What Would We Have Done About Nolly? The Noele Gordon and Meg Dilemma - Part 3

Back in 1981, we sent a suggestion to ATV about the future of the Meg Mortimer character in Crossroads. We felt that dropping her was a mistake and that the character had massive potential. We must make it plain, once more, that we don't agree with the Woke, misandrist burblings of Russell T Davies on the issue. Things were sometimes not easy behind the scenes at the motel, but it had nothing to do with a woman being oppressed by men. That's simply Feminist, Marxist model nonsense.

Whatever the difficulties, we felt they could be surmounted - the decision would have been Noele Gordon's - and Meg, the character, could have sparkled her way out of what we regarded as a miserable last few years.

Here, we've polished up and elaborated on our 1981 alternative Crossroads idea. This is Part Three of our little series of articles on the subject.

Part 2 is here.

Our version would have progressed pretty much as it did during the winter of 1981-1982, but with occasional added Meg content.

We would have condensed some of the Mavis's boarding house/motel garage scenes to accommodate some 'Meg Abroad' material. The boarding house and garage were a little too much in evidence during the motel's rebuilding we felt, and although we enjoyed both scenarios, it would have been worth condensing a few scenes for Meg.

So, on with the saga...

Jill returns from the QE2 and tells David what has transpired. David is very relieved that Meg is alright, and pleased that she wants to resume their friendship, but cautious about the notion of a new project. 'Does it involve the motel?'

'I'm not sure,' says Jill. 'I think it might, but I really don't know...'

'Well,' says David, 'I shall look forward to hearing about it when your mother returns.'

Meg visits Matthew in New York and spends some time with Anthony.

At this point we'd hopefully be able to secure a few appearances from Jeremy Sinden.

'It's amazing,' Meg says, looking at her blond haired grandson. 'He's your child and Jill's child, and also Hugh's grandson, my grandson and Charles' grandson. Life is a miracle, isn't it?'

Anthony tells Meg that Matthew has changed him. 'I always baulked at the idea of fatherhood. But I love it. Just watching him... even watching him sleep... I'd never have believed it, but there it is.

'I hope he'll be able to meet Sarah Jane one day,' says Meg. 'She is his half-sister after all.'

'I'm sure he will,' says Anthony.

'Family and friends are the two most important things in the world,' says Meg. 'Good family and good friends are such riches.'

Anthony tells Meg that he has discovered the truth about his father's finances: 'The dear old buzzard was at a pretty complex stage of the deal he was working on when the kidnapping happened. It left him pretty broke at that point, but he would have made a tremendous profit had he lived. As it is, it left a terrible mess for you.'

'I knew it must have been something like that,' says Meg. 'Hugh was far too good a businessman not to have planned everything meticulously for a successful outcome.'

At this point, our memories of Hugh are set free from the terrible cloud created by the writers when Meg was left in the financial lurch after the character died in 1978. We wanted less Meg-martyrdom, and we liked the character of Hugh. An astute and highly experienced businessman, who actually wrote a book on the subject, the scenario of Hugh actually being a financial twit never sat easily with us.

Jill breaks the news of the motel fire to Meg during a phone call in early 1982.

'But, darling, why didn't you tell me? I would never have gone away!' says Meg.

'Because you badly needed the rest and, unless you fancied taking up bricklaying, there was nothing you could have done here,' says Jill firmly.

'You treated me like a child,' says Meg.

'No, Mum, I treated you like someone who loves you and wants the best for you,' says Jill.

Meg accepts that and is touched. She is saddened by the news of Sam's death.

The continuing story of Meg is slotted into the established storylines about the motel, the Brownlows, etc. We loved a lot of the post-Meg storylines and want nothing else changed.

On returning to England, Meg visits Ruth and Andy. She and Andy talk about Granny Frazer - who is sadly no more. Re-establishing Meg's family - Matthew, Andy, etc, would have been important to us. She seemed to be operating in something of a vacuum - with Jill and the motel as her only life concerns - after Sandy's death.

Meg's return to the motel is set for the day of the grand re-opening. She arrives and gives an interview to the Castlewich Clarion about how she began the business in 1963, and how delighted she is at its continued success.

Jill is thrilled to see her mother and, after some initial reserve, it is clear David is also delighted to see her. Glenda, Kath, Doris and other staff greet her and Meg is pleased to be back.

'You know, darling, the place looks completely different, but it really is like coming home!' she tells Jill.

David and Meg discuss her living arrangements. David tells her there will soon be a new suite for a live-in director or manager. Meg says she'd just like to make use of two rooms - her sitting room and the room next door, previously Sandy's bedroom, as her bedroom. David agrees.

Meg and David go to the sitting room. 'I'm looking to the future with great enthusiasm,' says Meg. 'But it's lovely to have this room - a thread of continuity. Lots of wonderful memories!' 

She and David have a drink.

'I must say I'm intrigued by your planned project,' says David. 'Do you feel ready to discuss it?

'Yes, I do,' says Meg. 'I've been thinking everything through, and I want to continue my involvement on the board of directors and in the motel's day to day running, David. Reception stints, paperwork - even kitchen duties if absolutely necessary!' They laugh. 'I'd also like to involve Jill a little more in the running of the place. I think it would be good for her - and the motel.'

David agrees.

'I accept that you are the majority shareholder and in the driving seat, as it were,' says Meg. 'We may not always agree, but we will be able to disagree without rancour, I'm sure of that.'

'I'm very glad,' says David.

'But my idea also involves the motel site and would be an entirely new venture...'

'Do go on,' says David.

And Meg tells him her idea...

Part 4 coming soon...

Russell T Davies: Nolly - with Helena Bonham Carter - Will We Be Watching?

Our favourite photo of Noele Gordon, giving an autograph to a young fan.

An email from 'Vera Downend':

Will you be watching the forthcoming TV drama 'Nolly', about Noele Gordon?

No. We've read the blurb, and it sounds like one of those dreadful Feminist 'Aren't Men Pigs?' type things, which makes excuses for Nolly's personality on the grounds that men are sexist towards women. It's rubbish. It's a misandrist narrative. We can't help thinking Nolly would be forthright in her views. Dramas built around ideologies are not, to our mind, enjoyable. 

Writer Russell T Davies has form - some of the worst purveyors of this type of bilge are chivalrous men. It's patronising to women and typical of the male desire to chuck its own sex under the bus and damsel women. Read this:

As well as delving into the past to find out why Noele Gordon was sacked from Crossroads without warning, this new ITV drama is also a bold exploration of how the establishment turns on women who refuse to play by the rules, the women it cannot understand and the women it fears.

Nonsense. That's rubbish - PEOPLE who don't play by the rules, are not understood and feared are usually eventually ousted, and women have always been part of the establishment. The hand that rocks the cradle rules the world. Everything nowadays is reworked into sexism against women. Nolly was no damsel, she was a huge personality, as flawed as anybody else and brilliant, and her dismissal had nothing to do with her sex.

Every time a retro drama - 'based on facts' - is produced, we are not viewing the facts. We are viewing past events as seen through the lens of today. The 21st Century lens is as fogged and clogged with modern debris as any other.

In fact, chivalry has long encouraged a fawning 'innocent, lovely woman put down by awful men' mindset.

Women as 'done to' never 'doers'. Objects.

Noele Gordon simply got out there and did things. She lived life her way. 

If the Feminist mindset is so sheep-like its adherents imagine somebody had to leave the apparently quivering, spineless female flock to work in television before any other woman would  - and that men and women are  separate species, with men determined to 'oppress' women - they are sadly deluded.

It's a terrible view of the history of the human race, casting one sex as hideous tyrants and the other as jelly-spined nincompoops.

The whole thing reeks of Marxist style historical revisionism, victimhood culture, and narcissism.

Women as lovely, sensitive beings, men as not.

The fact that so many men go along with it, don't question - and never have - shows the truth of the situation.

We must also mention the 'glass cellar jobs' - well over 90% of workplace deaths are still male because they are still the vast majority doing those jobs. Come on, Feminists, surely representation should be more equal after all these years?

Russell has described his screenplay as a 'love letter to Noele Gordon'. Meg was not our favourite Crossroads character, although she was definitely one of them, and we adored Noele Gordon. 

But we prefer facts.

Trying to hijack Nolly's story for the purposes of the increasingly questioned Feminist ideology in all its misandrist "glory" is a terrible thing to do.

Celebrate Nolly, not nonsense.