Toxic Town
The small town of Corby was once famously known as a steelmaking hub in the early 20th century, up until it became unprofitable in 1981. Post that, the borough council undertook the task of excavating and redeveloping the site of production. Within this town, men and women working on that very ground were falling in love, building families and homes, unaware of the tragedy that would one day befall their children. This is the story of Toxic Town. Based on the first-ever case to create a link between atmospheric waste and birth defects, the Netflix miniseries is an excellent study into how everyday people suffer the consequences of corporate and higher governmental decisions and the non-monetary cost of industrialisation. It features stunning performances by Jodie Whittaker, Aimee Lou Wood, Brendan Coyle and Stephen McMillan – all in the bid to showcase women and children as victims of men in power.
While Toxic Town’s initial hook is the potential for courtroom drama and the dissection of governmental decision-making, the script makes it an absolute point to highlight that the stories that matter are those of the families affected. In the show, the three women who spearhead the case against the council are Susan McIntyre, Tracey Taylor and Maggie Mahon. Their individual stories as women, wives and mothers are just as important in the grand scheme of the series as the intricacies of the trial. Their relationship with each other, the quiet and chaotic moments they have with their children, and the contentious dynamic between them and their significant others; these lay the emotional foundation on which the show’s successful execution is built on. The tension within the trial and the courtroom sequences is effective because of the script’s efforts to highlight these women’s domestic lives first before exploring their collective efforts to achieve justice for their children.
Another highlight in the miniseries is its analysis of the divide between men and women. Initially, the stories are separate, with the women building homes, caring for their partners, going through the birth of their children and later discovering their defects. Initially uncertain of the cause, these women begin to spiral, blaming themselves. The women flock together and bond over their common plight. On the flip side, the men in power are struggling with something else – the morality of the decisions they’re making, and the things they have done. There’s an air of competition between these men, displaying power imbalances between men of different positions and sectors, with the council election standing as a physical and tangible reminder of this constant contest. As the story progresses, these two storylines intersect, culminating in a visceral display of how men’s decisions and actions can have lasting consequences for women and their children. Coming full circle, it is the collective efforts of both men and women that lead to achieving justice for the children.
Toxic Town is visually poignant with its dynamic camera angles and cross-cutting between the stories of all the different people involved. It’s this stimulating pacing developed by the editing that will reel viewers in, but they’ll undoubtedly stay for the story and the actors. Whittaker and Wood provide such compelling performances; the nuance they imbue onto their characters and their heartwarming chemistry with each other are the backbone of the series. They shine even brighter as a contrast against the clinical portrayal of Roy Thomas by Coyle. He’s a fascinating villain who truly believes that he is in the right, and it’s adrenaline-inducing for the audience who await his downfall. This excellent show of talent by a strong cast of actors is what elevates an already gut-wrenching and beautifully compelling piece to even greater heights.
Mae Trumata
Toxic Town is released on Netflix on 27th February 2025.
Watch the trailer for Toxic Town here:
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