BROOKSIDE Christine Geraughty
February 1984 Marxism Today 37 BROOKSIDE Christine Geraughty Soap opera is a despised genre. Mention pushes it further, to question why the want programmes that tell the truth and Crossroads, Triangle, Angels or Emmerdale fictional affairs of Ken, Deirdre and Mike show society as it really is.' What is Farm and back come words like 'boring', Baldwin should capture the imagination interesting about Brookside then is that it 'humourless', 'unbelievable', 'contrived'. and the headlines, or challenges the shares the Left's general criticism of soap Its makers either refuse to acknowledge patronising criticism of the audience which opera, articulates the realist aesthetic which that they work in the genre — 'it's an is implied in the ready dismissal of soap lurks behind such criticism and offers the hour's drama a week, with all the operas as 'escapist' because they deal with possibility (although I think Redmond advantages of a cumulative tradition,' said personal relationships. would deny it) of a progressive soap opera. one of Coronation Street's producers — or In such a situation it was encouraging to Certainly, Brookside is different from the admit it with a resigned awareness that it hear that Channel 4 was prepared to invest other serials in its format, the stories it will win them no professional kudos. On £3m in a twice-weekly soap opera, deals with and the characters it represents. the Left, serials are seen as at best mildly produced by Phil Redmond whose com- Serials such as Angels, Coronation Street and addictive rubbish; at worst as a distraction mitment to the serial format had been Crossroads are very much based on the from the serious issues which have to be apparent in his work on Grange Hill and notion of a community — a street or a tackled.
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