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Starting off with yet another attempt by Lou to kill Myra, this time with one of Sheila's guitar strings. (One of Sheila's songs might have been more effective.) The usual bait was used, as before - Kath Deakin beckonning Myra to where Lou was waiting ready to pounce. Considering the only time Kath ever seems to speak to Myra it's to lure her into yet another trap, you'd expect Myra to be a tad cautious. But of course, she just walked into it - for some strange reason forgetting to look left as she passed through the door - and here we go again. I kept expecting them to surprise her with a custard pie, or something equally slapstick.
Myra decided the best way to get the better of Lou was to remove "all her heavies". Fortunately the writers remembered in time that she only had two at the moment (Kath and Alice - who'd already been shut away in the pound). So the long-forgotten and unseen-for-months Fran was suddenly magicked into the picture again, while Lexie (who I'm sure was introduced long after Fran's disappearance) talked to her as if she'd known her all the time she was inside.
Meanwhile, the only inmate-related subplot of any significance continued with Marlene and Door-Matt. Actually, it almost became interesting, when Marlene suddenly believed a rumour about Matt's past love life, and ran off, presumably to check his Judy Garland record collection. But that was quickly nipped in the bud when Matt went off to - ahem - "straighten out a couple of things", and we were returned to all the dull talk of bridesmaids and dresses. Loved the way Lexie (with her strange liking for putting sweet wrappers in her hair) declared, "I'm not wearing bloody pink!" despite having spent several episodes wrapped in a big pink smock.
And speaking of wearing things in your hair, I loved the way Lou was trying to be taken seriously with Alice in the corridor, while wearing her comedy Hilda Ogden headscarf.
I'm beginning to really enjoy the incidental music at the moment. Especially the drumbeat one they use when there is a shocking revelation - "dadum-dum-dum-DUUUM". Successfully turns a bit of high drama into what looks like a spoof, and makes me laugh every time.
"Hello Ettie. Didn't I tell you to stay in your cell?" asked Meg, confirming that indeed all the security gates were left wide open between the dorms and the work areas, allowing Ettie and other prisoners to roam freely all over the prison. Yet the screws were still surprised to find Ettie in the laundry, Matt and Marlene in the rec room, etc etc.
Loved the scene with Meg looking at knitted cardies in the shop, and complaining that they're a "bit pricey". However, I also noticed Ann was back to wearing her special tasteless tank top, with the pattern missing over one breast. Suddenly, in walked someone whose name sounded like "Mr Bent". Turns out he was a reporter, asking about that big media event rocking the civilised world at that time (Ettie getting her compensation. Actually, the most scary thing was his utter resemblance to Joyce Barry.
Not content with showing off her colour-coordination skills with Ettie's atrocious frock (which looked several sizes too big, in the colour of pale saggy flesh, with a horrible grey cardie over it) a pre-"Changing Rooms" Meg opened her Dulux paint leaflet, and asked Dennis, "How about that for the entrance and living areas, and that for the bedrooms?" Hmm.. wonder if she'll plump for the beige and green, or perhaps the green and beige.
Classic Meg frown-at-the-floor moment, as Joan walked in, and Meg gave that cringingly awful, "we were very sorry to hear about your father" line.
And poor old Jan, still yet to serve any interesting purpose in the programme, other than starting the ball rolling for Ettie and generally providing a bit of light relief by wriggling on the floor gasping for a drink every episode. "Looks tasty," she commented about the curious urine-coloured soup. Then she realised it tasted so foul, I wonder what it could have had in it..?
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