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Weekly Reviews > Episodes 4168-4172 by Stuart

UK Broadcast: Monday 10th March - Friday 14th March 2003
Writers: Philippa Burne, Elizabeth Huntly, Jeff Truman, Judith Colquhoun, John Hanlon. Directors: Chris Adshead, Jovita O'Shaughnessy

Love and intrigue abound in Ramsay Street as a furtive kiss unleashes hidden passion, while elsewhere personal ties are strained by hidden agendas and divided loyalties... While perhaps a slight dip in the quality seen recently, this week's episodes still managed to provide plenty to enjoy.

Rehearsals for the community play continue in Harold's absence, with directorial input from Lyn and Lori respectively. Lori, as a self-professed member of the MTV generation, spices up the script with passion and plot twists aplenty, but unwittingly strains her relationship with Jack to breaking point, when she directs him and co-star Nina through a steamy romantic scene. As Jack's commitment to Lori becomes increasingly tenuous, he callously drops a bombshell and tells her he does not want to move into a flat alone with her.

Perhaps the highlight of this week, Jack's tensions with Lori made for some excellent drama and characterisation. Jay Bunyan is increasingly confident in the role, bringing some nice shades to his portrayal. Jack himself continues to be one of the most interesting young roles, neatly gravitating between spoilt and selfish, to wounded and immature. It's a nice dynamic, which works particularly well in the crowded Scully house - Jack's petulant undertones towards Connor's relationship with Joe is a great example of how the character is so conflicted. On one level, he enjoys independence and resents control, yet on another, he just wishes to be a child doted on by his parents. Witness his reversion from coldly spurning Lori, to indulgently playing for sympathy and validation from Lyn afterwards, and one begins to see the rich potential the character offers. Elsewhere, Harold's play, in spite of its increasingly bizarre narrative (time travellers, anyone?), remains a great device for interaction with the community, with plenty of enjoyable contrasts.

Darcy's manipulation of Dione continues. After contriving a night sharing a room at a motel en route to Colac, he revels in building rifts between Toadie and Dee, culminating in "accidentally" letting their recent time together slip out to a wounded Toadie. Meanwhile, Dee is left reeling from the G-force of Angie and Kev's hospitality, and a deep animosity develops...

So he's back - Erinsborough's self-styled bad boy is up to his old tricks, with the Leather Jacket of Evil dusted down for the occasion. Unfortunately, the results are mixed. While light-years better than the majority of stories from last year, one is left with the feeling that this is small potatoes for Darcy. The stakes are too small and his logic seems deeply flawed. Mark Raffety seems to be struggling to make the situation work, and Dione really should be brighter than to fall for such a thin and obvious ruse. The vital difference between the Darcy of now and his 2001 alter ego, is that back then, he was a convincing liar and arch manipulator. Nowadays, his plan depends on characters developing selective stupidity, and it's difficult to get drawn in as a result. That said, the cliffhanger where Toadie learned of their nighttime rendevous was electrifying, with a geniune adrenaline rush as the tension shot up.

Harold recovers from his operation in hospital, indulging in some schoolboy japes with Lou along the way. Meanwhile, his apparent savior Ruby is busy stealing from his house to fund her gambling habit. When Harold returns to find his house gutted by a burglary, Rosie's suspects that Ruby knows more than she's letting on and a terse confrontation follows...

What a relief it is to have Harold and Lou finally reconciled, and their sitcom antics in hospital this week proved great fun, with a nice careworn vibe. The Ruby plot is developing steadily, particularly in its use of Rosie, who seems to be doing the right thing, but for the wrong reasons. Maggie Millar really did a great job in playing those conflicts, with the viewer sensing that the reverend was enjoying interrogating Ruby rather more than she ought to be. Somewhat unconvincingly, the insurance company chose not to compensate Harold for his losses, claiming that there was no sign of forced entry. Harold's vulnerability amidst his wrecked living room was nicely observed, and Ruby's duplicity has plenty of obvious mileage. Meanwhile, in spite of the relationship between Ruby and Harold remaining somewhat underdeveloped, the rivalry within the triangle and the foreknowledge of Harold's inevitable fall holds it all together pretty neatly.

Libby and Stuart grow closer as her birthday approaches. Still mourning Drew, she appreciates his support and friendship, though Karl and Susan worry that she is coming to depend on him to her detriment. When Stuart learns that Drew made a purchase for Libby's birthday, an enternity ring, he collects it and gives it to her when she is low, in spite of Karl and Susan's protestations. Libby learns of their covert influence over Stuart and is disappointed and hurt, insisting he spends time with her.

With plenty of nice family moments and some welcome references to Malcolm and Billy sending well-wishes, Libby's birthday was nicely handled, as was her observations on Drew and grief. Judith Colquhoun's script on Thursday was particularly sensitive in dealing with the character, and Libby's comments of feeling awash with grief really got to the emotional core of the situation, without the need for melodrama or hyperbole. Stuart's role seems slightly uneasy, however, mainly because his infatuation seems too obvious and indecently soon to Drew's death. While Kym Valentine continues to excel, one can't help but feel that this story is governed more by a blind rush to get Libby paired-up again than any realistic character development.

Meanwhile, Susan decides that Karl is drinking too much and challenges him to survive a fortnight without alcohol, which he stubbornly agrees to. With plenty of opportunities for the kind of effortless sitcom banter that Alan Fletcher and Jackie Woodburne excel at, this story brought some great exchanges, including Susan commenting that Karl has only been without drink for 50 minutes when he complains, only to have him correct her with a scowl and a withering "52 minutes!"

In other stories, Boyd and Daniel continue to "bird watch" shower-time at the Scully house, much to Summer's outrage, leading Boyd to do the unthinkable and blackmail his sister into shocked silence for once. Summer's crush on Daniel continues to pre-occupy her, while her father Max develops a rapport with Stephanie's friend Jo, leaving Steph overcome with mixed emotions as her feelings for him strengthen. Finally, Lyn receives a phone call revealing that her mother, Connie, has suffered a stroke and she rushes to be with her parents. The latter was a particular highlight, featuring a standout turn from Janet Andrewartha, who gave a simple scene incredible power and impact, making Lyn's devastation and panic positively palpable. Proof, were it needed, that somtimes less is more.