I know, I know, my reviews of The Mill have not so far been exactly riveting. But, believe me, it’s that or The Cat in the Hat (and you may even be treated to that before long).
Anyway, this week in Depressing Victorian Factory Land, Esther and Lucy run away to Liverpool to find one birth certificate and one sister, respectively, and Doherty (known in my head as The Irish Guy Who Looks Like A Parisian Revolutionary, which is a long thought to have in the middle of a TV show) is once again stirring things up among the workers. Robert Gregg, the factory owner, is gradually becoming more and more unsympathetic as a character, and the engineer whose name I can’t currently remember (the Internet informs me that it is Daniel Bate) is trying to balance his employment at the Evil Mill with a sense of social justice.
I always become quite suspicious with period dramas at the point when a character goes, “This will go down in history”, because a) this is very obvious dramatic irony, and b) historical moments are rarely that noticeable, to be honest. And I’m getting rather bored with The Mill; somehow it feels that it’s trying too hard to be gritty and relevant and yet Victorianly sentimental all at once. There’s a lot of injustice and cruelty, but somehow it’s never too unjust, never too cruel, so it essentially ends up as a uniform grey soup of depressingness without any actual sense that this will ever change. Happily, there’s only one episode left, so hopefully something will happen. Or not, as the case may be.