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.
All original work on the Coronation Street Blog is covered by a Creative Commons License