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Thus they are left with the prospect of endless, dull, constant unresolved emotional pain – his retribution upon them for all they did to what was once a family. For so long used as an instrument of emotional blackmail, hence tired of being begged, fooled, lied to, cajoled, threatened, bribed or bullied into siding with one side or the other, Tom, at 15, took it upon himself to “take back control”, as the fashionable phrase has it. Their bitter fights were never about how much they loved him, but about how much they hated each other.
Their divorce turned into war for the sake of war, a common enough feature ever since Henry VIII invented this flawed institution.
Nor, I suggest, for Doctor Foster to regale her “family” with the details of the double decapitation her parents suffered in a car accident when she was 16.
Anyway, I guess that we viewers get what we deserve, in one sense, in that the current fashion for psychodramas must be pandering to some national mood of masochism.
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How’s that for a chat-up line, missus, as that other Scouse poet, Ken Dodd, might ask?
I can’t compete with those eloquent Scousers, and they can speak eloquently for themselves, so, as Mark Kermode always says, here’s a clip from Perrin’s modern love poetry, apparently written on the back of a packet of Woodbines: Let us not hesitate Over what we know Or over how cold this place has become, But let’s unclip our minds And let tumble free The mad, mangled crocodile of love.
They are looking for casual dates, one-night stands, swingerclub visits or just platonic romance. Cities like Bremen with big commercial harbors for intercontinental freight shipping were used to be the best places in Germany to find red-light districts and watering holes with German sex workers aka "Dirnen".
Bremen's Happy Night club with it's typical mature German women reminds a lot about it's national tradition of prostitution.
, though I’m not sure this qualifies as quite the classic “Medea” ending to this timeless story of a woman scorned.
The son, Tom, in a twist on the twist, doesn’t end up dead, as the traditional plot might have it, but disappeared, run away from his bitterly divorced parents, Gemma (the eponymous doctor, played by Suranne Jones) and Simon (Bertie Carvel).