knows that she's being shafted by the family with Sylvie's visit, and she's determined to crash the proceedings. Dean's uncertain that she believes him and questions her.
Why wouldn't I believe you? I'm your mum.
Whatever doubt there was in Shirley's mind about Dean's innocence has been obliterated by her determination to see Linda as a liar, who's doing this to split the family and rein in Mick onside. Her first attempt sees her being stopped in her tracks by Stan, who wants a peaceful life. Once again, we get that arrogance:-
It's my home and my business.
No, Shirley. Mick's chucked you out. You were only there on his grace-and-favour, and you only have a 1 per cent stake in the business, and that's really Stan's money.
The scene between Timothy West and Ann Mitchell deserves mention. In point of fact, Ann Mitchell gave an, albeit brief, but beautiful performance tonight, quite poignant and gentle in Cora'sreminiscences, especially the bit where she wished for one more day to spend, hearing her husband laugh. When her voice caught in a sob, it was wonderfully emotional, especially since she put her own feelings for Stan aside to advise him to seize the day for another chance with Sylvie.
New Trailer Trash in Town.
Poor, pitiful Shirl. Caught between a rock and a hard place, which is probably how she got up the duff with Mick.
I was curiously unmoved by Shirley's tale of woe. I'll give it to her that she had it rough. I had always thought the Brannings were trailer trash, scrubbed up in suits, pretending to be middle class (more of that below), but the Carter clan had them beaten. There's a distinction between the two types of underclass where I come from. The Brannings are on the upper level, being trailer trash. The Carters are found on the lower level. They are, simply, as my late mother would call them "poor white trash."
So Shirley got up the duff by Buster, but hang on a minute, we're talking about the mid-Seventies, here, and Shirley didn't know what her monthly period was when it started because Sylvie hadn't told her? Hel-loooo?
I know a girl can start her period anytime between the ages of 10 and 14, and if Shirley started at the lower age end, I can understand her not having been told and being frightened, but if she started later, surely there would have been some sort of sex education at school, at least biological reproductive lessons as a science, so she would know where babies came from. So a fourteen year-old Shirley, who was running around and hanging out with Buster had no idea that if Buster put his peewee in her doinky that they'd make a bay-bee? This was London in the 1970s, not Appalachia in the 1850s.
Shirley's memory of thinking she was dying when her period started at school and being told by a teacher is a direct lift from Stephen King's Carrie (naughty Daran Little), and even moreso, the reminiscence of Sylvie throwing a pregnant, teenaged Shirley down the stairs is another lift from EastEnders of the 1990s, when Tiffany Raymond Mitchell reminisced about Terry Raymond, her dad, throwing her down the stairs after she got pregnant by a teacher at her school.
Yes, Shirley had it rough, and I do feel sorry for her for having to live in that Gothic horror show that was Babe and Sylvie doing the EastEnd's version of a cross between Whatever Happened to Baby Jane?
And Sunset Boulevard ...
That's why I feel sorry for her. I feel sorry that she was manipulated by Babe - the most astounding white trash revelation of the night was that Babe actually and truly has no name. She is just Babe. I feel sorry that she was mistreated and emotionally manipulated by Sylvie. I feel even sorrier that she got involved with a Neanderthal like Bloodvessel.
I'm also astounded at the revelation of the single delight that is Tina, who's turned out, really, to be the only adult in the room.
But to an extent, I'm Team Mick here. Mick is the man he is in spite of his upbringing and not because of it, and if anyone was the making of him into the man he is, it was most likely Elaine Peacock, who responded to one child impregnating her only child by taking him in and literally raising him as her own. It's Linda who gives Mick his sense of decency and good. He got precious little of that from his family.
So Stan was a drunk and a womaniser. Sylvie took out her frustrations on her child. And Babe manipulated herself into the position of Family Fixer. Babe was, effectively, the Derek of the Carter tribe. A psychopath, who's taken advantage of Sylvie's Alzheimers to use her to re-establish Babe's position of power in the family and as jealousy for Sylvie marrying Stan.
Another line of the night goes to Stan:-
You're jealous because I chose the swan instead of the ugly duckling.
Mick has every right to be angry at this all-around deception and right to level that anger at Shirley. Because once Sylvie left and they'd got Mick and Tina back from care, there was no reason why Shirley couldn't reveal who she was to Mick. There was nothing to stop her, except the result of hurting Stan's feelings, and as Stan later told Mick, he'd always be his dad in his heart. Shirley married a good man, and Kevin would easily have accepted Mick as his own. But as Mick said, Shirley went onto have more children with Kevin and abandon them all, and Kevin. Why? This has never been addressed and never will be, and that's a shame.
Small piece of bother here as well. According to Mick, Shirley showed up, drunk, at Johnnie's christening, which would have been about 1995.Dean would have been 8 years old, and Shirley would have been long gone. Are we to assume, then, that Kevin broke all contact with Shirley's family? Because Linda referenced having seen Dean several times when he was a kid, and Shirley had gone from his life before he could toddle, so that would beg the belief that Kevin may have kept in contact with her family. Stan was, after all, his children's grandfather. So if he'd come to Johnny's christening, he'd have found Shirley, whom he;d looked for from time to time during his kids' childhoods. When Johnny was christened, Jimbo would have been fifteen.
Sometimes, the Carter backstory ca 2014-2015 doesn't add up with the Carter-Wicks backstory 2007-2008, and that niggles.
So, Mick forgives Shirley, again. That's natural of Mick; he's a compassionate, forgiving person. But I'm glad he isn't going to think of her as his mother; that would mean having to think of Dean as his brother, and that would stick in his craw.
And is Shirley now allowed back to work in the Vic, as long as Dean doesn't show his face? TMahat's going to play out really well. Not. This storyline is going to last until the birth and paternity reveal of the Carter baby.
The turn-up for the books was Stan asking Tina and Mick to assist him in dying. Please. No. I know assisted suicide is a big issue these days, but the last thing the Square needs is one, or even two more killers in its midst.
There's a killer amongst them ... that tagline is true in that, in that assembly of characters posed in the picture, there are, actually a fair few killers.
Ma Mitchell and Mr Sleaze.
Step up to the plate, Sharon, as spokesman and force behind the Mitchells. Peggy, when she arrives, will be flabbergasted.
W-e-e-llll! I say! I never thought you had it in you, Sharon. Oi, you! Billy and Roxy! Call yourselves Mitchells!
Sharon finds out that Ben's been a stupid boy.
Loved the scene where Ben's found out, and Jay keeps levelling zingers about Ben's big-man behaviour in the background. Ben's only pithy excuse was that Max tried to take the R and R and The Albert, but Ben stopped him doing it. As if.
Sharon is shocked Max knows about Nick being alive and still wants to hold onto what is rightfully Phil's. The highlight of the episode was when she smacked the shit out of an unkempt Max, who's mourning Emma, having received notice of her funeral. Max loved Emma for about five minutes ... no, wait, Max had sex with Emma for about five minutes. He ruined her career and seriously obstructed the police investigation. He's either feeling sorry for himself and guilty about his treatment of her, or he is, simply, as Lauren perceptively put it, cruel. Lauren is even more shocked that Abi knew that Nick was alive and that she allowed her father to con Ben the way he did. All Abi can do is protest that her father used her to get close to Ben.
Another good Daran Little line:-
Lauren: But, like, when Phil Mitchell gets out, he'll break your legs.
Max: Phil couldn't break wind now.
Max is a total asshole, and nobody plays assholes like Jake Wood. He even looks seedy. But remember one thing: the Brannings are always losers, and Max is cocky thinking that Phil and the comatose Ice Queen are the real power force in the family. He doesn't know Sharon, who survived Grant and who is the daughter of the Daddy of them all, Den Watts.
Loved her line to Ben in their final scene - the key is to let Max think he's won, and then hit him hard. If anyone can accomplish a feat like that and squeeze Max Branning's balls until they're peanuts, it's Mrs Phil Mitchell.
Wish we'd seen more of that.
Good episode anyway, and I hope Mick's desire never to see Sylvie's or Babe's faces again was sincere.
Shirley cried. She's cried before. She pleaded. She's pleaded before, but until we hear Shirley address the reason why she abandoned Jimbo, Carly and Dean, I'll be hard put to find any sympathy for her. We're hardly about to get any reasons now, especially since Babe, to whom Shirley made some sort of veiled remark about Jimbo's birth some months ago, has been exiled outside the Carter fold.
The squalid history of the Carters centering around Shirley trying to clear her name as "the villain of the family" came across as extraneous, almost contrived, and clearly had a reason, but at the end of the day, the very fact that Shirley walked away from three very small children, cheated continuously on her husband and left him to bring up two children who weren't his and their own disabled son, clearly marks her as ... guess what? ... the villain of the family.
Sorry, Shirl.
The Kids Are Alright.
It just dawned on me as I watched this episode that the Carter kids and their parents were all just kids together, they were that young. Linda and Mick grew up fast, at last, after everything that happened at the copshop, and now the next big hurdle is telling the children, but that's not possible; because there's another big Carter surprise do being planned back at the Vic, with its purpose twofold: Mick's surprise birthday lunch (courtesy of Babe) and a farewell lunch for Sylvie, who was bound for some care home in Chislehurst.
There they all were, a rogues' gallery of gothic EastEnd descendents of Jack the Ripper, all sat in the Vic front room:- Stan, the errant patriarch; Sylvie, the mystery mother; Babe, whom we later found out didn't really have a given name at all; and Nancy and Lee.
Sylvie was asking incongruent questions, like wondering if Shirley were "showing" yet. Nancy was acting like a putz and wondering where Shirley was and why she wasn't there.
Nancy, who started out as such a promising and refreshing ingenue character on the programme, has regressed, in recent months to an overgrown parody of a twenty-one year-old with the behavioural instincts of a twelve year-old. We have the sing-songy voice, the spoilt child demeanour, and her conviction that Linda was the bugaboo behind the Christmas kerfuffle due to her having had an affair with Dean. That's as far as she's thought things. Now, she's taken her immature thinking to another level - she now thinks that Mick and Linda are going to split up, especially since their parents want to speak to them as soon as they return from wherever it is they haven't told the kids they are going.
For all Nancy and Lee are young adults in their twenties, they have been mollycoddled to such an extent that they have behavioural traits of much younger people. Linda, herself, has openly admitted that she wanted to keep her children as young as possible, thus, her babying them incessantly. It's ironic that the first to fly the coop is the youngest.
Try as they might to honour the birthday event, Mick and Linda were forced to speak to Lee and Nancy about what happened, and in the end, it was Nancy who could only voice what her mother couldn't say about what happened to her. The fact that she had been raped, and by Dean, was overwhelming.
Lee couldn't look at his mother, and the scene in the Vic cellar between Mick and Lee was, arguably, Danny-Boy Hatchard's strongest scene in months. The explosion of emotion against his father was palpable, as palpable as his desire to avenge Linda by beating the shit out of Lee. To watch father and son collapse, not once but twice, in each other's arms - the first time, the father comforting the son's anguish, followed by the father begging for the son's help and support in his own emotional turmoil - was a powerful scene and executed brilliantly by Hatchard and by Danny Dyer.
Lee's inability to look at Linda troubled me. It was as if he saw his mother as sullied or soiled in some way, but I was glad he eventually manned up and kissed her, acknowledging that what happened wasn't Linda's fault. I could tell that this bothered her, and maybe she was wondering if he saw her that way. And Nancy grew up instantly in the way she dealt with Dean, after he was ordered from the pub, as "scum", by Mick when he brought the collapsed Stan into the pub. The line of the night went to Nancy:-
Nancy: Oi, Dean ... stay away from my family.
Dean: He's my grandad, Nancy.
Nancy: She's my mother.
There was more than a soupcon of foreshadowing as both Lee and Nancy speculated about the paternity of the baby Linda's carrying. Lee reckons that the baby is Mick's, otherwise Mick wouldn't have "let" Linda have it. Nancy knows better and is worried - that's exactly what Mick would do, if the child wasn't his.
The Power of the Pub.
The overriding image I have of Shirley throughout this storyline is her standing in front of the pub and gazing in a welter of pride, greed and desire at her name on the brass plaque, naming her as licensee, above the door of the Vic.
That's what Shirley wants.
The Vic denotes power and respect for Shirley. She had that, laterally, through her association with Phil, and now she has it again, in what she imagines is her own right. It isn't. Her name is there via the emotional blackmail she levied on Mick early last year. It was a cheap trick, and she doesn't want to lose that souce of perceived power and respect, as much as she doesn't want to lose Mick, and so she does, still, believe that Linda is lying.
Shirley knows that she's being shafted by the family with Sylvie's visit, and she's determined to crash the proceedings. Dean's uncertain that she believes him and questions her.
Why wouldn't I believe you? I'm your mum.
Whatever doubt there was in Shirley's mind about Dean's innocence has been obliterated by her determination to see Linda as a liar, who's doing this to split the family and rein in Mick onside. Her first attempt sees her being stopped in her tracks by Stan, who wants a peaceful life. Once again, we get that arrogance:-
It's my home and my business.
No, Shirley. Mick's chucked you out. You were only there on his grace-and-favour, and you only have a 1 per cent stake in the business, and that's really Stan's money.
The scene between Timothy West and Ann Mitchell deserves mention. In point of fact, Ann Mitchell gave an, albeit brief, but beautiful performance tonight, quite poignant and gentle in Cora'sreminiscences, especially the bit where she wished for one more day to spend, hearing her husband laugh. When her voice caught in a sob, it was wonderfully emotional, especially since she put her own feelings for Stan aside to advise him to seize the day for another chance with Sylvie.
New Trailer Trash in Town.
Poor, pitiful Shirl. Caught between a rock and a hard place, which is probably how she got up the duff with Mick.
I was curiously unmoved by Shirley's tale of woe. I'll give it to her that she had it rough. I had always thought the Brannings were trailer trash, scrubbed up in suits, pretending to be middle class (more of that below), but the Carter clan had them beaten. There's a distinction between the two types of underclass where I come from. The Brannings are on the upper level, being trailer trash. The Carters are found on the lower level. They are, simply, as my late mother would call them "poor white trash."
So Shirley got up the duff by Buster, but hang on a minute, we're talking about the mid-Seventies, here, and Shirley didn't know what her monthly period was when it started because Sylvie hadn't told her? Hel-loooo?
I know a girl can start her period anytime between the ages of 10 and 14, and if Shirley started at the lower age end, I can understand her not having been told and being frightened, but if she started later, surely there would have been some sort of sex education at school, at least biological reproductive lessons as a science, so she would know where babies came from. So a fourteen year-old Shirley, who was running around and hanging out with Buster had no idea that if Buster put his peewee in her doinky that they'd make a bay-bee? This was London in the 1970s, not Appalachia in the 1850s.
Shirley's memory of thinking she was dying when her period started at school and being told by a teacher is a direct lift from Stephen King's Carrie (naughty Daran Little), and even moreso, the reminiscence of Sylvie throwing a pregnant, teenaged Shirley down the stairs is another lift from EastEnders of the 1990s, when Tiffany Raymond Mitchell reminisced about Terry Raymond, her dad, throwing her down the stairs after she got pregnant by a teacher at her school.
Yes, Shirley had it rough, and I do feel sorry for her for having to live in that Gothic horror show that was Babe and Sylvie doing the EastEnd's version of a cross between Whatever Happened to Baby Jane?
That's why I feel sorry for her. I feel sorry that she was manipulated by Babe - the most astounding white trash revelation of the night was that Babe actually and truly has no name. She is just Babe. I feel sorry that she was mistreated and emotionally manipulated by Sylvie. I feel even sorrier that she got involved with a Neanderthal like Bloodvessel.
I'm also astounded at the revelation of the single delight that is Tina, who's turned out, really, to be the only adult in the room.
But to an extent, I'm Team Mick here. Mick is the man he is in spite of his upbringing and not because of it, and if anyone was the making of him into the man he is, it was most likely Elaine Peacock, who responded to one child impregnating her only child by taking him in and literally raising him as her own. It's Linda who gives Mick his sense of decency and good. He got precious little of that from his family.
So Stan was a drunk and a womaniser. Sylvie took out her frustrations on her child. And Babe manipulated herself into the position of Family Fixer. Babe was, effectively, the Derek of the Carter tribe. A psychopath, who's taken advantage of Sylvie's Alzheimers to use her to re-establish Babe's position of power in the family and as jealousy for Sylvie marrying Stan.
Another line of the night goes to Stan:-
You're jealous because I chose the swan instead of the ugly duckling.
Mick has every right to be angry at this all-around deception and right to level that anger at Shirley. Because once Sylvie left and they'd got Mick and Tina back from care, there was no reason why Shirley couldn't reveal who she was to Mick. There was nothing to stop her, except the result of hurting Stan's feelings, and as Stan later told Mick, he'd always be his dad in his heart. Shirley married a good man, and Kevin would easily have accepted Mick as his own. But as Mick said, Shirley went onto have more children with Kevin and abandon them all, and Kevin. Why? This has never been addressed and never will be, and that's a shame.
Small piece of bother here as well. According to Mick, Shirley showed up, drunk, at Johnnie's christening, which would have been about 1995.Dean would have been 8 years old, and Shirley would have been long gone. Are we to assume, then, that Kevin broke all contact with Shirley's family? Because Linda referenced having seen Dean several times when he was a kid, and Shirley had gone from his life before he could toddle, so that would beg the belief that Kevin may have kept in contact with her family. Stan was, after all, his children's grandfather. So if he'd come to Johnny's christening, he'd have found Shirley, whom he;d looked for from time to time during his kids' childhoods. When Johnny was christened, Jimbo would have been fifteen.
Sometimes, the Carter backstory ca 2014-2015 doesn't add up with the Carter-Wicks backstory 2007-2008, and that niggles.
So, Mick forgives Shirley, again. That's natural of Mick; he's a compassionate, forgiving person. But I'm glad he isn't going to think of her as his mother; that would mean having to think of Dean as his brother, and that would stick in his craw.
And is Shirley now allowed back to work in the Vic, as long as Dean doesn't show his face? TMahat's going to play out really well. Not. This storyline is going to last until the birth and paternity reveal of the Carter baby.
The turn-up for the books was Stan asking Tina and Mick to assist him in dying. Please. No. I know assisted suicide is a big issue these days, but the last thing the Square needs is one, or even two more killers in its midst.
There's a killer amongst them ... that tagline is true in that, in that assembly of characters posed in the picture, there are, actually a fair few killers.
Ma Mitchell and Mr Sleaze.
Step up to the plate, Sharon, as spokesman and force behind the Mitchells. Peggy, when she arrives, will be flabbergasted.
W-e-e-llll! I say! I never thought you had it in you, Sharon. Oi, you! Billy and Roxy! Call yourselves Mitchells!
Sharon finds out that Ben's been a stupid boy.
Loved the scene where Ben's found out, and Jay keeps levelling zingers about Ben's big-man behaviour in the background. Ben's only pithy excuse was that Max tried to take the R and R and The Albert, but Ben stopped him doing it. As if.
Sharon is shocked Max knows about Nick being alive and still wants to hold onto what is rightfully Phil's. The highlight of the episode was when she smacked the shit out of an unkempt Max, who's mourning Emma, having received notice of her funeral. Max loved Emma for about five minutes ... no, wait, Max had sex with Emma for about five minutes. He ruined her career and seriously obstructed the police investigation. He's either feeling sorry for himself and guilty about his treatment of her, or he is, simply, as Lauren perceptively put it, cruel. Lauren is even more shocked that Abi knew that Nick was alive and that she allowed her father to con Ben the way he did. All Abi can do is protest that her father used her to get close to Ben.
Another good Daran Little line:-
Lauren: But, like, when Phil Mitchell gets out, he'll break your legs.
Max: Phil couldn't break wind now.
Max is a total asshole, and nobody plays assholes like Jake Wood. He even looks seedy. But remember one thing: the Brannings are always losers, and Max is cocky thinking that Phil and the comatose Ice Queen are the real power force in the family. He doesn't know Sharon, who survived Grant and who is the daughter of the Daddy of them all, Den Watts.
Loved her line to Ben in their final scene - the key is to let Max think he's won, and then hit him hard. If anyone can accomplish a feat like that and squeeze Max Branning's balls until they're peanuts, it's Mrs Phil Mitchell.
Wish we'd seen more of that.
Good episode anyway, and I hope Mick's desire never to see Sylvie's or Babe's faces again was sincere.
No comments:
Post a Comment