The Ronnie episode.
I thought I'd do tonight's review in the breathless, anticipatory style of Wee Willie Wanker Slater-Mitchell, resident bullyboi par excellence and diva queen of Walford Web Bullyboi Emporium. The amount of cyberspace he's wasted getting a hard-on for Ronnie's return is beyond belief. Whether he or his mother does his laundry is a moot question. He must be out of underwear by now, the amount of briefs he's creamed getting ahahahahahahahahahahahahahaha that breathless for omigodomigodomigodomigod Ronnie's return.
It's a wonder his right arm isn't in a plaster cast.
But I couldn't emulate or even imitate his byadeeeeeeeeeeeeeeeeeebydaaaaaaaaaaaaaaaaaaaa delight at the return of this wonderful character. Willie's wanting to be Ronnie right now; previously, he's wanted to be Kat. Tonight, he must be near as damn it schizophrenic. Right now, he's probably verbally batting down any woman who still populates that den of misogyny right, left and centre - especially the trio who dare raise a word of wisdom in defence of the fact that Ronnie's entire return is a veritable jump-the-shark moment for this programme.
I hated this episode, but that doesn't mean it was a bad one -not as good as last night's, mind - the dialogue was often trite and predictable as much as the entire situations being totally unrealistic and downright disrespectful.
It was practically everything that was bad about EastEnders magnified and made worse. More than anything, this episode signified the end of the real EastEnders and the triumph of the shallow, sensationalist and retconned EastEnders 2.0.
When EastEnders began, central to the action was the Alpha Male - usually the landlord of the Queen Vic. He was flawed, human and had feet of clay, but he was damned watchable - think Den Watts, Frank Butcher and the Mitchell brothers when they first arrived. The second phase of such male character development saw such people as Steve Owen and Dan Sullivan.
Such character development stopped with Louise Berridge. Not even Dennis Rickman can be credited as a viable Alpha male, and certainly not the insipid Andy Hunter. We were told that Alfie had a dark side. We never got a chance to see that. Instead, we got a plethora of loud, gobby women, shoehorned into every storyline and presented as strong victims.
Victims, they were. They wanted to be. Being victims eliminated any sense of responsibility they could assume, or should assume, for their inappropriate actions. Think Stacey Slater, Tanya Branning ... the ubiquitous Mitchell sisters.
Suddenly men were weak - Max Branning was morally weak, Jack was a slut, Sean Slater was feckless, Masood was hen-pecked, Bradley was a fool for love.
And so it continues - Alfie scared of Ronnie's return, Ian Beale cowering in the restaurant, Phil going soft in a hospital bed, whilst an unholy trinity of unlikeable women - Saint Kat, Lauren the Lip and the Hard Woman of Walford emerge triumphant. Even sour-bellied Shirley will avenge Phil's suffering.
And all the while, breathless panters like Willie Wanker Mitchell and snide female Ronnie-shippers throw their weight around various fora, daring people of common sense to disagree with their fan worship.
It's not reeeeeeaaaaaaallllll, they squeal. It's just a soap, anything can happen.
Er, no ... it can't, really. All fiction, even fantasy fiction, is based on fact; and EastEnders used to be the one soap with its feet planted firmly in sound reality.
Not anymore.
Tonight proved that.
Two Victims.
Two victims
Off to blame the world
There's such a lot of world
To blame ...
They're after their fine, fickled friend
Waiting round the bend
They're victims to the end
Two victims ... they are.
No change here, except this whole escapade is meant to be a significant part of the redemptive journey of Saint Kat. One year ago, she was a heartless, vindictive slut, who'd spent the previous two years emotionally abusing her husband. Now, she's second only to Mother Theresa.
Wait! Hold up! Next week, she's back to tormenting Tamwar.
(But he's a male,and he doesn't count).
First of all, Ronnie's released from prison at 5pm. Five in the afternoon? Really, Lorraine? In the midst of rush hour? Hardly. Most people are released from prison at the crack of dawn for obvious reasons. And I hardly find it believeable that the victim of Ronnie's crime would even be allowed to be there awaiting her.
As usual, Kat uses the stock soap-operatic response as to her reasons for being there.
She doesn't know.
How contrived was this situation? It stank. It reeked of stale puke. I don't care how well it was enacted, and Jessie Wallace was good, it still was unbelieveable. However, it started out with good dramatic intent - Kat showing Ronnie Tommy's picture, forcing her to look at him, reminding her of the time with him she'd deprived Kat.
Ronnie's apology sounded lame, and Sam Womack is the same botoxed, face-lifted, expressionless piece of bland that she ever was. Her obvious nose job never ceases to annoy me. I hate looking up someone's nostrils, and she puts me in mind of the late Kenneth Williams in that respect.
So Ronnie and Roxy were planning on scarpering to Ibiza and starting a business there? Well, that would prove difficult. Ronnie's only being released on licence. She's on fucking probation and would not be allowed to leave the country unless the excuse was valid and the authorities had definite departure and return dates. Also, there's the small problem of money.
They have none.
Roxy's money is certainly gone, although it seems that people have forgotten that she owns the car lot, and Ronnie really doesn't have a pot in which to piss, apart from the 42 quid prison pay she had on her person.
Kat puts Ronnie straight about Roxy - she's chosen Alfie - and then, in typical Kat fashion,she glosses over her marital break-up, and what a farcical explanation that was.
We stopped talkin' when we fought Tommy was dead an' when we go'im back, it was like we didn' know'ow ter start.
What a load of bullshit! Let's be truthful. She slapped her way around Walford from the first day she was there, employing all sorts of bullying tactics with Stacey, egging Stacey onto beat the living shit out of Janine. She assaulted Alfie, encouraged Stacey to break up another woman's marriage and generally lorded it over everyone as Queen Bitch. When she got her son back, she still wasn't satisfied. She conveniently left out the knee-trembler with the deliveryman and neglected to tell Ronnie that she'd actually had a lengthy affair with Ronnie's brother-in-law.
She did, however, half-heartedly admit that her affair was her fault.
Nobody forced me, she said, which is a fucking different tune to that which she was saying at Christmas, when she was begging Alfie to believe that Derek forced her into having an affair.
As for Ronnie, I couldn't help noticing that Michael was right - she has the coldest eyes of anyone I've ever seen. There's absolutely no emotion in them. They are completely dead. Deader than Michael's and his, at least, convey emotion, mostly anger.
Of course, her first question is about Jack. Why wouldn't it be? Wanting to know if he sees Amy often, not that she really cared. She'd precluded Jack from ever doing anything more than financially providing for Amy.
But, I felt, it wasn't long before Kat was playing up the poor pitiful me card ...
Alfie kicked me out and got wi'Roxy.
(Yeah, sure, he did, bitch, after you'd been fucking around with all and sundry.)
That gave Ronnie the opening she needed to start the Manipulation Games. Oh, Roxy's not coming, Oh, woe is me! Ne'mind, I'll get to Ibiza somehow. I'll spend the night in a hostel. They don't give you much when you leave prison ...
Cue a pity party from Kat.
I fucking ask you ... what mother, who'd been put through hell for four months believing her son was dead, would take his kidnapper into her home, where that same child was sleeping, even for a night? The answer is that no one would. No one. Absolutely no one.
A few years ago, Joey Barton's brother wielded an axe and killed a black Liverpool teenager as he waited for a bus. The boy's mother, a Christian, forgave his killer; but I daresay she wouldn't give him a place to lay his head if and whenever he's released from prison.
Ronnie had got what she wanted from Kat - permission to come to Walford, when in the reality of life, she wouldn't be allowed within a certain radius of Kat, and the police would go out of their way to ensure that Kat didn't bother Ronnie either. The law cuts both ways. It was ever Ronnie's intention to get back to Walford when it became apparent that Roxy wasn't going to show, and it took the showdown of two certified psychopaths to bring the house down.
Of course, Ronnie's not afraid of Michael. He's her male mirror image - as manipulative and cold as she is. Strange, how he admonished Kat for bringing home the kidnapper of "our child" but only identified himself to Ronnie as Scarlett's father. It also seemed that Ronnie got off a bit on Michael's chiding, but his needling had a purpose and it proved a point. In the midst of all this, he informed her that Jack didn't get married, and the minute Kat's back is turned, Ronnie makes a beeline to Jack's house - smiling,coquettish, almost flirtatious.
She's got inside Kat's head, and she's intent on getting inside Jack's. Don't forget that Ronnie never wanted to see Jack when she was in prison until she learned he was about to marry.
Still, she's back and all the Ronnie-shippers will be out in force, with their shrines and their euphoric praise for someone they think is an iconic character when, in fact, Ronnie's nothing more than a pejorative character played by a mediocre actress.
This one's for the shippers ...
The Ageing Lolita.
Roxy's like a child, says Ronnie.
And whose fault is that? Yes, she's like a child, incapable of seeing the world in anything but black or white - a bit like the viewers to whom the show's executive producer is pandering.
Roxy thought that Alfie was such a pushover for anything that all he'd have to do was hear how much Roxy wuvved her big sister and he'd take Ronnie into his home and his heart. Ne'mind the fact that Ronnie had taken his son and kept him from him for the first four months of his life. That's irrelevant to what Roxy wants and feels.
Typical spoiled child. Never thinking about the peripheral situation because she's the centre of the universe.
But over after Alfie's home truths, Roxy's been doing some thinking, herself. She explains that the R and R stands for Ronnie and Roxy, and that's the way it's always been in her life. She's been the addenda to Ronnie, letting Ronnie lead the way, standing in Ronnie's shadow.
She tells Alfie that, had she gone to meet Ronnie today, she'd be sucked right into that vortex yet again. She's right, and she'll be pulled in that direction, yet again again ... and guess what? She'll get sucked into the vortex once more. Because Ronnie and Roxy have as dysfunctional a relationship as Tanya and Max had. Ronnie will, once more, obsess on Jack; and Roxy will never be able to sustain an independent adult relationship because Ronnie simply won't let her.
The Coward of the County.
I'm tired of Ian Beale's being presented as a lily-livered coward, cowering behind the skirts of his latest squeeze. I thought with his breakdown last year and in the wake of it, he might be changing for the better, but no, he's learned nothing - not even that he could have and should have gone immediately to the police as soon as Carl started intimidating and extortioning moey from him, and Carl would have gone back to prison.
Instead, we have him cowering from the Brannings, the current Alpha family who are anything but and totally unlikeable. Thanks to Denise's big mouth and assumptions, the Branning grapevine goes into action, and before you know it, we have the totally ludicrous situation of Ian, along with Denise and Flabbi the Dough-Faced Girl holed up in the restaurant against the wrath of Kirsty, whose screeching alerts the character played by ...
THE. WORST. ACTRESS. EVER. TO. APPEAR. IN. EASTENDERS.
... who's about to get the sack at the Salon. Add Bag O'Bones Beale getting apprised of the situation, which ended in Jack physically attacking Ian in the restaurant because Ian's been identified as Carl's witness. Ian's quite right that he can report Jack for witness intimidation, except that Ian is lying, as we all know. Still, Carl's offer has, at least, gained him Denise's and Lucy's approbation.
Of course, it will all go tits up when the truth does come out, and Ian will, once again, be a pariah.
Finally, along with sanctification of Kat, comes also the redemption of Lauren, complete with prim new hairstyle and a fresh injection of collagen in her upper lip and an older man to help in her sexual redemption.
Spare me.
SeaHag.
I just realised tonigh whom Shirley reminded me of - SeaHag from the old Popeye cartoon.
There she goes with Phil perched on her shoulder.
So Shirley still "cares" about Phil, so much that she can't bear to see him suffer. Please spare me again from something we all knew,and spare us all from the nasty, vindictive, little trouble-causing troll monalisa who's probably having the closest thing to an orgasm she'll ever experience at the sight of Phil taking Shirley's hand.
Phil owe Shirley? What for? Guilt money for his part in covering the fact that Ben killed Heather? Shirley still loving Phil is about as horrendous as Kat taking Ronnie in. Kat's action trivialised the entire four months she and Alfie spent drowning themselves in sorrow and grief at what they supposed was Tommy's death. Shirley clinging romantically to Phil makes her supposed fabled friendship with Heather as shallow as the show's become, itself.
Heather's death was nothing more than Bryan Kirkland ridding the show of a character he thought unsightly and fat. He did the same when he killed off Pat and the same when he axed Charlie Slater.
EastEnders doesn't do "fat" these days, unless you're Saint Kat. And Phil's not destined to spend the rest of his days with the woman he's historically loved, but a wizened, fag-smoking, smelly old drunk of a tart, which will mean his child can never return to his father.
It will mean, however, that Shirley girds her loins and goes into Amazonian battle against Carl, an avenging angel for hurting "her" Phil. Shame, she didn't do as much for Heather.
The episode was good and it was watchable tonight. It doesn't mean that I liked it.
I thought I'd do tonight's review in the breathless, anticipatory style of Wee Willie Wanker Slater-Mitchell, resident bullyboi par excellence and diva queen of Walford Web Bullyboi Emporium. The amount of cyberspace he's wasted getting a hard-on for Ronnie's return is beyond belief. Whether he or his mother does his laundry is a moot question. He must be out of underwear by now, the amount of briefs he's creamed getting ahahahahahahahahahahahahahaha that breathless for omigodomigodomigodomigod Ronnie's return.
It's a wonder his right arm isn't in a plaster cast.
But I couldn't emulate or even imitate his byadeeeeeeeeeeeeeeeeeebydaaaaaaaaaaaaaaaaaaaa delight at the return of this wonderful character. Willie's wanting to be Ronnie right now; previously, he's wanted to be Kat. Tonight, he must be near as damn it schizophrenic. Right now, he's probably verbally batting down any woman who still populates that den of misogyny right, left and centre - especially the trio who dare raise a word of wisdom in defence of the fact that Ronnie's entire return is a veritable jump-the-shark moment for this programme.
I hated this episode, but that doesn't mean it was a bad one -not as good as last night's, mind - the dialogue was often trite and predictable as much as the entire situations being totally unrealistic and downright disrespectful.
It was practically everything that was bad about EastEnders magnified and made worse. More than anything, this episode signified the end of the real EastEnders and the triumph of the shallow, sensationalist and retconned EastEnders 2.0.
When EastEnders began, central to the action was the Alpha Male - usually the landlord of the Queen Vic. He was flawed, human and had feet of clay, but he was damned watchable - think Den Watts, Frank Butcher and the Mitchell brothers when they first arrived. The second phase of such male character development saw such people as Steve Owen and Dan Sullivan.
Such character development stopped with Louise Berridge. Not even Dennis Rickman can be credited as a viable Alpha male, and certainly not the insipid Andy Hunter. We were told that Alfie had a dark side. We never got a chance to see that. Instead, we got a plethora of loud, gobby women, shoehorned into every storyline and presented as strong victims.
Victims, they were. They wanted to be. Being victims eliminated any sense of responsibility they could assume, or should assume, for their inappropriate actions. Think Stacey Slater, Tanya Branning ... the ubiquitous Mitchell sisters.
Suddenly men were weak - Max Branning was morally weak, Jack was a slut, Sean Slater was feckless, Masood was hen-pecked, Bradley was a fool for love.
And so it continues - Alfie scared of Ronnie's return, Ian Beale cowering in the restaurant, Phil going soft in a hospital bed, whilst an unholy trinity of unlikeable women - Saint Kat, Lauren the Lip and the Hard Woman of Walford emerge triumphant. Even sour-bellied Shirley will avenge Phil's suffering.
And all the while, breathless panters like Willie Wanker Mitchell and snide female Ronnie-shippers throw their weight around various fora, daring people of common sense to disagree with their fan worship.
It's not reeeeeeaaaaaaallllll, they squeal. It's just a soap, anything can happen.
Er, no ... it can't, really. All fiction, even fantasy fiction, is based on fact; and EastEnders used to be the one soap with its feet planted firmly in sound reality.
Not anymore.
Tonight proved that.
Two Victims.
Two victims
Off to blame the world
There's such a lot of world
To blame ...
They're after their fine, fickled friend
Waiting round the bend
They're victims to the end
Two victims ... they are.
No change here, except this whole escapade is meant to be a significant part of the redemptive journey of Saint Kat. One year ago, she was a heartless, vindictive slut, who'd spent the previous two years emotionally abusing her husband. Now, she's second only to Mother Theresa.
Wait! Hold up! Next week, she's back to tormenting Tamwar.
(But he's a male,and he doesn't count).
First of all, Ronnie's released from prison at 5pm. Five in the afternoon? Really, Lorraine? In the midst of rush hour? Hardly. Most people are released from prison at the crack of dawn for obvious reasons. And I hardly find it believeable that the victim of Ronnie's crime would even be allowed to be there awaiting her.
As usual, Kat uses the stock soap-operatic response as to her reasons for being there.
She doesn't know.
How contrived was this situation? It stank. It reeked of stale puke. I don't care how well it was enacted, and Jessie Wallace was good, it still was unbelieveable. However, it started out with good dramatic intent - Kat showing Ronnie Tommy's picture, forcing her to look at him, reminding her of the time with him she'd deprived Kat.
Ronnie's apology sounded lame, and Sam Womack is the same botoxed, face-lifted, expressionless piece of bland that she ever was. Her obvious nose job never ceases to annoy me. I hate looking up someone's nostrils, and she puts me in mind of the late Kenneth Williams in that respect.
So Ronnie and Roxy were planning on scarpering to Ibiza and starting a business there? Well, that would prove difficult. Ronnie's only being released on licence. She's on fucking probation and would not be allowed to leave the country unless the excuse was valid and the authorities had definite departure and return dates. Also, there's the small problem of money.
They have none.
Roxy's money is certainly gone, although it seems that people have forgotten that she owns the car lot, and Ronnie really doesn't have a pot in which to piss, apart from the 42 quid prison pay she had on her person.
Kat puts Ronnie straight about Roxy - she's chosen Alfie - and then, in typical Kat fashion,she glosses over her marital break-up, and what a farcical explanation that was.
We stopped talkin' when we fought Tommy was dead an' when we go'im back, it was like we didn' know'ow ter start.
What a load of bullshit! Let's be truthful. She slapped her way around Walford from the first day she was there, employing all sorts of bullying tactics with Stacey, egging Stacey onto beat the living shit out of Janine. She assaulted Alfie, encouraged Stacey to break up another woman's marriage and generally lorded it over everyone as Queen Bitch. When she got her son back, she still wasn't satisfied. She conveniently left out the knee-trembler with the deliveryman and neglected to tell Ronnie that she'd actually had a lengthy affair with Ronnie's brother-in-law.
She did, however, half-heartedly admit that her affair was her fault.
Nobody forced me, she said, which is a fucking different tune to that which she was saying at Christmas, when she was begging Alfie to believe that Derek forced her into having an affair.
As for Ronnie, I couldn't help noticing that Michael was right - she has the coldest eyes of anyone I've ever seen. There's absolutely no emotion in them. They are completely dead. Deader than Michael's and his, at least, convey emotion, mostly anger.
Of course, her first question is about Jack. Why wouldn't it be? Wanting to know if he sees Amy often, not that she really cared. She'd precluded Jack from ever doing anything more than financially providing for Amy.
But, I felt, it wasn't long before Kat was playing up the poor pitiful me card ...
Alfie kicked me out and got wi'Roxy.
(Yeah, sure, he did, bitch, after you'd been fucking around with all and sundry.)
That gave Ronnie the opening she needed to start the Manipulation Games. Oh, Roxy's not coming, Oh, woe is me! Ne'mind, I'll get to Ibiza somehow. I'll spend the night in a hostel. They don't give you much when you leave prison ...
Cue a pity party from Kat.
I fucking ask you ... what mother, who'd been put through hell for four months believing her son was dead, would take his kidnapper into her home, where that same child was sleeping, even for a night? The answer is that no one would. No one. Absolutely no one.
A few years ago, Joey Barton's brother wielded an axe and killed a black Liverpool teenager as he waited for a bus. The boy's mother, a Christian, forgave his killer; but I daresay she wouldn't give him a place to lay his head if and whenever he's released from prison.
Ronnie had got what she wanted from Kat - permission to come to Walford, when in the reality of life, she wouldn't be allowed within a certain radius of Kat, and the police would go out of their way to ensure that Kat didn't bother Ronnie either. The law cuts both ways. It was ever Ronnie's intention to get back to Walford when it became apparent that Roxy wasn't going to show, and it took the showdown of two certified psychopaths to bring the house down.
Of course, Ronnie's not afraid of Michael. He's her male mirror image - as manipulative and cold as she is. Strange, how he admonished Kat for bringing home the kidnapper of "our child" but only identified himself to Ronnie as Scarlett's father. It also seemed that Ronnie got off a bit on Michael's chiding, but his needling had a purpose and it proved a point. In the midst of all this, he informed her that Jack didn't get married, and the minute Kat's back is turned, Ronnie makes a beeline to Jack's house - smiling,coquettish, almost flirtatious.
She's got inside Kat's head, and she's intent on getting inside Jack's. Don't forget that Ronnie never wanted to see Jack when she was in prison until she learned he was about to marry.
Still, she's back and all the Ronnie-shippers will be out in force, with their shrines and their euphoric praise for someone they think is an iconic character when, in fact, Ronnie's nothing more than a pejorative character played by a mediocre actress.
This one's for the shippers ...
The Ageing Lolita.
Roxy's like a child, says Ronnie.
And whose fault is that? Yes, she's like a child, incapable of seeing the world in anything but black or white - a bit like the viewers to whom the show's executive producer is pandering.
Roxy thought that Alfie was such a pushover for anything that all he'd have to do was hear how much Roxy wuvved her big sister and he'd take Ronnie into his home and his heart. Ne'mind the fact that Ronnie had taken his son and kept him from him for the first four months of his life. That's irrelevant to what Roxy wants and feels.
Typical spoiled child. Never thinking about the peripheral situation because she's the centre of the universe.
But over after Alfie's home truths, Roxy's been doing some thinking, herself. She explains that the R and R stands for Ronnie and Roxy, and that's the way it's always been in her life. She's been the addenda to Ronnie, letting Ronnie lead the way, standing in Ronnie's shadow.
She tells Alfie that, had she gone to meet Ronnie today, she'd be sucked right into that vortex yet again. She's right, and she'll be pulled in that direction, yet again again ... and guess what? She'll get sucked into the vortex once more. Because Ronnie and Roxy have as dysfunctional a relationship as Tanya and Max had. Ronnie will, once more, obsess on Jack; and Roxy will never be able to sustain an independent adult relationship because Ronnie simply won't let her.
The Coward of the County.
I'm tired of Ian Beale's being presented as a lily-livered coward, cowering behind the skirts of his latest squeeze. I thought with his breakdown last year and in the wake of it, he might be changing for the better, but no, he's learned nothing - not even that he could have and should have gone immediately to the police as soon as Carl started intimidating and extortioning moey from him, and Carl would have gone back to prison.
Instead, we have him cowering from the Brannings, the current Alpha family who are anything but and totally unlikeable. Thanks to Denise's big mouth and assumptions, the Branning grapevine goes into action, and before you know it, we have the totally ludicrous situation of Ian, along with Denise and Flabbi the Dough-Faced Girl holed up in the restaurant against the wrath of Kirsty, whose screeching alerts the character played by ...
THE. WORST. ACTRESS. EVER. TO. APPEAR. IN. EASTENDERS.
Of course, it will all go tits up when the truth does come out, and Ian will, once again, be a pariah.
Finally, along with sanctification of Kat, comes also the redemption of Lauren, complete with prim new hairstyle and a fresh injection of collagen in her upper lip and an older man to help in her sexual redemption.
Spare me.
SeaHag.
I just realised tonigh whom Shirley reminded me of - SeaHag from the old Popeye cartoon.
There she goes with Phil perched on her shoulder.
So Shirley still "cares" about Phil, so much that she can't bear to see him suffer. Please spare me again from something we all knew,and spare us all from the nasty, vindictive, little trouble-causing troll monalisa who's probably having the closest thing to an orgasm she'll ever experience at the sight of Phil taking Shirley's hand.
Phil owe Shirley? What for? Guilt money for his part in covering the fact that Ben killed Heather? Shirley still loving Phil is about as horrendous as Kat taking Ronnie in. Kat's action trivialised the entire four months she and Alfie spent drowning themselves in sorrow and grief at what they supposed was Tommy's death. Shirley clinging romantically to Phil makes her supposed fabled friendship with Heather as shallow as the show's become, itself.
Heather's death was nothing more than Bryan Kirkland ridding the show of a character he thought unsightly and fat. He did the same when he killed off Pat and the same when he axed Charlie Slater.
EastEnders doesn't do "fat" these days, unless you're Saint Kat. And Phil's not destined to spend the rest of his days with the woman he's historically loved, but a wizened, fag-smoking, smelly old drunk of a tart, which will mean his child can never return to his father.
It will mean, however, that Shirley girds her loins and goes into Amazonian battle against Carl, an avenging angel for hurting "her" Phil. Shame, she didn't do as much for Heather.
The episode was good and it was watchable tonight. It doesn't mean that I liked it.
In glad you picked up on the understatement of the year. Kat's reasoning of why she and Alfie split - I don't remember the exact words but it was roughly this "I cheated on him & we broke up & he moved on".
ReplyDeleteMore like "I cheated, cheated again, and ... Oh never mind"