This episode is being pretty unique with no sight of Nikki and only a brief glimpse of Thomas and Helen returning from the conference. You get the feeling that Helen has been 'taken out of herself' in terms of being away from Larkhall though whether this is an advantage or a disadvantage is a moot point and from what point of view. It is of interest that Helen was able to 'drink Thomas under the table' and her eyelids weren't closing on her, the morning after.

This is a new Di Barker who has 'glammed herself up' with the extra time she has without waiting on her mother and raises the question as to whether her need to 'look after her mother wasn't just another obsession, another phase. Bodybag is both remarkably and traditionally generous to Di's efforts over the years. The rest of the episode is her manipulating Mark and Gina whose insecurities make them easy victims. While they have the opportunity to live together or not, to socialise as they please, what stands between them is whether they are committed/ strings to their relationships/ open relationship or not which is a luxury to those imprisoned. It is noteworthy how Bodybag passes off as fact what Di tells her as 'rumour' In this episode, Mark is very easily led astray to have sex with Di Barker and to point the finger at Gina till his cover is blown.

The other storyline is where, for once, Yvonne stands back from openly taking on the PBG to defend Shaz whose bullying by Al is gratuitous cruelty- in that environment, anyone that way minded picks on her as Rachel Hicks was victimised in the past. Crystal is simultaneously held back from defending her and guilt ridden by that knowledge and, in turn, worried for the future as oppposed to Josh's unrealistic optimism. Shed draw out very unobtrusively that the main charge against her is 'harbouring a criminal' (two of them) and reminds the viewer that there but for fortune goes Helen in relation to Nikki.

A very real 'political issue' by Shed is what happens to a disabled prisoner. Karen for all her good intentions shows the very real remorseless power of Budgets that is stacked against her wishes to help. Bodybag's ignoring of how Virginia O'Kane was supposed to get to bed till it is drawn to her attention is lightly and effectively played. The very real physical problems are very graphically played. The fact that the illness is a fraud both doesn't detract from what the real problem is and that Virginia O'Kane isn't defined by her disability but brings out her criminal character. This is on top of dropping the Julies in it (who forgive her for her 'disability' and are laughing with her at Bodybag). In this context, I love the Julies capping Virginia O'Kane's specious arguments of 'friendship' as 'bollocks.' It is noteworthy that while she hates being 'humiliated for asking for help' she is being very dominating with her 'there's a dear' request.

What starts to propel this scene forward is Fenner's instinct that Virginia O'Kane can be exploited. He first deceives an unwary Karen with his 'compassion' and then makes a definite further step towards criminality. Accepting backhanders off Yvonne for a private room with Charlie is an internal disciplinery matter but no more. This is criminal involvement in actively running O'Kane's 'knocking shops' that could put him behind bars just as it did to Virginia. This is the sign for the future.

I thought it strange that: 1, Nikki did not appear in this episode and 2, Helen only appeared briefly. We've had episodes with them absent before, but I found this one strange because it's so close to their final episode. I don't know really, just seemed a bit odd.

Anyway, I also found it interesting that Helen would have "drank Thomas under the table". Not surprising though actually; I mean, we have seen her put away a bit in the past :lol:

I think Yvonne knows though, that the PBG will continue to pick on her unless she stands up for herself. Yvonne doesn't openly butt in, but she does have a quiet word with Shaz about requesting to go on G3. You see that Yvonne does care, but she is also aware of how the brains of the bully works. Given that Al has continued to bully Shaz, even after the scrap with Yvonne, it is understandable why Yvonne would act this way.

Is this the first time we've seen Fenner take criminality outside the refines of the prison? If so, if definitely marks an important point in his character's development.


Sorry I haven't been including myself in these episode discussions recently, and that this one isn't even a big improvement. Just been super busy with lots of different issues, including exams as well as personal stuff. Hopefully will be back on track, in my "Debates-Mind", by next week :) And, just so you know, even though I haven't been posting, I have been reading the debates :)

I'm guessing as both Helen & Nikki were about to leave the series that they were trying not to focus too much on their storyline until the final episodes. Shame though.

There's quite a contrast between the 'so called victim' Virginia and the 'actual victim' Shaz. Perhaps because the wheelchair is visible and gets the sympathy vote unlike Shaz's internal torment. Everyone seems to be roped in to help Virginia while both Yvonne & Crystal stand on the sidelines watching Shaz. Yvonne's plan of getting her to stand on her own two feet is not working, though I can see why she is doing it. Helen senses there's more to Shaz's request for a cell transfer but is unable to get through (or unwilling to spend the time?).

I agree richard. At first glance Di is a changed woman, both mentally and physically. However it is surface deep as it only takes one nasty remark from Gina to unleash Di's vindictive, manipulative self. Definitely a woman on a mission when she's pissed off!

There was a general theme about make up (relating to image maybe?). Di returns with a new image and new make up. The two Julies make up after their falling out. Di tampers with Gina's make up then make ups up rumours about Gina's flirting. Mark wants to do some making up with Gina.

The episode title Revolving doors is a term which describes the early release of criminals who end up back in prison after a short time like the two Julies.

I can honestly say that I hate this episode. Everyone seems so disconnected, not themselves, out of character.

* Yvonne who is usually involved and taking a stand for justice, now distances herself from Shaz who is really in need for someone to stand up for her, or at least help her to stand up for herself.
* Helen appears to have a head full of mice nests and is not actively involved in Shaz's struggle. Even though Helen can see something is wrong, she doesn't probe Shaz or try to get to the root of the problem. And this from someone who is always involved with the women, trying to make things better for them.
* Buki is just pure evil, ganging up with the PBG. There is none of her naivity, ignorance or just plain stupidity in this episode.
* Shaz is totally withdrawn, with good reason. We don't see her cheerfulness and good spirit, she doesn't even try to fight back. She just accepts her lot and longs for Denny.
* The 2 Julies are at each other's throats for a good part of the episode. And even though they have this immensely strong bond between them, they totally misunderstand the police's comments "about a friend" and immediately assume that the one grassed on the other. Totally out of character.
* Di takes her "shrine obsessions" one step further and actually has sex with the object of her desire. Not only that, but she actively participates in trying to break up Mark & Gina - usually she would take a more passive (indirect) approach. It seems as if her evilness is now more focussed now that her mother is out of the way.
* Karen and Jim are just plain *blech*.
* Josh looks like he is smelling shit for most of the episode.
* Gina who is this strong willed person and always speaks her mind is suddenly reduced to, well, just short of pathetic.
* Bodybag? I can't remember if she was just her usual self. Ah, no, she wasn't. Instead of bad mouthing Virginia, she is actually helping her. She actually takes V's flowers to her cell without any snide remarks.
* And Nikki is just absent, poof, gone. Resigned to her fate somewhere alone. Totally disconnected.

The only one, who seems in character, is Fenner. Going about his business as usual.

This slightly bothered me too. When Shaz left Helen's office, the look on Helen's face made me think back to the Rachel Hicks incident. Rachel was much worse off than Shaz; she had no friends amongst fellow inmates and also had problems on the outside with her mother putting Maddie into care.

But Helen put Rachel back in the dorm, where she killed herself. I think Helen sees that incident as a big mistake on her part, so grants Shaz's wish to go where she wants: G3. But what surprised - even shocked - me, was that Helen still gave up pretty quickly, knowing what this could lead to (if you compare it to Rachel).

Microsofty's post has been pretty thought provoking and has kicked off a lot of good ideas. I's qualify the points made which I've quoted as I can see reasons why some of the people have acted as they have done.

I can understand why Yvonne has not been in her normal mode of action as she is afraid that there are the three in the PBG that are after her having done over Al besides feeling too old for her normal physical way of dealing with opponents. She tries verbal advice.

Likewise, Helen is up against a brick wall in dealing with Shaz. She tricked Shaz into revealing her hand when trying to track down Shell and Denny. We, the audience knows what's wrong but I'm a believer in the idea that you don't get the right answers until you ask the right questions. It is a desolate testimony to the fact that, even at the top, unless she has information from various levels, she won't be omnicient and 'all powerful' as Nikki pointed out.

There is a parallel in the way the Julies were at each other's throats and likewise for Gina and Mark as someone was setting them up that way, the police and Di. The conflict between the Julies wanting a house with no men and Julie S's potential for getting back with David's father provided the catalyst.

A lot of good points there, microsofty. Particularly with the out of character comment. I take richard's point that there are explanations for most of them. However there just seems too many character changes to be completely natural or by coincidence. And I would say that it is really the 'good' characters that seem out of character. The bad characters (e.g. Fenner, Di, Al, Maxi, Buki and possibly Virginia) were all exceptionally 'smiley' on the surface but were pure evil underneath. More evil than in previous episodes.

It was almost as if everyone's worst character trait or vice was dominating their personality. Even Helen & her drinking got a mention (in spite of her short screen time). And I think that was why I didn't enjoy this episode as much (apart from the obvious N & H-less reason). This may also be why a number of vices are mentioned in the episode: dodgy massage parlours, drink, sex, chocolate, lying and so on. I think all the four cardinal vices of lust (Di/Mark/Gina), cowardice (Shaz), folly (the two Julies?) and venality (Fenner) were addressed. Not sure if indifference is actually a vice or not (Crystal/Yvonne/Helen). And I'm sure if I thought longer I could come up with a lot of lesser vices in this episode (e.g. rudeness, hatred, bitterness and so on). Possibly even one to fit Bodybag's unusual niceness.

Ah! A reference to the seven deadly sins!

Lust: obsessive or excessive thoughts or desires of a sexual nature - Di
Gluttony: Modern views identify Gluttony with an overindulgence of food and drink - the brief reference to Helen drinking Thomas under the table
Greed: applied to the acquisition of wealth - Virginia & Fenner
Sloth: nowadays described as apathy, depression, and joylessness - Yvonne, Shaz, Bodybag
Wrath: inordinate and uncontrolled feelings of hatred and anger, and generally wishing to do evil or harm to others - Buki, PBG
Envy: desiring something that someone else has which they perceive themselves as lacking - Fenner, Di, (the 2 Julies?)
Pride: the desire to be more important or attractive than others - PBG

I'm sure we can add more characters to the list per category.

Nice post, microsofty. I had just killed a few more brain cells and thought of that connection but your post was definitely much better than mine!

I'm still struggling to connect the 2 Julies. I'm not entirely convinced about envy ... maybe wrath at each other's disloyalty is more appropriate? I agree with Bodybag as sloth but doesn't explain her niceness some of the time. I probably would label Helen as sloth (in that she didn't pursue Shaz's problem). And Crystal as well.

Now I can't quite see why this episode should have this theme. Need to think about this a bit more. And Nikki missing has to be a real sin in itself!

ETA - Since there are also quite a few 'nice' moments (e.g. Jim sticking up for Di, Barbara looking after Virginia and so on). I'm thinking that we maybe need to look at the Seven Holy Virtues as well. Maybe like a revolving door that has two sides, here we have both good and bad.

Chastity: Embracing of moral wholesomeness and achieving purity of thought through education and betterment - Helen (for not sleeping with Thomas)?
Abstinence: Constant mindfulness of others and one's surroundings; practicing self-control, abstention, and moderation - Yvonne (only because she looked positively gaunt in this episode)?
Liberality: Generosity. Willingness to give. A nobility of thought or actions.
Diligence: A zealous and careful nature in one's actions and work. Decisive work ethic. Budgeting one's time; monitoring one's own activities to guard against laziness - Josh?
Patience: Forbearance and endurance through moderation. Resolving conflicts peacefully, as opposed to resorting to violence. The ability to forgive; to show mercy to sinners - the two Julies
Kindness: Charity, compassion, friendship, and sympathy without prejudice and for its own sake - Barbara, Bodybag
Humility: Modest behavior, selflessness, and the giving of respect. Giving credit where credit is due; not unfairly glorifying one's own self - goes against the grain, Fenner?

These are both great posts, looking at two different sets of "rules". Cassandra, I like how you contrasted microsofty's post of "Deadly Sins", with "Holy Virtues". Deadly Sins and Holy Virtues are basically complete opposites. No disrespect to Cassandra or anything, but I think the Deadly Sins were easier to place to individual characters in this episode.

:( Yes, I think you could well be right Lisa. It was only because there were a few moments which didn't seem to fit (e.g. Fenner sticking up for Di and so on) that made me think there might also be a case for the opposite virtue. Also there was a clue in the dialogue which I thought might tie up. The name of the massage parlour was 'Seventh Heaven'. At face value it means happiness but I thought it was maybe also a hint to the Seven Deadly Sins/Virtues

Oh totally goes against the grain, but, places him out of character! Like all the rest. I hadn't given much thought to Babs & Crystal - they seemed to be sort of in character. However, Crystal normally doesn't shy away from grassing on fellow inmates where she sees fit (i.e. where it would serve a greater purpose, in her mind - she grassed on Denny for late Rachel's sake and she grassed on herself for Zandra's sake). In this episode she kept quiet about Shaz being abused - out of character for her?

Hmmm, no one?

I think it may well have been a small hint, especially looking at yours and microsofty's posts which explain the Sins and Virtues so well :)

Well, it was a very small hint so I think there must be something else that we are missing here. Have to leave this idea for the time being (unless inspiration smacks me on the head) .....

I couldn't make up my mind about Di and Mark. Did she fancy him at all? Last time I watched this episode, I thought that she was purely out for revenge over Gina's 'pulling power' taunt and to satisy her insatiable lust. Similiarly when Mark rejected her, she had to have her revenge on both of them. This time round, I thought I also saw a flicker of genuine interest in him (or maybe the idea of having a boyfriend) and disappointment when he rejected her. Any thoughts?

ETA - Interestingly the Revolving Doors Agency is the UK's leading charity (founded in 1993) concerned with mental health and the criminal justice system. Mental illness refers to one of many mental health conditions characterized by distress, impaired cognitive functioning, atypical behavior, emotional dysregulation, and/or maladaptive behavior. And, as microsofty pointed out, here we have atypical behaviour. So possibly the title doesn't just apply to the two Julies but it applies to all the characters as well. So we possibly have both mental illness and physical disability in this episode.

It does seem a bit strange though that Barbara doesn't seem to be out of character .... unlike everyone else.

I liked this idea a lot, and I kept it in mind when I was watching the episode tonight. I think there's definitely a sense, in Di's head, that now that she's free from her mother, her romantic life is going to take off. Which clarifies even more how divorced Di is from reality.

I had some thoughts on this, but I'm not going to be able to post them tonight. I hope I'll have some spare time tomorrow to write up something a little more elaborate.

This is a really good association. I think there's a lot of ways where the writers explain things (ie characters' behavior or decisions) later, using different different characters who make different decisions and then have to deal with the consequences. I always read Neil's closetedness in S4 as a fate which Helen narrowly avoided by being the authentic person that she was.

There's a fascinating juxtaposition with this character, because she's powerful in her powerlessness. Akin to Di's mother, really. We see her control Josh, forcing him to wheel her around the exercise yard. This is someone who isn't helpless, but is very much in control via her feigned helplessness.

I still don't quite buy this escalation of criminality from Fenner. Every other time he took things up a notch, he had a clear motivation. This time, there's no reason. Or, is it the impending domesticity with Karen which makes him fear his life will be a bore?

I think this is a really interesting comparison. Interestingly, Helen isn't helpful because she can't stop projecting her own feelings onto Shaz. She assumes Shaz is sad because she misses Denny because that explanation is so vivid for her in this moment, further evidence that she's missing Nikki terribly. But yes, the character who actually IS helpless can't get any help--like, there's no such thing as helping the powerless in prison, or if you do, all you get for it is a riot (Nikki) or an endless physical battle (Yvonne).

Ugh, me TOO! I was saying to my girlfriend, only three more episodes to go, thank god. And I don't usually feel that way about BG, but watching this episode was a big chore. Not pleasurable at all.

And I agree with all your out-of-character characterizations, except the Julies. While it isn't like those two to be at odds with eachother, I think the writers built up that antagonism very carefully, so it did feel true to their characters, given all the circumstances they were dealing with for the last two episodes.

Yeah, totally. And you're right, that's why this episode is so awful to watch. No one rises to the occasion to be the best person they can be.

I really like the seven deadly sins breakdown, it's a great way to look at this bleak episode. But I'm not so sure about the flip side. The example you mention, Fenner lying for Di, isn't actually a sign of Fenner's niceness. It's a sign of his desire to be the holder of secrets, because secrets give him power over people. It's why he stole Virginia's little black book.

I thought she really was truly scared for her physical safety and Shaz's. More so than she would have been against Shell, for instance.

I lean towards this explanation. Gina told her she couldn't pull the boys, and Di was going to prove her wrong, in as harsh a way as possible.

I had a bunch of thoughts about the episode but I don't have time to write them up tonight, but I did want to respond to everyone else's posts. Hopefully I can write a longer thing tomorrow. There was some other really interesting imagery I noticed which adds another layer I think.

The flip side was just a suggestion but I think it's a no-goer too. As for Fenner, I agree with your comment but I think there's more to it. There's something different about him in this episode but I can't quite pin it down aside from his 'butter not melting' expression. Also Bodybag makes some nice comments uncharacteristically. Agree with your point about the two Julies being in character as their actions extend outside this episode.

There is also a lot of different types of manipulation and setting up going on in this episode : the police and Virginia set up the two Julies, Di sets up Mark & Gina, Virginia manipulates practically everyone and Fenner manipulates Karen & Virginia. In particular as richard pointed out earlier, both the Julies and Gina & Mark are set up to play off against each other. The result is equally contrasting, the two Julies make up while Gina and Mark split (for now). Just thought I'd mention it as there might be a bit more here.

Abzug has raised an interesting question of just why Fenner needs to muscle in on Virginia O’Kane’s racket and this could be explained in terms of Fenner’s need for secrecy, that no one knows ‘all sides of Fenner.’ Because Helen, Nikki and Yvonne can see through him, he is especially paranoid and angry towards them (even if Yvonne will do the odd temporary deal with him) Marilyn only knew him as the ‘hard working husband and provider’ which left him the space for his sleazy relationship with Shell (and at one point, Rachel Hicks as well) Karen thinks she knows him as the hard working principal officer and also the man outside the job as she is in a relationship with him. Fenner almost compulsively needs this running the brothels and ding private deals with Virginia O’Kane to establish this secretiveness. I has assumed that Fenner was just greedy for money but this isn’t the full picture.

This leads me on to the ‘7 deadly sins / virtues’ which ought to be viewed with some caution. The run in between Helen and Nikki over Caroline illustrates this. Helen is arguably jealous of Nikki being with Caroline yet at the same time is definitely being protective of Nikki. In turn, Nikki’s attitude to Helen is mocking, angry and frustrated yet there is a hugely underlying feeling of regret at what has happened to their love with hooks back to Nikki’s poignant daydreaming of a life with Helen when they are both free – this as expressed to Caroline. Shed score so heavily with their ability to handle cross cutting feelings.

Following the old "better late than never" adage, here's my overall thematic take on the episode. I feel like a few areas need a bit of clarification, so perhaps others can expound on the parts that seem fuzzy.

This episode opened with a striking image: a close-up on a red light, the light above the doorway of the interrogation room where Julie S is answering questions. A few minutes later the close-up on the light recurrs. And then later in the episode, when Di pulls Mark into the stall in the loo, the camera focuses on the green of the stall latch being switched to red. So, how are various characters in this episode given the red light or green light? And who has control to stop things or let them go?

The Peckham gang's bullying of Shaz provides the foundation for this theme. Shaz laments repeatedly that she can't do anything to stop them, even as their torture of her escalates. She knows she can't report the PBG girls to Karen or Helen, because she'll suffer an even worse fate. And she can't handle them on her own: it's horrible to watch her give up her mattress and bedding, and then remove her clothes and lie on the floor. Her small attempt to draw the line, to flash the red light, comes to naught when Al pulls out her razor blade. Yvonne and Crystal aren't offering much assistance, with Crystal's impotent cries of protest completely disregarded, and Yvonne unwilling to put herself on the line to call a halt to the situation. Yvonne does finally offer Shaz a solution, although not the solution Shaz expects. Shaz wants Yvonne to stop the PBG, and instead Yvonne shares a piece of mob wisdom: "If you can't beat 'em, leg it." If you can't pull out the red light for them, then try to find a green light for yourself.

Yvonne's advice reveals another layer to the idea of stop and go, which is explored even more thoroughly in the twisted actions of Di towards Mark and Gina. The whole saga begins when Gina mocks Di for imagining Josh's interest in her. Gina calls Di on her charade saying "We can't all have pulling power." Di seems to take this as a challenge, essentially turning on the universal green light to any and every man, starting with Kevin the guard from the front gate to Mark. But Di's tactics are rather twisted, as she entraps Mark at the bar. She won't let him leave, tricking him into buying her a drink. He can't free himself from his machinations, but he doesn't realize how all-encompassing Di's restricting red light will be. So Di gets Mark drunk, and shags him in the bathroom, and in her twisted, delusional way, she thinks that things are a go with him. But they aren't--like on the bathroom stall, when at the moment when Mark gives himself over to Di, the green light has switched to red, Mark sneaks out with Gina.

This doesn't fit with Di's read of the situation, and she adds all these pressures to the already-vulnerable Gina and Mark which cause their own readings of their relationships to warp even further. Di fuels Mark's suspicions that Gina is having an affair with Josh, and Gina doesn't see how Di is contributing to Mark's jealousy. Both Gina and Mark (but particularly Mark) have lost their ability to judge when to stop others and themselves. Mark can't tell that Di is self-interested, and therefore not an objective witness regarding Gina's behavior. But by the end of the episode, he finally realizes what he wants from Gina: a committed relationship, free from Di. He finally gives Di the red light, in no uncertain terms--he'd rather have a wank than screw her again. And gives Gina and himself the green light, telling her "I haven't got the right to stop you from seeing other fellas" but now he wants to "make it official" so that he can be jealous and Gina won't be able to stop him. (This whole scene is sort of a delicious combination of this stop-and-go imagery, with Mark giving a full green light to the relationship and thus giving himself permission to put a red light on all of Gina's extra-relationship flirtations. It's the essence of all committed relationships, which enable certain things, but limit others.) But Di is as dangerous and unstoppable as the Peckham gang, and she purposefully reveals Mark's infidelity in front of Gina, thus tearing Mark and Gina apart. The location of this confrontation emphasizes this red light-green light imagery : the whole scene takes place with all the characters in and around their cars in the parking lot. It's hard to imagine a setting which coule more emphasize the way the characters are trying to go, and yet are halted every time they try to move.

Di is able to weild so much control because she's willing to lie (repeatedly and endlessly) to have her way. What's fascinating is she gets all these other characters to participate in her lies, propagating them further and further. Fenner corroborates Di's story about her mother when Sylvia asks her how her mother is doing, and both Fenner and Sylvia thus reinforce Di's lie about her mother, that "you did the best you could for her." Later Di tells Sylvia the same lie she has told Mark--that Gina is a serial cheater. Sylvia starts spreading the story as fact, and Mark doesn't have a chance to withstand its pressure.

Di isn't the only character who asserts control by tricking other characters into supporting and reinforcing her deceptions--Virginia O'Kane employs the same tactic, perhaps with even more skill and brilliance. After providing evidence against the two Julies (putting the red light on their freedom), Virginia actually manages to get them (along with Sylvia!!!) to help her into bed her first night in jail, and then actually turns them into loyal minions on the wing.

The Julies in a way are more vulnerable than Mark to these types of machinations. Like Mark they placing blame in the wrong place (on the person who loves them the most) for their fantasy being stopped dead in its tracks. Julie S thinks Julie J provided evidence against her to stop her from being with Trevor. They're both furious at the other for not lying, for not protecting their mutual charade. Because as we saw with Di and Fenner, a willingness to lie for someone else is a demonstration of the most reliable loyalty. This lack of loyalty, between Virginia and the Julies, between the Julies themselves, is what makes the Julies the "homing pigeons" they are, with no sense of direction as Yvonne points out. This homing pigeon tendency, though, is how the Julies embody the ambiguity between red and green, between stop and go, between freedom and inprisonment. When they enter their old cell, they both admit it feels a bit like coming home, and they try to overcome their disappointment by reminding themselves they're no worse off than before, that their fantasy of life on the outside (with Trevor) might have been a disappointment as well.

This is a great piece of writing, Abzug which nails down the theme very nicely. The only thing I can add is that the interchange between Helen and Thomas is indeterminate as it signifies that both of them enjoyed the conference in their different ways, Helen watching from the gallery, Thomas on the platform and drinking afterwards which sounds typical conference.

Yeah, I was kind of puzzling how the Helen-Thomas moment fit in. I mean, she's certainly giving him a green light, and vice versa. But there's also the element of him never being able to keep up with her, or exist at her level (the reference to her drinking him under the table, and yet not being bogged down by it the next day).

Interesting point, Abzug. Perhaps this is an early indication of Helen never showing him her hand (as in hand of cards) until the final scene where Thomas forced the issue. On a personal level, my sympathies are with Thomas from past experiences seeing those enjoying themselves into the late hours being offensively clear headed the next day (more so than I felt).

Oooh, loved the red light-green light imagery, abzug. Nice! I had wondered about the significance of the red-green latch in the toilets but I don't think I had even noticed the red lights when the Julies were questioned! Duh!

It did occur to me that the red-green indicators may extend to clothing and objects as well. Red clothing is commonplace at Larkhall but I felt that the green stood out a bit more in this episode.

Shaz wears what looks like a burgundy sweatshirt but with slight red edging I think round the hood. Indicating red for stop maybe? When Maxi & Al start bullying her, they are both wearing green. And there are one or two extras wearing more obvious bright-green shirts in the background of some of the scenes. When Shaz looks to Yvonne for help for example, Yvonne is sitting next to one of the bright-green shirted inmates. Indicating Yvonne is unwilling to stop things perhaps? When Helen is talking to Shaz, she too is wearing green and seems unwilling to stop and listen.

And all the lights around the bar are red to emphasise this.

Bodybag hands Di a green hideous mug, giving Di the go ahead to start spreading her lies.

I did wonder if there was a more general theme of using colour as an indicator. This would tie up both the make up and the Clear Blue Pregnancy Test.

Wow, I hadn't noticed any of those colors! That is fantastic! Very very cool.

Bump, for Logo's broadcast last night.