dannigold

Diederick Santer removed all the producers from Eastenders when he took over in 2006

New 'Oaks boss shakes up production

Hollyoaks showrunner Paul Marquess has replaced three of the soap's leading producers in a bid to streamline the programme's creative process, Digital Spy can exclusively reveal.

Marquess, who joined the show last month following Lucy Allan's short stint at the top, took the decision to restructure the top-tier hierarchy at the soap in a bid to create a more effective production team.

Henry Swindell, Caroline Roby and Rachel Hall have all been released from their contracts with show makers Lime Pictures in Liverpool as the position of 'producer' has now been made redundant. Instead, a more streamlined approach has been adopted.

Former head of Hollyoaks' production and ex-Coronation Street producer Trina Fraser returns to the soap as line producer, while once-EastEnders and The Bill story editor Claire Fryer assumes the role of Hollyoaks' series editor.

Speaking exclusively to DS, Marquess said: "I'm delighted that Claire has joined the team as series editor and that Trina has returned to Hollyoaks as my line producer. The editorial changes to the team mark the beginning of the show's reinvigoration and I'm confident that the three of us will form a focused team that can drive Hollyoaks to new heights."

A Hollyoaks source this morning said: "There really is a buzz about the place now. We've a fresh direction and Paul's certainly the man for the job. He's a breath of fresh air and we've every confidence in him."

The changes to the teen soap's production lineup have taken immediate effect and episodes under the new team will begin airing from the middle of the year.

Deleted

Enders denies Bradley suicide plot

EastEnders bosses this morning refuted rumours that one of the show's much-loved characters is to commit suicide during the soap's live 25th anniversary episode.

A tabloid newspaper today claimed that Bradley Branning - played by 22-year-old Charlie Clements - will stun the residents of Walford by leaping off a building and plummeting to his death in "one of the most heart-breaking soap goodbyes ever".

However, a spokesperson for the soap this morning told DS: "We will not comment on Bradley's exit storyline other than to say he does not commit suicide."

Back in November, Clements announced his decision to quit EastEnders after nearly four years in the role of Bradley.

At the time, executive producer Diederick Santer said: "I can promise a big exit for the character."

The BBC soap's live 25th anniversary episode will air on Friday, February 19 and features the 'Who Killed Archie?' reveal.

Sunday start for new 'Oaks chief

Incoming Hollyoaks producer Paul Marquess is due to begin work at the soap only two days after his appointment, Digital Spy can confirm.

Yesterday, Marquess was announced as successor to Lucy Allan who quit her role as the Channel 4 serial's leading producer after only 12 months in office.

DS today learned that Marquess will take the reins at Hollyoaks' set at Lime Pictures in Liverpool tomorrow morning.

The cast and crew of the Chester-based soap have been drafted in for a weekend's filming following several days of disruption due to the recent snowy weather.

Marquess is expected to introduce himself to the rest of the Hollyoaks team at some point in the day, before acclimatising himself to his new surroundings.

A source today told DS: "It's all been a very quick turnaround at the top. There'll be a short handover period, but Paul officially takes the helm on Monday and he's really looking forward to the challenge."

Speaking of his new appointment yesterday evening, Marquess said: "I'm a huge soap fan so to be handed the reins of Channel 4's flagship teen drama is not only a huge challenge but also a massive honour."

Marquess's previous television credits have included Brookside, Family Affairs, The Bill and Footballers' Wives.

I found this article from 2002, it talks to Paul Marquess who was working on the Bill at the time

Serial killers

Veronica Lee meets prime-time's hit squad

If your favourite soap is lacking in lather or your serial of choice has lost its bite, chances are it will soon be hiring the services of a new executive producer. These are the guys, among the highest paid but least-loved people in TV, who are called in to turn round a long-running show's ailing fortunes by whatever means necessary, including killing off much-loved characters or sacking stars. Such is their fearsome reputation that the tabloids have dubbed them the "Mad Axemen".

If your favourite soap is lacking in lather or your serial of choice has lost its bite, chances are it will soon be hiring the services of a new executive producer. These are the guys, among the highest paid but least-loved people in TV, who are called in to turn round a long-running show's ailing fortunes by whatever means necessary, including killing off much-loved characters or sacking stars. Such is their fearsome reputation that the tabloids have dubbed them the "Mad Axemen".

The title was applied to Paul Marquess when, on his first day on Brookside in summer 1999, he called in eight actors to tell them their characters – including the entire Musgrove family and Sinbad the window cleaner – were being killed off. Last autumn, he was hired to revamp ITV's police drama The Bill and this time his hitlist was seven actors and most of the writing team.

The Bill has gone through many formats since its inception 18 years ago. Twice-weekly, thrice-weekly, half-hour and hour-long formats have all been tried and there has even been a brief flirtation with soap in 1998, when it hit rock bottom. Audiences were falling, with very few under-35s watching, and something had to be done. In America, of course, the network would have cancelled the show (even after just three episodes, as John Cleese found recently with his sitcom Wednesday 9.30), but in Britain TV companies prefer to go for a new man at the helm and a spot of rebranding.

The reason is simple, says Marquess, a 37-year-old Northern Irishman. "To replace it would be very difficult and very expensive in terms of destroying old sets and building new ones and creating new production teams. Also there's great affection, loyalty, a regular audience who have watched the show a long time. The Bill's a bit like Marks & Spencer – there's nothing intrinsically wrong with it, but it's just been allowed to get a bit tired."

Marquess, who as story editor was responsible for overseeing some of Coronation Street's most gripping plots in recent years (including Deirdre in jail), and later as executive producer revitalised Brookside's fortunes following the vacuum left by creator Phil Redmond's departure, hadn't watched The Bill in the six months before he was offered the job. But, he says, the weakest characters were obvious. "I just watched it on tape and decided who wasn't working for me. It wasn't necessarily the actors' fault, as in some cases the writers hadn't invested in their characters, the storylines weren't plausible, or something hadn't clicked."

Brian Park, 47, executive producer at Coronation Street for 15 months before he reworked Family Affairs in 1998, agrees that longevity, while bringing loyal audiences, throws up its own problems. "There's obviously a burnout factor and a need of rejuvenation every now and then," he says. "A change of executive producer often works because it does give the chance to clear out the deadwood and rebalance what works with a show."

While the original creative teams might stay for decades, subsequent ones come in, do the job and leave. "We have a change of executive producer every two or three years," says a spokeswoman for EastEnders. "Any longer than that is tough for anybody." The current incumbent, John Yorke, while overseeing the departure of characters such as Grant Mitchell and Steve Owen, has resisted the attraction of major surgery, unlike his predecessor Mathew Robinson, who wrote out or killed off 23 characters, including Kathy, Cindy, Bianca and the Kapoors, within a year of taking over in 1998.

Executive producers are perhaps most famous among their shows' audience for their big bangs. Marquess torched Sun Hill police station – "saves doing each storyline separately" – to get rid of his extra-to-requirement characters (the death toll included Chief Inspector Derek Conway, DS Vik Singh and PC Di Worrell) while Park blew up a canal boat on Family Affairs to wipe out almost the entire cast and Redmond, creator of Grange Hill, Brookside and Hollyoaks, woke up a dozing Emmerdale Farm audience with a Christmas 1993 plane crash that killed half the cast but doubled the audience to 17 million overnight.

But aren't big bangs an easy way out of the problem? "I'm sure that some people think our explosion is a bit cheap," says Marquess of the Sun Hill conflagration. "We needed something to grab the ratings, we needed to have a clear-out of the cast and we needed a big story to bring in the new regime.

"But as long as there's a good strong storyline that you follow through, you can justify it. When I was on Brookside, we wanted to do something big for the show's 18th birthday and we killed off Susannah Farnham. But that story had been started months before, we had several suspects and it culminated in a five-night special that got some really good crits." Brian Park says of the pyrotechnics: "They won't by themselves save a show, but they can act as a wake-up call to audiences – 'Oh, that looks interesting, I'll give that another try'."

Park, whose time in charge of Coronation Street overlapped some of Marquess's there, didn't need the services of an unfortunately placed gas canister or an unlucky flight number – he could just have waited for the Grim Reaper to pay a call. In fact, one actor (now dead) was so past it that it often took several takes to film him walking across the street, and other actors had to have his lines written on Post-It notes stuck on their foreheads or pint pots in the Rovers.

"I looked at the cast and simple arithmetic showed me the median age was something like 65," Park says. "It had gone from a show that you would watch to one your mother would watch to one your grandmother would watch." So, inter alios, out went Percy Sugden, Derek and Mavis Wilton, Don Brennan and Bill Webster.

An executive producer's lot is not a happy one, in the first few months at least, as sacking actors is the first task they have to undertake. They all say it's the least pleasant part of the job although, as Park points out: "Being unpopular comes with the territory. And you're very highly paid for it."

But for every disgruntled actor dropped from the cast, there are others who are grateful for the chance to shine. "Kevin and Sally Webster [on Coronation Street] had years of washing their hands and eating baked beans on toast," says Park. "Michael Le Vell and Sally Whittaker were then given great storylines, including his affair with Natalie, Sally's catfight with her when she found out and the subsequent divorce." The sackings also gave him the chance to introduce new, younger characters, including the Battersbys and a sexed-up Nicky Platt, into the cast.

Marquess, too, has had the agreeable task of telling some of The Bill's regulars they're staying and will be getting some meatier lines than "Cuppa tea, guv?" "I had a chat with one actor who I thought was unfocused and she said she felt she would never play a new scene again. I think before on The Bill the characters served the story, actors felt lines weren't written for them so they didn't commit. Now she's doing some great stuff."

Long-running programmes can become complacent and incoming exec producers, fresh to the show and with allegiances to nobody but their bosses, can dampen some egos that have been allowed to run rampant – "Nobody should be bigger than the show," Park says. "From vanity, actors will wear nicer clothes and dye their hair regardless of how rough their character is supposed to be. I went through the wardrobe at Corrie and found Armani labels, even a white camel coat for someone selling newspapers. The Rovers was starting to look like the Royal Enclosure at Ascot – I've never seen so many pastels."

Marquess's revolution on The Bill is now taking shape after eight months at its head. Over the next few weeks we will see the denouement of the explosion story and the real start of his regime (delays in production time being what they are), with the introduction of new characters and the relaunch of the programme at the end of June as a serial rather than a series. He is making wholesale changes on the writing side too, cutting the 70 writers attached to the show in the past (mostly male and middle-aged) to a core team of 12 plus a dozen additional writers, including younger people and women. He still writes the storylines, but feels he can shortly hand over much more of the programme's future to them.

"It'll be much more democratic once the system is up and running – it'll be up to the writing team as to who stays and who goes." Then he remembers his tabloid nickname and gives a wicked smile. "But if I want someone to go, they'll go."

Hollyoaks' producer Allan quits soap

Hollyoaks producer Lucy Allan has quit as the Channel 4 soap's leading lady after just over 12 months in the role.

Allan, who succeeded incoming EastEnders producer Bryan Kirkwood, took office at Hollyoaks' home at Lime Pictures in Liverpool last January.

Since her appointment, she has overseen storylines which have included soapland's first ever non-linear week and the recent 'flashforward' instalment featuring Calvin's death.

She will be replaced by former Bill exec and Footballers' Wives creator Paul Marquess.

Speaking of her decision to stand down, she said: "I am very proud to have been part of the Hollyoaks team. I've had a fantastic time working on this show but am now equally excited about what the future will hold."

Of his appointment, Marquess said: "Taking up this position at Lime Pictures feels like I'm going home, as I began my career working with both Carolyn and Tony at Granada and my first major project was Brookside at Mersey Television. I'm a huge soap fan so to be handed the reins of Channel 4's flagship teen drama is not only a huge challenge but also a massive honour."

Lime Pictures creative director and Hollyoaks exec producer Tony Wood added: "I'd like to thank Lucy Allan for making such a contribution to Hollyoaks over the years and wish her well for the future. It’s very exciting to be working with Paul Marquess again. He’s one of the best showrunners in the business. This is a brilliant appointment for Hollyoaks."

Allan is currently discussing other "new drama development opportunities" within Lime Pictures.

I found a video interview with Diederick Santer from today's This Morning program

http://www.dailymotion.com/video/xbuwoy_eastenders-special_people

I think we will start to see a lot more Amira. This is an excerpt from a digital spy article with Marc Elliot

How do you think he'll cope?

"It's a very rocky road. From what I've already filmed, there are quite a few rough patches for them. It'll be interesting to see how it develops psychologically between Syed and Amira. Syed's starting to show signs of being quite a cruel character but it's only through his own bitterness and resentment that he starts acting the way he does - it's the way he deals with it. Poor Amira's none the wiser, so Syed's not acting right and she has no idea why. It's a really important story for the bride this one, too, because there are a lot of women - Muslim or otherwise - that are married to gay men and don't know about it."

Heres the wedding promo

http://www.youtube.com/watch?v=TvJDuTgahN0&feature=channel

Behind the scenes feature

http://www.youtube.com/watch?v=rrZUXkCJVv8

I found some clips from Saturday's Eastenders Revealed. There are clips of Diederick Santer, Simon Ashdown and Dominic Treadwell collins

http://www.youtube.com/watch?v=nwoxZod100E

http://www.youtube.com/watch?v=EvigFrJ8gp4

http://www.youtube.com/watch?v=gIcxBjqtGW0

Part 2 of Diederick Santer's interview, where he talks about the handover to Bryan Kirkwood

http://www.digitalspy.co.uk/soaps/s2/eastenders/interviews/a189591/diederick-santer-executive-producer-eastenders.html

BBC One - Christmas 2009 Drama Trailer

http://www.youtube.com/watch?v=Gc6EES-qxH8&feature=related

Eastenders christmas 2009 trailer

http://www.youtube.com/watch?v=KE4xD1e1NgU

Kim Crowther steps down as Corrie producer

Coronation Street's leading producer Kim Crowther is to step down from her position after two-and-a-half years.

She will be replaced by former Doctor Who series producer Phil Collinson in the second half of next year, just a few months before the show's 50th anniversary celebrations.

Speaking of her decision to stand down, Crowther said: "Coronation Street is very special to me. It's been a huge privilege to work with such a wonderful cast, production and writing team. But after a couple of great years, I'm looking forward to reintroducing myself to my children."

She continued: "I'm delighted to be passing the baton to Phil, and wish him all the best for what should be a spectacular fiftieth year for the show."

Crowther joined Coronation Street in November 2007, succeeding Steve Frost as the soap's showrunner.

Collinson will begin working at Corrie's Manchester home at Granada Studios from March to allow for a substantial handover period, before he officially takes office from late summer. He will work alongside Weatherfield's executive producer Kieran Roberts.

Of his appointment, Collinson said: "I am absolutely thrilled to be joining Corrie, the nation's favourite street and a show I've been a huge fan of all my life. It goes without saying that it’s a tremendous honour to be entrusted with building on Coronation Street's success and creating the must-see storylines for 2010 and beyond."

He went on: "Kim will be a tough act to follow but I will be working with one of the best teams in the business and I can’t wait to get stuck in."

Director of ITV Studios John Whiston commented: "We are delighted Phil has agreed to join ITV Studios and carry on the fantastic, creative work that Kim has spearheaded. Phil is a hands-on producer, with a fine track record in shaping much loved and treasured programming and I have no doubt he will bring all that talent to Coronation Street.

“I would like to thank Kim for her immense contribution to the show. Kim's sheer hard work and her boundless imagination are the qualities that have continued to keep Coronation Street as fresh and exciting as ever as it enters its 50th year."

He added: "Kim leaves Corrie in fantastically good health, having increased total audience share in the last quarter as recent storylines around Tony, Carla, Maria and Roy Cropper have been delivering spectacularly large audiences day in day out this autumn. This achievement is testament to the skill and talent of Kim and her team."

Bryan Kirkwood to take helm as EastEnders Executive Producer when Diederick Santer steps down next year

Bryan Kirkwood will succeed Diederick Santer as EastEnders Executive Producer following his decision to step down from the role in February 2010, it was announced today.

He will take over from Santer next year after EastEnders celebrates its 25th anniversary.

Kirkwood comes to EastEnders having spent three years producing Hollyoaks, during which time the show enjoyed awards success and soaring popularity.

Since moving on at the end of 2008 Kirkwood has been producing its sister show Hollyoaks Later.

Prior to his time at Lime Television, Kirkwood spent 10 years working on Coronation Street as a storyliner, where he developed a love and talent for storytelling and characterisation.

Bryan says of his appointment: "I'm a huge soap fan so for me to be the new Executive Producer of EastEnders is a dream come true.

"Diederick Santer has done an amazing job and I'll be taking over a show at the top of its game – quite a daunting task but one I can't wait to get started on."

Diederick Santer has been EastEnders Executive Producer since October 2006 and he also sits on the board of BBC Drama Production.

During his time Santer been credited with taking EastEnders to the peak of its powers, producing a show with brave and compelling storylines.

Under his guidance EastEnders has swept the board at awards ceremonies, continuously leading the way as Best Soap and Continuing Drama in the National Television, RTS, British Soap, Inside Soap and many other awards.

He also recently announced the launch of an online spin off, E20, to further heighten the show's reach and appeal.

Santer has been responsible for the creation of the Mitchell Sisters and the Masood family, plus the long-awaited return of Ricky and Bianca.

Stories about paedophilia and bipolar have drawn wide praise for their power, responsibility and accuracy, and Santer's apocalyptic 2007 Christmas Day episode featuring the reveal of Max and Stacey's affair was the most-watched TV programme that year with 14.38 million viewers.

Santer will continue working for BBC Drama Production as an Executive Producer with a special responsibility for developing new shows that can be internationally co-produced.

The aim will be for him to identify and develop dramas that can be made through BBC Drama Production in conjunction with BBC WorldWide Los Angeles.

Diederick Santer says of his departure: "I've had the most fantastic time at EastEnders. It's without doubt the best job in telly, and I've loved every minute of it.

"It's a busy and challenging job so I'm now looking forward to becoming reacquainted with my family and friends.

"I'm grateful to all the people I've collaborated with over the last three years who work so hard and so creatively. It's been a real pleasure to work with them and to get to know them, and I'm going to miss them all enormously.

"I'm delighted that I'm passing the show on to Bryan Kirkwood. He's a vastly talented and original producer with a brilliant storylining mind.

"I'm confident that, under him, EastEnders will continue to thrive and to grow and to keep delivering the very best drama to its massive audience."

John Yorke, BBC Controller Drama Production & New Talent, adds: "Diederick has presided over an incredibly strong period in the show's history and demonstrated an instinctive mastery of what makes the programme such a success.

"Able to switch from brave and radical public service storytelling to big sweeping set pieces, he has been concerned only to get the best out of those around him and to match the highest standards of the programme's founders.

"Leaving EastEnders fighting fit and at the top of its game as it reaches its quarter century, he'll be missed hugely by cast and crew. He's going to be a very hard to act to follow but I'm confident Bryan is the right man for the job."

The interview with John Partridge, on digital spy explains why their has been a lack of intimacy in the gay storyline

Were you initially cautious about the storyline?

"Originally, if I'm honest, no I wasn't. I wasn't bothered in the slightest because it's a television programme, not real life, we're actors and I look at things from that perspective. We did have a meeting - myself and the Masoods - with Diederick [santer] and we spoke about this storyline at length. Marc [Elliott] was pretty much of the same philosophy as me: we thought it was a brilliant story and great for us to play and we were really looking forward to it. It was only when they started talking that Marc started thinking maybe there's going to be something from this.

"When the story broke, I was on holiday in Cyprus and initially Marc and I didn't want them to announce it before it first unfolded on screen. When Christian had a gay kiss about nine months before, we received [lots of] complaints. Because of that, they thought this would be an extremely contentious issue and wanted to release the story before it happened.

"There were all these headlines about 'the most controversial and shocking story ever' and I think because of that, people were expecting this over-the-top, gratuitous, sensationalist thing. However, it's been so cleverly conceived, written and directed, everybody involved has really taken the time to see where we are in this story and see how it's grown. It's about what you haven't seen rather than what you have seen, it's drawn people in with its tenderness.

"There's no 'shocking' element to put people off. In a way, it's something you wouldn't necessarily expect from EastEnders - you would expect to have seen a bit more!

"It is a gay storyline and that's not going to be everybody's cup of tea. Not everyone's going to want to see that in their living room at 7.30pm but we didn't want that to stop us doing the story. That's why it's been done the way it has and it's gained way more popularity because people have been able to see something tender and beautiful between two men that they haven't found offensive and that hasn't put them off. I'm so proud of everybody here for being clever enough to do that and it's been a great thing for the show."

Prbably old news to some, but here it is again.

EastEnders goes live to celebrate 25th anniversary

For the first time in the show's history, EastEnders will be beamed live to the nation's screens in celebration of its 25th anniversary on Friday 19 February 2010.

Over the past 25 years, EastEnders has brought some of the most notorious characters and memorable moments in British soap history to the small screen.

We've had magical matrimonies which have captured the hearts of millions of viewers, family feuds full of intrigue and menace, the joy of many surprise new arrivals and, of course, those unforgettable storylines which have tackled issues from teenage pregnancy and HIV through to the more recent mental health and child abuse storylines.

With its bold stories and colourful characters, EastEnders has always provided a talking point for the nation. And with the live episode we hope to do just the same.

EastEnders Executive Producer, Diederick Santer, says: "It's too early to discuss the exact storyline at this point, but viewers are assured that this live episode will bring them all the high drama and excitement they expect from EastEnders and then some.

"The episode will feature – amongst other things – the resolution to a big storyline which will keep the audience (as well as the cast and crew) guessing until the very last moment.

"Every time I think about this episode I get excited as well as a little nervous, but nonetheless we are all thrilled to be celebrating our 25 years on screen with a live episode. It's a big test for every member of the production here, and hopefully a big treat for the audience."

The 30-minute live episode will transmit at 8.00pm, Friday 19 February 2010 on BBC One, coming live from BBC Elstree, the home of EastEnders. This will be the culmination of a week of special episodes which will celebrate 25 years as one of Britain's best loved soaps.

EastEnders to venture online with EastEnders: E20

EastEnders is set to venture beyond the television screen as Walford takes a big step into the wider world of the web with its first online spin-off series next year.

BBC Vision Multiplatform has commissioned the EastEnders online spin-off to go live in January 2010 in the run-up to EastEnders celebrating its 25th anniversary on February 19th.

As part of the BBC's drive to develop and nurture new talent, EastEnders: E20 has been written by 13 new London writers aged between 17 and 22 who attended a summer school where they created and wrote the online drama.

The online series will follow four new teenage characters (casting to be announced) who arrive in Albert Square, each searching for an escape from their regular lives.

Online viewers will get the unique opportunity to see the much loved world of Walford from an entirely different point of view through the eyes of the young newcomers.

EastEnders: E20 will stand alone in terms of its storylines so that it can be enjoyed by viewers unfamiliar with EastEnders, but there will be crossover treats for regular fans too both in the online series and the BBC One programme.

The writers are also creating extra online material for the EastEnders: E20 characters, including video blogs and behind-the-scenes footage to enhance the whole online presence.

Simon Nelson, Controller Portfolio & Multiplatform, BBC Vision said: "EastEnders: E20 is an opportunity to develop the BBC's expertise in drama production by matching new young talent from the tv industry with the best creative new media talent.

"Together they can exploit the creative potential of the web to create new online drama experiences under the umbrella of the EastEnders brand."

EastEnders Executive Producer Diederick Santer added: "These talented writers are creating a whole new Walford, infused with their own experiences of London life. A fresh perspective on a British classic, EastEnders: E20 will – I hope – delight new audiences and EastEnders diehards alike."

EastEnders: E20 was commissioned by BBC Multiplatform Commissioning Executive Rosie Allimonos from BBC Drama Production. The series is a product of EastEnders and the BBC new talent initiative, both overseen by John Yorke, Controller BBC Drama Production & New Talent. It is produced by Deborah Sathe.

EastEnders: E20 will be available at bbc.co.uk/eastenders in January 2010.

Barbara Windsor MBE to bid farewell to Albert Square in 2010

Television and film icon Barbara Windsor is set to say goodbye to everyone's favourite pub landlady, Peggy Mitchell when she leaves EastEnders in 2010.

Peggy Mitchell has been Queen of the Vic for most of Barbara's 15 years in Albert Square and has famously yelled "Get outta my pub" at pretty much every inhabitant of Walford during that time.

Barbara Windsor first appeared in EastEnders in 1994 and has since become one of the nation's most loved television matriarchs ruling the Mitchells with an iron fist and a heart of gold.

She was awarded an MBE in 1999 and was awarded a Lifetime Achievement Award at the British Soap Awards in May this year.

Barbara Windsor says of her departure: "EastEnders has been wonderful to me and it's no secret that it changed my life all of those years ago. I'll be so sad to leave Peggy behind; she's such a wonderful character to play. I have had the pleasure of working with a marvellous cast and crew and have made many lasting good friends. To have had the honour of showing the Queen around the set is something that will stay with me forever.

"I would like to thank the BBC for the incredible opportunity they gave me and above all, I must thank the wonderful viewers for their support over the years. I'm looking forward to the future and I suppose when all's said and done, I should spend a bit more time with my old man, as he's not getting any younger."

John Yorke, Controller BBC Drama Production & New Talent, says: "To most of the British public Barbara IS EastEnders, and it's almost impossible to imagine Albert Square without her. For 15 years she's given her heart and soul to EastEnders – she's been a consummate professional, a national treasure and a joy to work alongside. We will all miss her hugely – both as a character, and as a friend."

Diederick Santer, EastEnders Executive Producer, adds: "Barbara has contributed so much to EastEnders over the last 15 years, plus countless episodes, and countless amazing storylines. Peggy Mitchell is a truly iconic character, and along with Steve McFadden and Ross Kemp, Barbara has made the Mitchells the premier family of British soap.

"I so much enjoy working with her – catching up with the gossip, listening to her stories, talking about the show, benefiting from her advice, and most importantly revelling in her powerful, funny, passionate performances. All of us at EastEnders – and our audience – are going to miss her hugely."

Great new Eastenders promo from the BBC

http://www.youtube.com/watch?v=hNbe_dPy4Y8...feature=related

Two 'Hollyoaks' stars to leave

Two of Hollyoaks' leading actors are to quit the show at the end of the month in a dramatic fire plot, DS can exclusively reveal.

Chris Fountain and Jamie Lomas, who play the show's resident bad boys Justin Burton and Warren Fox respectively, will bow out in a storyline which sees their characters caught in a fire at The Loft.

Warren's past comes back to haunt him when an old adversary returns to the village and with neither prepared to bury the hatchet and move on, his enemy decides to settle their score once and for all. As The Loft blazes, Justin becomes embroiled in the incident and viewers will be left wondering who lives and who dies.

The move comes just three months into Lucy Allan's reign as producer and echoes Bryan Kirkwood's decision to blow up The Dog pub and kill off twin Sophie Burton (Connie Powney) when he took over as the soap's chief in 2006.

Speaking of his decision to leave, Fountain said: "I've been at Hollyoaks for five years now and I've enjoyed exploring and playing the many different sides of Justin. He's been a fantastic character to play and so much has happened to him! I’m actually surprised he’s lasted this long!

"I'll be sad to leave as I've had some great times and gained a lot of good friends at work but I personally feel that it's the right time for me - and Justin - to move on…"

Lomas said of his decision: "I've had a fantastic three years at Hollyoaks but having fully explored the character, I felt the time was right for me to move on. I'm delighted to be going out as part of such a dramatic storyline and my final scenes are some of the most dramatic I've ever filmed. I'm sure viewers will be hooked!

He added: "I've had a great time playing Warren and have thoroughly enjoyed being part of the Hollyoaks cast where I've made some brilliant friends and worked with some great people."

The pair are due to finish filming at the end of the month, while their characters will remain on screen until the final week of May.

Fountain, 21, joined Hollyoaks in 2003 and has been involved in some of the soap's major storylines including Justin's affair with Becca Dean (Ali Bastian), the 'Who Pushed Clare?' saga and baby Charlie's paternity.

Meanwhile, 28-year-old Lomas signed to play Warren in 2006 and quickly became one of the show's central characters during the Kirkwood era, which saw Warren kill Sean Kennedy and frame Jake Dean for the murder, embark on an affair with Mandy Richardson (Sarah Jayne Dunn) and apparently suffocate his fiancée Louise Summers (Roxanne McKee).

Last week, it was announced that Emma Rigby had extended her contract with Hollyoaks by an additional six months, despite originally indicating her intention to leave at the end of this month. She will now continue filming until October.

A source told DS: "Both Emma and Chris were due to leave at the same time, but when Emma decided to stay on until towards the end of the year, producers had to re-work the storylines dramatically."

The BAFTA's are also in May

National television award results

David Tennant scooped an Outstanding Drama Performance gong at the National Television Awards. The star was up against his 'Doctor Who' sidekick Catherine Tate at last night's ceremony, for their respective roles as the Time Lord and his assistant Donna Noble in the hit BBC sci-fi drama.

'Doctor Who' also won Most Popular Drama, beating 'Desperate Housewives', 'Shameless' and 'The Bill'. It was the fourth win in a row for 'Dr Who' and the third consecutive win for Tennant.

'Strictly Come Dancing' won Most Popular Talent Show - beating Cowell's shows 'The X Factor' and 'Britain's Got Talent', and 'Dancing on Ice'. Strictly host Tess Daly accepted the award.

Picking up his special recognition gong, Cowell, referring to the Most Popular Talent Show gong, said wryly: "Well done Strictly." Backstage the TV mogul was more forthright about missing out on the award. He said: "It's bad enough losing but losing to that lot is a nightmare. I'm not happy."

He also spoke of the pitfalls of fame, revealing he could not go out for dinner without people wanting to talk about the 'X Factor', did not have a private life, and had to worry about having his photograph taken. Cowell said of his rise to fame: "I've definitely become more spoilt, more shallow and can honestly say I have loved every single minute of it. It's the best job in the world."

'Top Gear' was named Most Popular Factual Programme, and the 'Paul O'Grady Show' took the Entertainment Programme category.

'EastEnders' was named Most Popular Serial Drama, while Ant and Dec were awarded the gong for Entertainment Presenter.

The BBC soap won for the fourth consecutive year, while Ant and Dec have now picked up their title for at least seven years.

Elsewhere, Rita Simons won the Popular Newcomer title for her role as Roxy Mitchell in 'EastEnders'. Matt Littler took Outstanding Serial Drama Performance for his role as Max Cunningham in 'Hollyoaks'.

Kirkwood steps down as 'Hollyoaks' producer

Bryan Kirkwood has stepped down from his role as Hollyoaks producer after three years in the role.

Lucy Allan will step into Bryan's shoes and will work alongside creative director Tony Wood and the newly-appointed head of production Ian Hopkins.

Allan joined the Hollyoaks team at its production house Lime Pictures as script assistant and quickly worked her way through the ranks to series script editor and deputy producer. She is currently heading up production of a new E4 Late Night Hollyoaks.

Speaking of her new position, she said: "This is an irresistible opportunity and I'm very excited by the challenge of taking on a show as successful as Hollyoaks.

"Having already worked with the talented production team and cast, I'm looking forward to developing new ideas and planning the show's future."

Lime Pictures creative director Tony Wood commented: "Bryan has created a legacy of success and award winning television which everyone at Lime Pictures is immensely proud of. Lucy’s signing reflects renewed ambition and confidence here during a thriving spell of output."

Kirkwood joined Hollyoaks in January 2006 after five years working on ITV soap Coronation Street as a storyliner. He was involved in iconic storylines such as Richard 'Tricky Dicky' Hillman's (Brian Capron) reign of terror over the Platts and Peter's (Chris Gascoyne) bigamy. He went on to become script editor at Corrie, before joining Hollyoaks as producer.

His highlights with the Channel 4 soap include the fire at The Dog, Clare's (Gemma Bissix) manipulation of Max (Matt Littler) and Justin (Chris Fountain), Becca's (Ali Bastian) doomed love affair and most recently, 'Who Pushed Clare?' He won a legion on fans for his McDean storyline which saw John Paul McQueen (James Sutton) embark on a gay love affair with his best friend Craig Dean (Guy Burnet).

Eastenders is also repeated on BBC 3 at 10pm each evening, allowing viewer's to catch up on that evenings episodes. This averages about 1 million and the Sunday omnibus draws 2m viewer's.

EastEnders legend John Altman is to make a dramatic return to Walford at Christmas as the notorious Nick Cotton.

The 56-year-old actor was last seen in the BBC soap in 2001 when his screen mother Dot Cotton (June Brown) disowned him following the death of her grandson Ashley (Frankie Fitzgerald).

It later transpired that Nick was responsible for his son's death by cutting the brake cables on Mark Fowler's (Todd Carty) motorbike. Despite intending to kill Mark, it was Ashley who rode the bike to his death.

Since leaving Albert Square, Nick has spent time in prison for various drug-related offences. In 2006, Dot made the shocking discovery that her son was ill in hospital with cancer. Following her off-screen visit to him in hospital, he went on to make a full recovery.

Speaking of his return, Altman said: "After an absence of seven years, I am thrilled to return to Albert Square. The BBC have always given me great storylines as Nick Cotton and I look forward to seeing if Nick will once again spread fear and loathing throughout the Square!"

Executive producer Diederick Santer said: "Nick Cotton is an EastEnders legend. His complex relationship with Dot, his criminal tendencies, and his addiction to heroin, violence, and everything else that's bad have made him one of the show's best-remembered and best-loved villains."

He added: "We're very excited that he - and the talented John Altman who plays him - will be returning to the Square."

Earlier this year, June Brown called for the return of her screen son, claiming that Dot "needs him in her life".

Altman begins filming at Elstree Studios in Borehamwood, Herts - home to EastEnders - later this month, while producers are keeping tight-lipped as to the exact date of his screen reappearance.

John Bardon has returned to the set of EastEnders to film a new guest appearance.

The 69-year-old actor, who plays Jim Branning, was forced to take a break from the BBC One soap after suffering a stroke in June 2007.

Bardon made his first return to the role earlier this year for a one-off episode which aired in August. He has now been spotted at the show's studios in Borehamwood, Herts, once again.

An insider told the Daily Star Sunday: "John was asked if he would come back to film scenes to do with a big autumn storyline. It's going to be massive so there was no way he was going to turn down the chance of going back.

"He's still recovering but the fact that he's been back for another stint has really helped."

A spokesperson for the programme confirmed that Bardon had made a return but kept tight-lipped about the details.

Dark days in Albert Square

EastEnders is about to run one of its most controversial storylines yet. But is primetime television ready for paedophilia? Aida Edemariam speaks to the producers, writers and actors about how it all came about

The story begins with eyes meeting across a crowded room. It was August 2007 at Barbara Windsor's 70th birthday party, and Diederick Santer, executive producer of EastEnders, kept noticing a woman looking at him. He recognised her as Patsy Palmer, who played Bianca Jackson until, in 1999, she flounced out in the general direction of Manchester. "I mean, we were both with our respective partners," Santer adds quickly, "but I think we both sensed that we were interested in talking to each other." Everything in Santer's corner office at Elstree is in hyper-colour: his deep aqua shirt, the primary red sofas. Group photos of the EastEnders cast from the big-shouldered 80s to hoop-earringed now troop across one wall, and a large TV screen relays cast and extras milling about the market on Albert Square - which is to be found, in all its disconcertingly weathered solidity, just around the corner.

Santer called Palmer a few weeks later. They met for lunch and, "sure enough, she was quite keen to come back". So the very next week they met, along with series consultant Simon Ashdown and story producer Dominic Treadwell-Collins, to talk about how she might achieve it. Where had Bianca been since she left? How many children did she have? Who by? Why might she return? They didn't nail it all down, but the meeting convinced them that Bianca should return.

Four times a year, Santer, John Yorke - controller of BBC drama production - and some senior writers spend a few days just talking through every character on the show. They plan story arcs for the next year, discuss what isn't working, dream up spectaculars. (None of this can they tell anyone else; not friends, not even partners. "It's a badge of honour, really," Yorke says. "No one actually signs anything. It's like the Hippocratic oath.") Luckily for Palmer, the next story conference was in two weeks' time.

As usual, they split into small working groups. Ashdown was sent off with some scriptwriters to think about Bianca. He had just watched a documentary about homeless people and had been especially struck by a woman and child at a bus stop with nowhere to go. What might happen to them? They would be easy prey... What if a paedophile noticed the child, who might be, say, 12, and pretended to be the woman's saviour? She would be too grateful to notice that this was unusual behaviour, that he seemed to have few friends or family... They suggested the idea to the whole group. "It drew a sharp intake of breath," Yorke says.

Which, in soap land, is no bad thing. "Most EastEnders stories that have been good and successful have been the ones that caused the sharp intake of breath," Yorke says, "so they're always the kind of stories you look for" - but it's not enough. "You have to start analysing why are we doing it, can we do it, what's the point?" The issue had, in fact, come up before, and been scuppered by just such questions. "We knew," Santer says, "that something like 16% of under-16s have been sexually abused at some point, but if you can't find a story, it's an issue that sits there, dead, on the show." Given the difficulty of the subject, it was not a risk they were then willing to take.

That, perhaps, is a surprise, given that soaps so often seem to be grim catalogues of beatings, burnings, adultery, murder and general sinfulness, but paedophilia is a place to which soaps - terrestrial TV, in fact - have rarely gone, and even then quite gingerly. EastEnders has tried once: it turned out that Kat Slater was actually her sister Zoe's mother, having been raped by an uncle when she was a teenager. This was reported as having happened in the past. In 2001, Coronation Street had teenage mother Sarah-Louise Platt being groomed by a paedophile over the internet, while Brookside bade farewell to Sinbad by having him charged with abusing a nine-year-old boy; Michael Starke, who played Sinbad, insisted to the programme-makers that the audience, at least, should know that he was innocent, and worried publicly about the possibility of vigilante justice. Last year, Channel 4 aired Rowan Joffe's Secret Life, a gruelling take on the issue from a paroled paedophile's point of view, but that was a one-off, post-watershed drama; EastEnders has an average audience of 9.5 million, nearly one in six of the British population, and goes out at 7.30pm or 8pm on weekday evenings. And so Yorke, who describes his job as being "paid to be permanently anxious", said to Santer afterwards, "I'm not sure about this. You're going to have to go away and do some work to convince me."

"My standpoint has always been that there has to be a good editorial justification," Yorke says. "If it's just entertainment, or just sensation, or just the bogeyman in this case, then I don't think that's a good enough reason." The editorial policy department had to be told, and the NSPCC contacted. Would such a show have a detrimental effect? What message would it be sending out to families who may be in this situation, to young children, and to parents?

At the same time, things were moving fast. A week later, on October 23, Santer met Sid Owen, who had played Ricky, Bianca's husband and then ex-husband, for 14 years, and suggested a return to the show. A week after that, the press office announced that Palmer would be returning to EastEnders; an announcement about Owen's return came the following day. In April, they made their first appearance, at Frank Butcher's funeral. More than 11 million people watched the episode, nearly two million more than normal. It was nothing like the 17.8 million who watched them marry in 1997, but in a multichannel universe, respectable nonetheless. In December casting began for Bianca's children, and just before Christmas 16-year-old Shona McGarty was cast as her eldest stepchild, Whitney. Santer was looking for someone "quite spiky, quite gobby, a bit of an equal to Bianca, and in a way a version of Bianca at that age"; McGarty was perfect.

Characterisation began for McGarty on the ninth day of the new year, which was when she was told that she might be playing a child groomed for sex. Santer didn't ask her for an immediate decision - it was important that she should talk to her parents about it. And if her parents had objected? "If her parents had had an objection, we'd have done something else." (They did object to her doing anything to publicise her part, so I was not allowed to speak either to them or to their daughter.) She started shooting on January 14.

Work on the story began in earnest in March, when researchers Libby Duplock and Cleo Bicat contacted the NSPCC's Tom Narducci, who advises the government about safeguarding children, Jude Toasland, who has spent a lifetime dealing with abused children, and Yvonne Traynor, CEO of the Rape and Sexual Abuse Support Centre. Duplock was particularly struck by a victim statement provided by the latter, which demanded, "How dare you make me like you?" She insisted to the screenwriters that this should be a central element in the character of Tony, a Mancunian who, according to the back story, had one day given Bianca a lift home, three years before her return to Walford, and noticed, standing in the hallway, 12-year-old Whitney in her pyjamas. Because, as Duplock and Bicat soon discovered, it wasn't just that 16% of under-16s have experienced some form of sexual abuse that was interesting - it was how those figures broke down. According to the NSPCC, 11% of children under 16 have experienced sexual abuse by a person known but unrelated to them, often a boyfriend or girlfriend, while only 5% have been interfered with by someone unknown or whom they had just met; 1% by a parent or carer; and fewer than 1% by a professional in a position of trust, such as a teacher.

Duplock was also surprised by the lengths to which paedophiles can go to gain that trust, often targeting a family, or child, years in advance of anything actually happening. So Tony (played by Chris Coghill, a distinctly good-looking man) started by seducing Bianca, who couldn't believe her luck, and then begins laying the groundwork so that Whitney comes to believe that the relationship between the two of them is her own idea. Whitney is now 15. On April 1, Bianca, Ricky, Whitney and her stepbrothers Liam and Morgan, and half-sister Tiffany appeared together on screen, and Tony was mentioned for the first time. When we finally meet him, he's just been released from prison, having served 12 months for beating up a boy who was allegedly bothering Whitney; in reality he was jealous.

"One thing that was quite difficult for me to get right was the idea that she didn't want sex," Duplock says. "It's Whitney's way of keeping him happy. If she lets him do it, then he's nicer to her and he makes her feel special." There seems to have been less trouble with the ways in which Tony lulls her into feeling this; what is most disturbing, watching their first scenes together, is not the sexuality of the situation per se, though that is uncomfortable - it's the subtle blackmail with which he keeps her in line. As it's combined with the emotional manipulation native to soaps, the viewer starts to feel a bit bullied, too.

There was also a great deal of soul-searching about Tony's back story. According to a study in the Lancet, only 12% of abused children go on to abuse other children and, says Duplock, "We felt that to imply on TV that someone who has been abused is going to go on to abuse other people is not a message you want to give out. Those people have been through enough." At the NSPCC, Narducci, in particular, was adamant on this point.

For the NSPCC, what was most important was that it should make children watching the show feel comfortable about asking for help if they felt they needed it. Also, says Narducci, "for the wider community - to recognise the signs and let them know that they can do something about it." This sounds dangerous to me; surely levels of suspicion are high enough as it is? "Helpline numbers will be provided at the end of each show," Narducci says, and counsellors will be instructed to tease out exactly what the problem is; if they feel there is no need for action, he says, they will discourage it. "We're not trying to cause a national panic. This is a responsible effort to try to get over an important story."

Coming up with a plot and characters (or storylining) is only the beginning of a process that takes, on average, five or six months. This particular story gets under way only this week but last spring writers and storyliners were already sending draft episodes to the researchers, who sent them to the NSPCC, who returned them with detailed comments. So, on April 25, Duplock was passing on the NSPCC's objections to the sexuality to be shown on screen - or at least the suddenness with which it becomes apparent; detailing the necessity of making it clear that there has been a lot of grooming, and arguing that part of Whitney's motivation might be competition with Bianca. And "it is important not to make too much of the self-harm, as it is a different issue and will distract". The NSPCC's changes were incorporated (self-harm was dropped) and on May 13 the first draft script arrived on Santer's desk.

It was time to get formal approval. On June 2 Yorke wrote a memo to Jane Tranter, controller of BBC fiction, and Jay Hunt, controller of BBC1, giving them a detailed breakdown of the story, why they wanted to tell it (it would be "a talking point" that could "truly educate and inform"); with whom they'd been working; a summary of the research so far; a character sketch of Tony; and practical issues, such as the fact that they would need action lines.

"I thought it was a fantastically good idea," Tranter says. "The big moments in EastEnders, those iconic pieces of television history, tend to be the things that are incredibly near the knuckle, and are actually quite difficult subjects to raise in the context of a family sitting room." But isn't that precisely the objection they will run into? That they're reaching too far for dubious effect, that the subject is too disconcerting for that time slot, and too serious for the format? Her reply is fierce. "Well, that is the responsibility of soap! For a lot of people, the way they learn, for example, about homosexuality, will be through a soap. Soaps are meant to hold up a mirror to our lives, and sometimes that mirror will show ugly bits, difficult bits, taboo bits. But if a soap doesn't hold up that mirror, then actually, what is it? It will have no depth. And it certainly won't have a public service element." Public service? Surely the first thing people think of when they hear the words BBC and public service is not EastEnders... "Well, that's to the great credit of EastEnders, then, because what it's not doing is wearing its worthiness on its sleeve. You know, we could do an issue drama on something like this and it would appear very 'public service' but actually, how much better is it to place it in the comfort zone of the soap? Youngsters won't watch a searing drama at 10pm. It's the only way to get that particular audience. And it's a really, really important thing to get out in the open."

This argument works both ways. Everyone in this process is keen to stress that no physical sexuality is shown on screen, but for all the care and tastefulness that has gone into the treatment, transgression, however far off-screen, is what this story is about, and transgression - of TV norms, if nothing else - is a good part of why it will be gripping. And being gripping, and as a result raking in the audiences, is the lifeblood of a soap. Yet everyone also denies that they're just ratings-chasing. "No, for that you'd have to blow something up, expose an affair or make it a whodunit," Santer says. "Highest viewing figures ever were about 29 million, Christmas 1986, when Den served Angie divorce papers. My highest was 14.6 million, last Christmas, and in that episode an affair was revealed." In fact, "we may lose people along the way" as happened with the domestic violence strand between Little Mo and Trevor. "A lot of people didn't want to watch it." After a long phone conversation, Tranter gave Yorke the go-ahead.

Casting for Tony began when the final draft of his first episode was finished, on June 9, but there was one more step Yorke wanted to take before an actor was given the part. On June 18, he convened a summit meeting at Elstree. For an hour he threw questions at the editorial policy department, at research, at the story department, at scripts, at casting and at the press office. Were they happy with how the storyline was developing? Were they convinced they could tell the story properly before the watershed? They worried and worried over the first episode. Should Tony and Whitney kiss? There was much concern about the welfare of the actor playing Tony. In a worst-case scenario, could he be removed from the show? What kind of backup would he have?

The next day, Thursday June 19, Chris Coghill arrived for his audition. He had been given no warning as to what the part might be. "If they'd told me first, I might have thought twice," he says, sitting in a meeting room at White City, his arms tightly folded. As it was, he realised only when he was given his audition scenes and told to go outside for 15 minutes and prepare them. "I was able to think it through. I knew by the time I walked into that room that if I was offered the job, I would probably take it." Why? "It's a good part." A risky one, dark... "I thought, 'How many people play murderers?' " But murderers are two a penny on TV. Quite a few are on EastEnders. Not so paedophiles. "It's almost a category of its own. Worryingly we live in a country where a paediatrician's house got attacked..."

Santer thought Coghill had "the right combination of warmth and plausibility, and a lad-next-door quality, with something darker, more menacing"; he and Yorke also liked the fact that Coghill had a high-profile track record on other shows, which would create distance between him and Tony. Coghill was offered the part the next day. Over the weekend, he discussed it with his agent and his wife. "At the end of the day, it's only acting. And if I do it well, I'll continue to be an actor..." He leans back and stares at the ceiling, arms still crossed. "If it gets to the point where things become horrendous for me" - he shoots a half-laughing, half-serious look at the publicist - "the BBC will have to give me a part doing something else, very quickly."

Coghill also underwent a thorough characterisation session - how old Tony liked his girls, why he short-circuited at that particular age, how long he might target them for, what colour socks he favoured. Both the BBC and Coghill are aware that Tony's characterisation requires walking a delicate line between understanding and toleration. "You have to show him confused and conflicted and scared and worried, and all those things invite empathy," Yorke says. "That's OK, but it doesn't mean you condone them. It's important that he's not just a bogeyman." Having said which, he adds, "It would be patronising [to the audience] not to make Tony three-dimensional" - not to mention make mugs of Pat Butcher, Ricky, et al.

They were keen, too, to check whether Coghill could handle the extracurricular side of the job, because the catch-22 is that if he does it well, he'll be convincing, and some people, notes company manager Carolyn Weinstein, "can't always divorce reality from fiction". Mostly it's benign - she tells stories of cheques being sent in to help cash-strapped characters, actors asking which line Walford East station is on when they first report for work - but there have also been death threats. And that's on top of the incomparable amount of attention anyone gets the minute they arrive on Albert Square. A significant portion of Weinstein's job consists of warning actors what this will be like and picking up the pieces when they get it wrong; with Coghill and McGarty, everything has to be geared up several notches.

They will not, for example, be receiving any fan mail directly. The fear with McGarty is that a child may write and ask for help; this will be replied to by Weinstein, with advice about whom to talk to, such as the NSPCC. Or, at the other end of the spectrum, there might be sexually charged fan mail: "That'll go to the police." Coghill has already had a letter from a victim, hoping that the story will be dealt with properly; once he's on screen, he expects a good deal of the opposite, too. And he fully expects to have abuse shouted at him in the street. "I'll just get a very big hat and enormous sunglasses," he jokes.

Weinstein is less sanguine. She has briefed the BBC's security and investigations units who, along with the press office, will be on call to Coghill and his family 24 hours a day, for as long as they're needed - which could be well after the storyline ends. "Yes," says Coghill, "24-hour police protection. Which is reassuring but also quite unnerving."

Shooting began for Coghill on June 30. He and McGarty got over the initial weirdness quite quickly - "Shona doesn't act, or look, like a little child. Which helps," says Coghill feelingly. Far weirder, for him, was walking into Pat Butcher's front hall and being given the once-over by the regulars. "It's Pat Butcher, innit?" he says, slightly incredulously. "Old-school EastEnders that I used to watch as a kid."

Two days later, the storyline was announced to the public. On Monday Tony embarks on his post-prison life with Bianca, her extended family - and Whitney who, to his chagrin and her confusion, no longer looks like "the 12-year-old girl I fell in love with".