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  1. Ah brilliant, thanks for the clarification/correction. I hope those names were taken as no more than being thrown out there, rather than suggestions.
  2. 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.
  3. 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.
  4. 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 :-)
  5. 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.
  6. 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"
  7. 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.
  8. 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.
  9. Apparently it does ?
  10. 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.
  11. This. I absolutely loved the year 2003 and I also believe that 2003 was the last really good year they had.
  12. 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.
  13. 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.
  14. 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.
  15. 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.