She made a brief appearance in an earlier episode when she asked Ellie for money or something and Ellie brushed her off. the implication was that Ellie had bailed her out in the past. Maybe someone else will remember that scene better?
Never tied up the loose end of Danny arguing with the postman, did we?
The Wikipedia article on the show has more details on Lucy Stevens, who is the sister in question. I have no idea whether the details are correct or whether this is information that was in the show but I missed.
There had been a scene where she came to Ellie’s house to borrow money. The family dynamic was Ellie being the successful one and her sister being the messed-up one.
So, more irony.
Someone at IMDB posted that scenes were cut from every episode, to allow time for commercials.
Oh, no shit? I started watching the American broadcast, but then watched the last few episodes all at once via streaming (possibly from a dubious source, I dunno ) and that scene was definitely left in on those. It was the significant rolleye moment I mentioned above due to the unlikelihood of such a thing ever being permitted in any modern police station, though it made for good painful drama of course.
I’m amazed that scene was cut. I’m amazed they have the balls to cut anything - wtf is the matter with these people!
It’s important as it’s the big scene between the two men, two fathers. Mark very much needs to know exactly what happened to his son, and Joe badly wants to explain nothing happened.
Well, it was made by a commercial tv station and so runs to about 47-48 mins … no idea what BBCA does with advertising.
In the end Ellie did give her cash for a piece of information about what she had seen in the street.
I believe on American television, a show that runs for an hour including commercials is only about 42-43 minutes without commercials. So if the program ran about 47-48 minutes in the UK, it would have needed some cuts to air in the US. A few times, though, BBC America has run shows in a 75 minute format so that nothing needs to be cut. (In particular, I think that’s what they did for Top Gear.)
It’s a nice, quick read and the postman bit is at the end:
I can see they’d run what are 60 min show in the UK to 75 for the US, but you’d also hope the BBC would have more class than to cut a quality drama.
Not in the US edition I saw, certainly. Do those who saw the full version recall any tie-up of the postman-argument clue?
It is commendable in storytelling when even the red herrings are shown, in the end, to have an explainable connection to what occurred. Doesn’t always happen, of course.
In re the psychic: I was relieved that Chibnall was NOT going in the “here it’s revealed that the supernatural is real” direction. There’s so much of that on television (and in other filmed entertainment) these days. I agree with those who’ve discussed the ‘cold reading’ possibilities depicted; of course the character might well believe he’s genuinely psychic, while unconsciously employing cold-reading techniques.
As for my comments about gender scapegoating: it’s proverbial that we all see what we want (or expect) to see in our entertainment. “Meaning” is notoriously subjective. But I’m coming from the same sort of mindset seen in the recently-publicized research analyzing
Changes in language and word use reflect our shifting values, UCLA psychologist reports | UCLA
What we produce is not random; what we produce–stories, novels, screenplays, essays, journalism, diaries…all of it–reflects not only our own preoccupations, but also the era we’re writing in.
For example, in the fifties and sixties, many popular-entertainment products referred to the dangers of automation and computers. (Captain Kirk talked…how many computers to death, now?) People were drawn to works that scapegoated automation and computers as the Source of Ills.
In the late eighties in the USA, similarly, many popular works dramatized anxieties about the relative success of Japan’s economy as compared with the American economy. (Nakatomi Plaza, anyone?) People readily consumed stories in which the Japanese were scapegoated as being the Source of Ills.
Stories targeting computers or Japanese people as being the Reason Everything Is Awful simply would not sell today, because conditions have changed—and the zeitgeist has changed.
And frankly, if anyone in 1968 had said “what’s up with all these stories about how computers are dangerous and should be watched?”, or if anyone in 1990 had said “what’s up with all these stories about how the Japanese are dangerous and should be watched?”…they would have received a very negative reception.
Oh, I remember now. The sister wouldn’t spill until Ellie gave her money. The sister saw a guy in a hat putting something in the trash. When Ellie told Alec, he jumped on her case about waiting so long to tell him.
Except that it’s still not explained. In the article Chibnall says a scene with Ellie and the postman was cut, but he doesn’t say what was in that scene.
I thought Danny’s father was having an affair? Was it with another guy?
No, it was with the woman who ran the bar/hotel.
Apparently, Broken Briton believes that only the married can commit adultery. (Which, as I already pointed out, Hardy’s wife did.)
Even if she wasn’t married, wasn’t she still “committing adultery”?
(he asks rhetorically… 
)
Apparently, Broken Briton saw this show a few months ago and doesn’t remember every detail.
Can I suggest you have a coffee and come back to this question yourself.
I agree with your larger point that in the show men are weak shits - even the main male lead had his issues. But the women don’t come off much better.
I lost it when Ellie started retching in the corner.