UK LAW

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About UK LAW

  1. This. I absolutely loved the year 2003 and I also believe that 2003 was the last really good year they had.
  2. I make you right regarding how the soap journalists react. Whether they say they are still gauging the mood of the room or it is because none wants to be seen as a dissenting voice, their silence is conspicuous, and actually says more about their opinions than anything they could say, in my view. I'll definitely keep an eye out on the (speed of) responses if Ron Carlivati's DAYS isn't considered to be firings on all cylinders right from the starting line.
  3. I only saw this now so pardon my tardiness. As the Head of Continuing Drama at the BBC from 1997-2004, I'd say his record was mixed. Getting the gig off the back of his slightly more 'dramatic' and sensational stewardship of Brookside (body under the patio, Jimmy's grim drug addiction, Barry Grant killing Sue Sullivan and her baby, etc), he was always going to oversee heightened drama and initial rising ratings. I'll try and mine my hazy memory to break down some of what occurred: Eastenders. He (may have) hired the much respected and admired Matthew Robinson in 1998 from Byker Grove (yes, a teenage soap/drama) and it provided storylines such as Grant and Phil's plunge into the Thames and the former's exit from the show, the Saskia Owen murder and Steve's letting Matthew Rose take the blame, Tiffany Mitchell's death, the introduction of said Mr Owen and Billy Mitchell. Under Robinson's successor, (the implausibly 'ordinary' sounding for a senior producer) John Yorke, it's argued the show became even more popular. The Slaters arrival, Who Shot Phil, the axing of the Di Marcos, the introduction of the Truemans), Mo and Trevor's long-running domestic abuse storyline, Ethel's euthanasia at the hands of Dot, as well as Dot finally letting go of Cotton and getting married to Jim. Even towards the end of Yorke's tenure in 2002, stories such as Steve's explosive exit and Mel leaving, most likely pregnant with Phil's unborn child kept the viewers watching. It was the appointment of Louise Berridge in the summer of 2002, that the wheels started to come off. The stories initially kept the viewers coming such as the Halloween fire that killed Trevor and Tom Banks, Billy and Little Mo's romance, Kat and Alfie as well as the death of Jamie Mitchell and the introduction of Dennis Rickman in a story that I felt started to write Den Watts back into the show before Leslie Grantham had agreed to return. Then there was the ill-conceived Ferreira family and the overruning of the square with gangsters (seemingly taking the lead from Guy Ritchie films, hugely popular at the time). Den Watts return brought about an initial spike before the 'hold on, he's back from the dead, what's the malarkey?' kicked in. 2004 was when Berridge lost the show, the viewers and many of the cast. By that time, Mal Young had taken a role elsewhere. Also in that time, he oversaw the creation of Holby City (the baby sibling of Casualty) and afternoon 'cosy soap' Doctors, as well as being the man we have to thank for having Doctor Who back though he wasn't at the BBC when it made air in 2005. I mentioned Casualty in passing but it deserves its own paragraph. From its debut in 1986 to about 1993/4 the show had pretty much been a serious drama, that dealt with issues that faced the NHS, even with its increasing predilection for end of series incidents. With the introduction of serial drama producers, such as Corrine Hollingsworth (read Eastenders, Eldorado, Family Affairs) the show started to flirt with such a format, with growing frequency, but never really committed to it. The show almost lost original cast member Derek Thompson (Charlie Fairhead) who remains to this day, to showing such soapy skin. But in 2001, it was Mal Young's appointment of former Coronation Street and Emmerdale producer Marvyn Watson that tipped it past the point of no return. The much-loved theme tune was given an overhaul, for the first time, characters were placed in the opening titles and from Series 15 to Series 16 (his first) about half the cast changed with absolutely no explanation, the private lives of the characters were seemingly more important than the patients and deaths became commonplace. It was jarring but it's probably why the show ultimately remains on the air today, even if it's punch has become a feather-like tickle. Though the nature and scope of his influence varied (at Brookside, he still had to consider Phil Redmond, who was still fairly hands-on, whereas he more or less called the shots at the BBC) I would examine his storytelling and production style as one of getting the viewers to decide what they wanted. Didactic, strong social messages or heightened, sensational and explosive stories that drew people back for more. Most shows he had reigns over, either directly or as an overseer of other producers, shifted to the latter. Some have dialled it back and found a 'happy medium' whilst others cannot possibly do so, lest they are prepared to lose those who prefer the heightened drama while not getting back those who prefer the older style of television. This is what happened to The Bill on ITV (nearly 7 years gone and I still miss the show badly). I previously attributed what I saw as a recent tonal shift in Y&R to the departure of Tracey Thomson, but writing this post, I wonder if it isn't the network executives, Mal Young's old storytelling sensibilities kicking in (lest we forget, he started out as a scriptwriter, then storyliner/story editor at Brookside) or a combination of them all. For full disclosure, I'm still enjoying the show more than a fair number of the contributors in this thread, it seems, but recognise it still has work to do in order to be where it could be.
  4. Side note: I walked Tom Lister (Carl) in the Stratford in East London area a few weeks ago and was struck by how tall he was. I'm 6'0 and he's easily 6,3 or 6'4. I was in a hurry but didn't say anything to him, but seeing Carl's name reminded me. I'd totally forgotten.
  5. I wish I could remember more of the time (as I was pretty young) or where I read it more recently as a reminder, but it's been said this version of Jack is actually more in line with the 'original' characterisation. Terry Lester's Jack was more like this. Selfish, rough around the edges, invariably drawn to the wrong woman, at odds with Ashley and ruthless as a businessman. To the point it causes problems. And that it was Peter Bergman's good looks and portrayal that necessitated the change into 'smiling Jack'. The habit of losing (to the Newmans) I believe was born out of his feud with Victor. And because it's become so commonplace, and dramatically produces good scenes, consecutive writers have extended the scope of his losses to the Newman children. Case in point, this past week with Victoria.
  6. Is it me or has there been an ever-so-slight tonal shift in the show this week? By that, I mean the Chloe/Adam thread has re-emerged this week, Jack finally verbally admits he is out to get Billy (though it was fairly obvious for a long time now) and that's now a specific element of the Jabot/Brash and Sassy story. The Devon/Mariah strand kicked in this week also as well as Neil and Devon deciding to start a business together. How much the latter satisfies the long-held wish for Neil to drive his own business and how much screen time this new endeavour gets remains to be seen. It would (coincidentally or deliberately) seem that Tracey Thompson's on-screen departure as Associate Head Writer has caused a shift and dare I say, stories are starting to kick in. I guess the reset period is over. Don't get me wrong, she wasn't the Head Writer, so the buck didn't stop with her but I remember a tonal shift occuring in 2008 when Hogan Sheffer joined Y&R after Josh Griffith had his solo time. Suddenly, the David Chow/Walter Palin/Sabrina story became dark and someone (I don't recall) was murderered and dismembered. Then the car crash that killed Sabrina and David occurred. It was very noticeable. The previews for next week do hint at the stories going forward... of course, that doesn't necessarily mean they will be great. Remains to be seen.
  7. Was broadly expected. With that being said, what is the writers arrangement on Monday's upcoming episode, please? Thanks in advance.
  8. This. Though I've long since accepted that won't return anytime soon. Whether it's finances or the fact Jill Farren Phelps got rid of the composers of the themes (with them required to reintroduce them) the current composers are here to stay.
  9. I'd previously (deliberately) ignored this thread as I didn't want to give credence to the notion that people wanted a head writer change so soon after her stories hit the air. At least 'so soon' at the point it was created. And just for the sake of clarification, I definitely don't want her gone. The show more resembles the Y&R I loved and adored as a youngster than it has done in over a decade. And the examination of character and motivations (i.e the scenes in themselves) is fascinating. I feel the pieces are nearly in place in order to drive (actual) story going forward. My opinion, of course and I only speak for myself. However, I must admit to being slightly concerned about how long Sally Sussman will be given with the loss of viewers, pre-emptions or otherwise. If the networks listen as much as they appear to at times, and given what happened when they gave Maria Arena Bell, Hogan Sheffer, Scott Hamner, Jill Farren Phelps and Charles Pratt Jr more time than other soaps do, they may decide to take a more 'modern' approach and exercise their option to dismiss sooner than before. What it also may do is raise the question of what type of soap/storytelling do viewers in 2017 want to see? It has said before that it may just be the fact that (any resemblance or attempt at) the Bill Bell style doesn't accord with with the tastes and attention span of the 'younger viewer'. Sadly, for me, it would appear to be true. And if a change were to occur (and with it goes Kay Alden, et al) what does that leave Y&R with option-wise?
  10. She has. If I remember correctly, I think it was the 3rd set, just before Doug Davidson. She looked gorgeous, of course. I'm not certain of her placing, but she has been featured. EDIT: A quick check of the interweb and it was actually Friday 17th February... and yes, she was before DD.
  11. Today's episode features both Sharon Case and Tracey Bregman (her 1st appearance on these new credits). As for where the find them, glib though the answer is, I'd say initially, by watching the episode. Someone will probably extract the credits shortly.
  12. Congratulations to Days. To be honest, the change of Head Writer was a clue that someone within the show knew something.
  13. I'm looking forward to the bonus version... 30 seconds and 9 various poses of Faith Newman ? You know it's coming.
  14. How on earth did they keep that quiet up to now? Usually, there are hints or leaks. My opinion, it's not bad at all. There are obviously more versions but this initial one is quiet easy on the eyes. Or mine, anyway. Maybe I need to wipe my glasses. The actors all look quiet attractive, which is in contrast to the previous version, where it was hit and miss.
  15. His name has started appearing again. 2 days in a row this past week I believe. I also noticed that Sara Bibel's name appeared on the same title card (as it were) as Brent Boyd. This is Monday 13th February. Just under his name. I don't know if it means she just assisted him to do whatever his role is (the name escapes me) for this episode or if she will assume his role going forward. Remains to be seen.