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LondonScribe

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  1. At this stage, it seems most of those who could do a better job writing the show with passion and knowledge of history watch the show rather than work in the industry. With storytelling styles that are at odds with Y&R, and the prospect of network/executive interference to an embarrassing degree, I too wonder who would, from the current pool of writers, would want the job.
  2. “Fire this man!” Fiiiiirrrrrreeee!... doesn’t work the same way, does it? 😂 In all seriousness, I wouldn’t be surprised if he’s given his papers when things settle down, unless he’s trusted to see Sharon’s storyline to its conclusion.
  3. You had me at ‘hello’ 🤣 Just about everything ‘below the neck’ reads as positive creatively, though I don’t know enough about Michael Minnis’ storytelling. Just a pity that (it seems) the ‘head’ is pretty empty. Lol
  4. I don’t think he does. I don’t watch the show, but I vaguely remember reading that he made some barbed comments regarding being let go as a writer.
  5. Y&R not being number 1 rated soap after 30+ years reads as a major headline in itself (and a huge blot on Josh Griffith’s book) but I suspect the ‘normal rules of engagement being out of the window’ theme will extend to this. The wider news, preemptions, etc will likely be factored into this week (despite the other soaps not suffering as much). If this becomes the new norm, (or at the very least, it happens again next week or so) I do think the calls for a change will grow (from both outside and inside the studio), though any action will probably not take place until we are on the other side of this.
  6. Really? 😳 Didn’t see that coming.
  7. No spoilers posted in this article/write-up, rather a spotlight is shone on some of the writer’s findings so far on social media. https://www.digitalspy.com/tv/a31280952/noughts-crosses-critics-trolls/
  8. Cool. Whether positive or negative, good or bad, it’d be good to hear your thoughts.
  9. I’d say it’s reasonably fast paced but can stand still when it needs to. It’s certainly escapist in setting, but the set-up/overarching theme is very topical. I’d certainly say watch it if you can, so you can all make your own determination 😊
  10. I liked it, and given the number of changes the TV series made from the 1st book, I was surprised by how much I did. It has a stellar cast (Paterson Joseph is brilliant as Home Secretary Kamal Hadley) and is visually beautiful. The storytelling won’t reinvent the wheel, but for me, it’s the whole experience. However, I’m not 100% certain it will sustain enough viewers to guarantee it a second series. The whole series is on the BBC iPlayer now, though 1 episode a week will be shown on BBC1 in the U.K.
  11. After a commission by the BBC four years ago, lots of planning, delays and false starts (following on from a limited-run play and an abandoned attempt at a film), a 6-part TV series, based on a trilogy of famous books by author Malorie Blackman, began broadcast this week. The whole of series one is now up in the BBC iPlayer. I say trilogy, because a 4th book was released last year, inspired by Brexit. I don’t know how the initial books were received in America, but it can’t be overstated the impact and significance of the books in the U.K early to mid 00’s. Though aimed at teenagers and young adults, the themes are universal and presented controversially. The ‘controversy’ (certainly observed by the right-wing press since the 1st book in 2001) is the fact the books are set in an alternative reality where the ruling ‘Crosses’ are black, and maligned, racially abused, segregated and targeted ‘Noughts’ are white. There’s violence, corruption, political intrigue and ultimately love, where childhood friends Sephy (a privileged and principled Cross, the daughter of a high profile politician) and Callum (son of Sephy’s family housekeeper) reconnect and bond in the midst of growing tension up and down the county. Having watched just episode one so far, it’s visually beautiful and I can see the story from the book, but it has changed quite a bit from the source material, likely for maintaining the story. Anyone else watched?
  12. Though this sounds very promising, is it likely that she’ll have any sort of tangible influence given that’s she’s not a ‘Supervising Producer’?
  13. That’s right. Mal Young set the wheels in motion (and subsequently tampered with the breaks) on Kyle and Lola- I think largely influenced by Angelica McDaniel. At the point Griffith took over, maybe they were so far along, anything else would have seemed even more jarring than we’ve had recently? Perhaps it was always the plan, but I (and others before me have) noted the about face turn and blitzing of the relationship occurred after McDaniel left her position.
  14. Totally throwing things in the air but perhaps now the renewal has been secured, they’ll make Writer and Producer changes? I can’t recall which show (Days, perhaps) where exactly that happened? Then again, the Sharon story may have in fact secured Josh Griffith more time?
  15. This. I thought he did a pretty good job on Days Of Our Lives as Executive Producer but had the rug pulled from under him before he could make a real impact.
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