Decades of history is what sets soaps apart from limited series of drama and, having watched EastEnders throw us back to the late 70s in order to explore some of the origins of the biggest characters in the show, it struck just how much rich material there is to tap into.
It’s an idea that was simple in terms of ‘why haven’t we done this before?’ yet genius in its intricate execution.
EastEnders is a show that proudly boasts of being rooted in family and there are few TV families more recognisable than the Mitchells.
You don’t need to have seen an episode of EastEnders to be able to visualise Phil Mitchell or hear Peggy Mitchell. Even if it is a meme of Phil straining to help Kim Fox give birth.
With over 30 years embedded in the show, die-hard fans sometimes feel they know the Mitchells better than their own families.
There is endless lore out there about the layered tapestry of characters, from thugs and villains to heroes and survivors.
And when it comes to their past, we also know more backstory than we would any character or family in a yearly drama series or film.
But having it referenced in the current narrative and actually watching it and experiencing it for ourselves is a vastly different thing, as tonight’s episode highlighted.
The episode was both very EastEnders and very much not. Design and editing teams went all out on atmosphere, capturing not just the Mitchells but that way of life and the state of the UK at the time.
The sets were a work of art and transported us very effectively into the era and the camera work is sublime, giving a bleak edge to the episode which somehow also felt warm at times.
With one of the opening shots showing Margaret Thatcher on the TV at a time when the UK was in the grips of an economic crisis, the episode painted a hauntingly familiar picture that resonates in quite an uncomfortable way on the day a new Prime Minister is announced.
And the familiarity of the Mitchell family is very much present too – the tragedies, the hardship and the violence.
But not just that, the heart of a family closing ranks to protect one another from all of that, perfectly epitomised through Peggy Mitchell and her boys.
Being able to instantly recognise the Mitchells and get drawn into their world without hesitation was due to a top level combination of writing, casting and acting.
As ever, a Simon Ashdown script laid out 30 or so minutes of engaging storytelling and the casting department went to town finding performers that captured their characters to the letter.
And, while it remained quite ‘wtf’ to see Daniel Delaney looking like Steve McFadden’s double, this went far beyond physical likenesses.
Jaime Winstone was an absolute given as Peggy Mitchell, following her unbelievably moving turn in Babs.
While Barbara Windsor’s performance as Peggy will forever be inimitable, Jaime is the next best thing to the Dame herself and brought a loyal rendition of Peggy that was neither a parody nor a send up.
The Mitchell brothers’ mannerisms were spot on courtesy of Daniel and co-star Teddy Jay and even characters we had not yet met were exactly what we would have imagined – George Russo was absolutely terrifying as Eric Mitchell and portrayed everything we knew about the violent and abusive character.
In the half hour, we learned a lot about the characters and a strong story arc that wasn’t just a haphazard tour of cameos laid out material that will transcend into months of drama in present time.
At the same time, the beauty of the episode was in the fact that you could watch it without being up to date with EastEnders, and be drawn in and able to follow it.
It could well have been a very strong pilot for a long running series – and honestly, that’s how the BBC should see it.
As I write this, the episode is yet to air on TV but there is already palpable anticipation around it; the appetite for it is clear.
And, like me, I am certain that other fans will see the potential of carrying on through the months and even years that follow; we are really just scratching the surface.
The cast have formed bonds and chemistry, the story is already ripe for the moulding given the history is already in place, and there is a very effective formula of having a show that can both support EastEnders and give existing fans more, while also being an entirely independent entity as a drama series.
I want to see more of how Peggy navigates through an extremely tough life with her boys, showing that East End grit and spirit.
I want to see how the aftermath of the robbery murder impacts Phil and how it starts to shape him into the man he will become.
I want to see Sam, Ronnie and Roxy growing up and becoming their own individuals and origins of three of the most popular characters of recent years.
I want to see how Archie’s narcissism and Machiavellian manipulation develops and casts the darkest of shadows over the family.
All writers and actors would be giddy with excitement to be handed so much deep story and characterisation, ready made to play with and, with BBC controller Charlotte Moore recently indicating different methods evolving EastEnders, it wouldn’t surprise me if this might already in the works.
I certainly hope so. The possibilities are endless beyond the Mitchells too.
We hear a lot about soaps having to evolve and projects like these are just a binge watcher’s dream, ideal for online viewing and boxsets.
The genre is in a unique position where they have generations of hundreds of characters from over the years, all with backstories.
Frankly, in the same breath as I applaud the ingenuity of this episode’s concept and execution, I wonder why it has taken so long.
It is setting a very interesting precedent for soap as a whole and one which could be a game changer for the better.
Episode one of the Mitchell flashback was a roaring success. Now let’s have the rest of it and really get going with this idea.
At a time when the mainline show is firing on all cylinders and stirring up excited chatter, bolstering the Walford universe even further could be the key to pulling in new audiences and teasing back former fans too.
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