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  1. This closest (but not fully) represents my views on the matter so as to not to fall foul of repetition on those points. Certainly not the best news to wake up to in terms of Kay Alden. The last time Mal Young had this much direct control of both writing and production was when he left Brookside in 1997. Under is six-year tenure as Series Producer, the show did largely move away from its social commentary, (some have said) anti-Tory stance and into the more head-line grabbing stories such as the famous Trevor Jordace body buried in the patio storyline that lasted well over a year. I'm trying to remember the timeline but I believe the religious cult ending with the leader accidentally blowing himself up and a supposedly deadly virus sweeping through the close occurred under him as well as an incest storyline. There was also the story of Barry Grant pushing a woman and her months-old baby off Brookside Parade to their deaths, as well as a long decline into drug addiction for Jimmy Corkhill and (in a plot that may seem familiar to a current Y&R story) the first pre-watershed kiss between two female characters, Beth and Margaret. Though from what I remember, it seemed to more about the media headlines and ratings than telling a love story. Most Brookside episodes can be found you-know-where so if you want to see for yourself (About February or March 1991 is where Mal Young's name starts appearing as Series Producdr and it's later in the year when the tone really changes). Though not as directly hands-on with the BBC shows he oversaw, as Carl correctly said, Eastenders became more loud, pulpy and 'aware of the press'. It sometimes worked with the right producer (Matthew Robinson and John Yorke) but subsequent wrong appointments (Louise Berridge and the oppressive and ultimately fleeting Kathleen Hutchison, quickly brought in from Holby City) worked less and the media glare meant it was all very high profile. Of the other shows he oversaw, long-running hospital drama Casualty saw the other big shift into sensationalism, possibly taking its cue from ITV's police drama, The Bill, in becoming a full fledged Serial. The results were mixed at best. He certainly has/had sensibilities that more closely resemble a Charles Pratt Jr than the now-recently departed duo, so it'll be interesting (if not worrying) to see how the show looks come the autumn. That is, unless he has another writer lined-up to come in. Now, who do we know out of work at the moment?
  2. 24? Blimey! Good for him, I say.
  3. Some assistance required, please. The 7/21/17 (yes, I'm now used to the way the US does the dates) episode of the Young and the Restless was scripted by a fellow called Adam Samuel. Any information? Many Thanks
  4. Ah brilliant, thanks for the clarification/correction. I hope those names were taken as no more than being thrown out there, rather than suggestions.
  5. It was Kirkwood who introduced the 'David Essex-branch' of the Moon family and the Gold family. As well as the killing of Pat which people may never forgive him for (even if he did manage to get Nick Berry out of retirement for 30 seconds and Michael French to return). The good he did do, such as the year-long terror Dr Yusuf Khan (the brilliant Ace Bugatti) brought upon the Masood family will never be remembered to the above. Moving the E20 cast to the main show yielded mixed results. To be honest, I'm not sure how much he would want to return, given that fact he gets to call the shots at Hollyoaks and as I pointed out when he joined the first time, the BBC is a heck of a machine he has to work within, with more people to answer to, including Piers Wenger (formerly of Doctor Who) and Oliver Kent. The 4 people I would advocate (Myar-Craig Brown, Kathleen Beedles, Johnathan Young and Tim Key) sadly no longer work in soap/drama and the only other I would say is good at giving shows a shot in the arm (initially) is heading up Coronation Street. Paul Marquess? I'd say no. His last chance has probably come and gone with the chaos he wreaked on Hollyoaks (even if he created the Brendan Brady character that so many loved). After the damage he inflicted on both Brookside and The Bill. For some reason Alison Davis is always gone as soon as she arrives at Eastenders, even though she has shown over the years to be a good hand. Liza Mellody (who I didn't even know was back at the show) is a no-chance, no-brainer. She's too closely associated with Sean O'Connor, and as a tandem, they were canned from Hollyoaks about 13 (?) years ago. Even though I didn't mind the changes they brought to the show, I think something didn't click and they didn't last too long. Even if she was the perfect candidate, she is one of O'Connor's people and I don't see her staying. Simon Harper, current Executive Producer of Holby City, and soon Casualty. He's just got those gigs and it's his first executive job so it may be soon? Plus, he's seemingly in the mould of Oliver Kent, who I can't stress enough, I can't trust with a show like Eastenders after the mediocrity he inflicted on Casualty, both as Series Producer and latter as EP. Kent is still pretty young and obviously a schmoozer, hence his promotion within the BBC. I'm not saying they would or should, but apart from promoting from within the show (and I know how 'popular' Alexander Lamb is) there is the option of 'left of field/statement' appointments such as current writer/storyliner/editor(?) Jerome Buchan-Nelson (young, black, and yes that would be a 'thing') Or Vikki Tennant, who in about 10 years went from River City in Scotland to Hollyoaks as a writer, to Emmerdale as a storyliner/editor. I believe she is back at Hollyoaks as one of the Series Producers. Or maybe even former writer and consultant, Simon Ashdown? Dare I suggest that former acclaimed writers Tony Jordan and Sarah Phelps have outgrown the show? Whoever it ends up being, great care is to be taken.
  6. Well, this is unexpected. The timing will make people believe that this came off the back of the Soap Awards and the general criticisms, but assuming it is as he has said, then the fact he is leaving on his own terms will probably annoy a lot of the DS rabble. You know a lot of (us) Brits love a sense of punishment or retribution. Of course, The Sun (who appear to have been the original breakers of the news item) are reporting he WAS effective told to go. We may never know exactly what the true reason is, but I know which version many people will 'prefer'. So John Yorke returns (again) as a temporary safe pair of hands presumably as a permanent replacement is sought. It would be 'something' if someone like Oliver Kent or even Bryan Kirkwood ended up back at the show, in the ultimate case of being careful what you wish for. Whoever it is, I don't think the Eastenders viewers will be happy.
  7. I'll give in to uncharacteristic shallow indulgence, and say that Mishael Morgan and Angell Conwell in the same scene... that's me for the week :-)
  8. I don't disagree with the 2nd part. which begs the question (and I wish I wasn't, to be honest): Who's version of Y&R are we (or rather a few extra posters) enjoying a little bit more? Sally Sussman? Are we simply seeing a clicking of some of the various components she set in motion from roughly December 7th 2016? Such as Neil and Sharon being more of their old selves, and Jack, Nikki and Ashley undergoing somewhat of a public analysis, Gloria and Ravi being somewhat employed to that effect. Cane's inferiority complex being played more and Victoria's partiality towards Billy. Each leading to that 'click' in the month of May. Mal Young? Who I have read has a step daughter who looks like the character, Tessa. Young, who's wife is a musician, and I've seen people attribute the introduction of 'European Bohemian-looking characters' like Reed and Scotty Granger to. And his own dramatic sensibilities can be sensationalistic-leaning. Who has declared his love for both Mariah and the pairing of Billy and Phyllis. Or any number of the CBS/SONY executives who, it seems, initially got a real kick out of Charles Pratt Jr's vision of the show and may (now) be partial to the stunts and heightened drama? The word being that they may have mandated changes and the playing of certain stories.
  9. Another decent episode with another hook in the Dina story. There IS more to Graham and there IS something going on. I'm liking this story. As said by others, when Devon and Hilary are on screen, there's this undeniable angst, chemistry and beauty. And Victor nailed it with his parting words to Victoria. "None of you gave a damn about Adam! He wreaked havoc on this family"
  10. Is it bad that I was memontarily waiting for Victor Newman DiMera to pull a fast one and orchestrate a body switch? ? Now I've settled (for now) on the fact that this walking and quacking like a duck seems like an actual duck, it'll be interesting to see how the reaction is handled. I've not been particularly down on the show, but I do agree with the fact that this month built to something pretty cohesive. Hopefully it doesn't fall apart at the drop of a hat going forward. Though I do wish stories would last a little longer.
  11. I do beg your pardon, I should have been more clear. I meant that the general timeframe doesn't apply to Days Of Our Lives, because of how far ahead they film.
  12. Apparently it does ?
  13. I've seen a news report on Sky News about this strike. So no turning back, it seems. Given the 4-6 week gap between shooting and broadcast, how long of a gap is there between writing and filming, and thus, how long would it take to start seeing 'strike' episodes? I know this doesn't really occur to Days Of Our Lives. Who I also think will feel it most when the episodes do air, because Ron Carlivati's style, construction and sensibilities seem to be so different to almost anyone else involved in the show who could step in.
  14. This. I absolutely loved the year 2003 and I also believe that 2003 was the last really good year they had.
  15. 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.