LondonScribe

And there are pictures he has taken of Y&R actors. It'll be interesting to see what happens with this. Perhaps he has taken Mary O'Leary's role? Or is a Supervising Producer? I say that as he appears to be on set. 

I guess we'll see.

That's incredibly generous of you, though it relies a lot on the past. I'm not as 'in' on anything recent. Lol. I'll voice my opinions (and I always go to great lengths to make them only that) on Emmerdale though I have very little to gauge Iain McLeod on off-hand. I can't shake this uncomfortable feeling that we won't like the changes he will bring.

If I didn't know any better, I'd say people aren't huge fans of Eastenders on here. Lol...

 

Kidding aside, after giving it a cursory glance and struggling to finish the last episode broadcast and when examining the state of this unrecognisable show that has the name and theme of Eastenders (whilst agreeing with the comments that came before mine) it occurred to me that I went through the same thing with another once powerhouse soap that I have stopped watching... The Young and the Restless.

 

Both shows have veered hugely from their identity and what made them what they are, both have characters that are basically Teflon, neither are in any immediate danger of being cancelled, both have suffered in recent(ish) times from a succession of writers and producers who just don't get it, despite what they say to the contrary (though 'credit' to Charles Pratt, he more or less said from the start he was going to do his own thing), and both do not have a hope in hell's chance of getting their next appointment correct. 

While ITV (certainly Coronation Street) have a (moveable) structure in place, and a resource of at least serviceable parts, the BBC do not, at least not regarding soaps.

 

I do not trust Casualty and Holby City Executive Producer Oliver Kent as far as I can throw him, radio soap The Archers programme editor Sean O'Connor has done TV soaps with mixed success (he made a minor, insignificant dent in the Eastenders story team years ago, was railroaded alongside Liza Mellody by Phil Redmond and Jo Hallows at Hollyoaks, and had the legs chopped from under him at both Family Affairs and after the reasonably well received Series 3 of Footballers Wives)  and the Producers of Doctors Will Trotter, Peter Errol Lloyd and Mike Hobson, only deal in 'cosy' afternoon soap.

 

With those in charge of Eastenders now, they had a real gem of a producer who joined with Dominic Treadwell-Collins, left fairly quickly and who's departure coincided with the wheels falling off. And that was Alison Davis. Unless I missed a specific reason, I'm unsure why she left. History (Family Affairs revamp in 2003, stabilising The Bill in 2005, even when Paul Marquess was still the EP of the latter) has taught us that she is more than capable. 

 

The only other person I would have recommended no longer works for the BBC and hasn't since 2011, and that is former Holby City producer Myar Craig-Brown. She is now a big wig at ITV Drama and she only produced one series of Holby but after the shift to HD and the high profile departure of previous head Tony McHale in 2010, she took over and created characters such as Henrik Hanssen and Antoine Mallick. And Sahira Shah was liked in some quarters. Lol

 

Off-tangent I may have gone but the point is there. Soap-wise, the BBC are fairly snookered unless they find a hidden gem or put their trust in a 'writers producer' again such as McHale. 

Having watched all of the Christmas episodes this year even though I don't watch all the soaps (hey, I had time this year, and schedules were quite poor) I can say with no hesitation that Emmerdale was the best watch for me, hands down.

It got the balance right and the reference to Tom King's death surprised me. As a regular watcher at that time, I had forgotten that Edna held a torch for him. At the time (or just after) Len Reynolds had a thing for her, which was breeding issues for Pearl who was in love with Len. If I remember correctly, my memory is shaky on that one.

And I too, have enjoyed Eric's story, and didn't think I would when it first began. 

Perhaps my opinion is largely influenced by the fact that I don't watch the others (or have been bored by them) regularly this year.

And the last few months have been a triumph in regards to the retention of (the implausibly attractive) Leyla, when it would have been easier to simply write her out when Alicia and Jake left. And rather interestingly, they have her maintained friendships rather than pair her with David or Nikhil (yet). Again, an easier option than what they have done. So either it's undeniable character viability or the skill of the writing/senior production team. If it's the latter, it'll be interesting to see if the incoming Iain McLeod has plans for her. And this extends to a few of the other characters, who have been (seemingly impossibly) tied to the tapestry, creating an ensemble. 

Take a bow, Steve Frost/November

This is largely my (time-worn and hazy) opinion but Steve Frost had a few drawbacks. 

1) He followed the much lauded Kieran Roberts at Emmerdale and his tone was (dare I say) flatter than his predecessor. The stories and characters suddenly didn't seem to resonate in the same way (something that he somehow managed to achieve at Coronation Street, despite following on from Tony Wood's sitcom/Carry on Corrie stint)

2) The producer he was unfavourably compared to was then doing what he was doing at Coronation Street at the same time. 

Aside from axing Malandra Burrows, he took the (brave?) decision to axe the character of Sam Dingle (a decision reversed, I believe, by Kathleen Beedles). I don't think he was bad, and he introduced the King Family, so I suspect some fans will thank him for that.

Perhaps I'm being too hard on him.

I won't bore you all twice with what I've written in another thread but what I wil say in duplication is I wish Kate Oates well and hope for the best as I will pray for Emmerdale. Let's merely hope Iain McLeod has been working to the directive of Bryan Kirkwood over on Hollyoaks and that his style isn't at such odds with what we see now that a messy transition and fall-out takes place.

Who knows, perhaps the best is yet to come. Though with what I expect to be some of the Hollyoaks storyliners following him, I do wonder. 

Read more: Coronation Street: Discussion Thread - Page 92 - DTS: Foreign Soaps - SON Community http://boards.soapoperanetwork.com/topic/27045-coronation-street-discussion-thread/?page=92#ixzz3m8qFnPdY

As good as a fit as Kate Oates has (largely) been on Emmerdale, Coronation Street is an altogether different beast. It's an institution, it's The Daddy, it's a machine. 

When Bryan Kirkwood was named Executive Producer of Eastenders I made the same point about Eastenders (and the BBC) being a machine and said he would do well if he worked within the machine. The results are well documented.

If you believe what you read, Coronation Street has much bigger egos, higher profile characters/actors and a 'pecking order' that would be harder for anyone to navigate. 

Unless she ties up her tenure with a pretty bow, people may judge her stewardship of Emmerdale as having lasted 6 months to a year too long.

It's also important to remember that some of the artistic license, afluence and 'glamour' afforded to aspects of Emmerdale aren't traditionally associated with Coronation Street. Though gawd bless Phil Collison for giving the associated sensationalism a going over. 

But as we know, especially in the last 15-20 years, guiding Emmerdale does seem to be some kind of leg-up to Coronation Street, regardless of how well-received (see Kieran Roberts and Kate Oates) or otherwise (see Steve Frost/November and Stuart Blackburn) your time on the former is. Though not a rule (see Anita Turner and Kathleen Beedles, a certain Mr Blyth not considered for obvious reasons). 

If Kieran Roberts is anything to go by, then quality should follow Kate Oates to Manchester from Leeds.

And having gone over to the you-know-where to gauge reaction, I see the perve threads have started already over the incoming producer.

I wish her well and hope for the best as I will pray for Emmerdale. Let's merely hope Iain McLeod has been working to the directive of Bryan Kirkwood over on Hollyoaks and that his style isn't at such odds with what we see now that a messy transition and fall-out takes place.

 

 

The man is called Jack McMullen and he is an actor. First coming to prominence in the latter years of Grange Hill (when Phil Redmond essentially took back control of the show and relocated it to Liverpool) and has appeared in various shows, most notably Waterloo Road.

I have been hearing that Y&R has been using pre-JFP music. Is that true? I do wonder if JFP is getting fired if it is true.

Well, after the Emmy's I do wonder if she'll be afforded a little more time?

As for the pre-JFP music, I can't say I've noticed. It all still sounds very blah. That and the change in produdtion are two of the biggest mistakes made. The writing could (in effect) be masked/less obvious if the aestetic essence of Y&R remained. Only a bit though.

Belle Dingle's storyline has been revealed. Let's just say it ISN'T a teen pregnancy...

http://www.dailystar.co.uk/showbiz-tv/hot-tv/361925/Emmerdale-Belle-Dingle-embroiled-in-MURDER-storyline

Without giving too much away, Eastenders featured a scene that, in a way, reminded me of David Kimble's exit from Y&R.

Think Kick-Ass. Just a tad less gruesome. No doubt OfCom are in for some complaints, mainly due to the time it was shown (8-9pm, pre-watershed)

On Monday 9th December, the second coming of the Soap Messiah occurred. All the ills of the last 3 and a bit years in Eastenders magically came to an end as the closing credits concluded with Executive Producer DOMINIC TREADWELL-COLLINS.

All hail DTC... At least that's if you believe the 'faithful breathren' on Digital Spy. Even one poster was honest enough to say that they were probably just seeing what they wanted to see, just because they knew a new producer was in charge.

My opinion? It was a good, well-paced episode that appeared to possibly turn the ship towards Christmas, which is quite something considering it started more or less where Friday's episode ended. But it was one episode.

I'm going to adopted a wait and see attitude and judge the show a few months down the line (even though Christmas was apparently re-written by the new team) and won't get carried away by the tweets of the journalists who have already seen the Christmas and New Year episodes.

Tonight (5/12/13) will obviously be remembered for more significant world events but in EE, it was the last credited episode of Lorraine Newman as Executive Producer.

The next episode, Monday 9th December will be the first credited episode of Dominic Treadwell-Collins as EP.

Also, announced tonight was the return of Lacey Turner as Stacey Slater. In relation to this, the highest profile EE fan site, Walford Web has closed down suddenly. The speculation is that the media embargo on the above mentioned news was (effectively) broken by someone on that site leading to the owner shutting it down.

Apparently, it will force many of their users onto DS, a site they have slagged off for years. This should be fun...

For UK soaps, does the EP or the head-writer decide on story content? From reading this message board, it looks as if the EP seems to decide on the story content.

From viewing several months of episodes, I actually think the cast is too large and some paring down is needed. Of course, I'm just an American caught up in the US mindset of downsizing LOL

In UK soaps, the Executive Producer is in essence, the show runner. Deals with the networks, finances, etc, and sets the direction.

The show is essentially in his/her image. The Series Producer, Story Producer and others are there to execute the vision of the EP. The most visible examples of this are Dominic Treadwell-Collins for Eastenders and Bryan Kirkwood for Hollyoaks (a tick I think the latter picked up from his stint on the former, more to follow).

And their names would usually be the last on the closing credits (a crediting trait on UK shows). However, on the ITV shows, the EP manages several shows or is a corporate head (for example, Kieran Roberts is the Head of Drama at ITV/Granada, clarification sought on official title) so doesn't run the show. The showrunner is you-know-know and he is credited as 'Producer'. The same set up on Emmerdale with John Whiston (who, by the way doesn't appear on Emmerdale's closing credits) as EP and Kate Oates is Series Producer.

Bringing Liz back was a decision by Stuart Blackburn.

I believe the turning point in this story was the fact that David caused the car accident, which has 'changed Nick's life' (for now). It is quite strange considering Kylie sleeping with Nick (cheating on both sides) was the catalyst to this all.

The new Series Producer, Stuart Blackburn, is probably the worst I've ever had to encounter on a UK soap.

With a soap/drama serial scene that has given us Louise Berridge (especially in 2004), Anita Turner, Oliver Kent, Paul Marquess, etc, to call Stuart Blackburn the worst is a damning indictment.

Yes, Mr Blackburn, who wasn't a bad scriptwriter back in the day (he wrote that (in)famous episode of The Bill back in 2001 when Special Constable Terry Knowles was stabbed in the neck with a comb handle) came to Coronation Street with somewhat of a chequered reputation for soap producing.

His Emmerdale was less-than-remarkabke and seen as very serious and depressing, with odd/bad couples and poor plots. It certainly wasn't on my Sky+, whereas it is the first thing I watch when I get home from work, thanks to his successor, (the almost improbably gorgeous) Kate Oates. Moreso than my superficial comment, she seems to get Emmerdale and has sped things up. Whilst not quite the 'Dynasty-esq' barminess of Kath Beedles Emmerdale nearly a decade ago, it just works, in contrast to Coronation Street.

In my view, everything else on the show bows down to the Cropper storyline, which is already breathtaking and heartbreaking, thanks mostly to the acting masterclass by the actors.

So, on one hand, avid viewers should hope that Coronation Street isn't damaged or gutted too much by Stuart Blackburn. On the other, unless ITV has another Collinson-esq 'chosen one' they want to poach from another network, then usual services will be resumed and the Emmerdale producer will move to Coronation Street in 2015 or 2016.

Interesting point about Emmerdale under Gavin Blyth. I think he is seen with a great deal of fondness because of the initial upturn in quality after Anita Turner and sadly, the circumstances behind the end of his reign. Correct me if I'm wrong but didn't he plot the 'almost off screen' deaths of Terry Woods and Viv Windsor? So yes, perhaps Stuart Blackburn has been unfortunate enough to inherit shows without a solid foundation?

The 'Top Two' of Treadwell-Collins and Davis being part of the team in 2003-2005 that turned Family Affairs around and made it more watchable. Life is funny sometimes.

At the time, Davis was Series Producer to Paul Marquess EP and DTC was Series Story Editor to Ian Aldwinckle Story Producer. (The latter may not be accurate).

For all the good he did as Story Editor/Producer of Family Affairs, I was never completely convinced of his work at Eastenders (and this is someone who championed all things and people FA, The Bill and Dream Team).

But, it's possible he was working to ('Dashing' "Ooh, aint he gorgeous" in my best Barbara Windsor voice) Diederick Santer's directive so I'll do what I learned to do after largely getting it wrong about Bryan Kirkwood, and wait and see what happens.

I can predict, however, that there will be a massive bloodletting of both cast and crew (especially the story team and writers).

I was rather hoping that Lorraine Newman would work things out, because of how long she has been with the show and because I feel this is another victory for 'mob rule' and our poisonous written press.

It never got to the stage of revealing the new name, because shortly afterwards (a week maybe?) the cancellation was announced. The interview with SO'C I believe said he wanted to:

-Make the show younger and sexier (as evidenced by the two student nurses, Perdy and Meridith, I think their names were, a younger doctor, as well as Daniel Hyde's character, Jason Wilding and his WAG-esq wife, who's official entrance I remember consisting of them speeding into Stanley Street in a sports car, accompanied by pop/rock music played over the scene).

-Make Stanley Street and Charnham into 'it's own character' by adding more colour and extending it. This also included burning down the Swan and re-building it as 'The Phoenix' (complete with mysterious new owner Rex Randall and quite creepy, almost incestuous sister, who the former murdered in the last episode).

He also said he and his story team (headed up Dominic Treadwell-Collins, whatever happened to him?) had started doing storylines and projections for up to 2 years.

The nature of the stories changed in the last few months from the considered storytelling of the Costellos and Denise Boulter's rape to more 'OMG' instances like Eileen flushing Pete's ashes down the toilet, her having the entire street turn against her, her blowing up the Swan, her exit. As well as the question of how Rex Randall's wife died (answered in the last 2 episodes), Cat's latest affair via community panto and who Yasmin would choose: the new vicar/priest or (the recasted and shorter) Marc MacKenzie.

As for David Easter's exit, it was reported as him wanting to leave but I was never sure about that. O'Connor, in his first couple of months, wrote out Dave, the Boulters, Lucy, Seb Castang's character and Sadie. My mind isn't clear on whether Dave, Lucy and SC's exits were O'Connor's or Alison Davis before going over to The Bill.

Ah, Pete's shooting. That was the week the show started to change stylistically. There was the inaugural use of sporadic background music/scores. I distinctly remember a haunting score used at the beginning of Monday's episode when the (at that time unidentified) body bag was being rolled out of the Swan to the 'ambulance/hearse'.

You see, Pete's exit played out over a week of episodes. After the aforementioned scene, the story went back a few hours and the build from a christening up to the siege began.

I remember it pretty well, as it was the first episodes EP'd by Johnathan Young with Sean O'Connor as Series Producer. (He was already producer under Paul Marquess after Alison Davis went to The Bill). O'Connor was previously series producer of Hollyoaks (with former EE writer Liza Mellody) for a cup of tea and the producer of the Footballers Wives Season 3. And he had grand plans to compete with Hollyoaks, some of the details have already been discussed. This week was seen as the true unveiling of SO'C vision of FA, which included changing the filming from filmic to 'natural' (like EE and CS).

I had my reservations about 'sexing up' the show, as it rang a bit shallow with me personally, but was still gutted when time was called.

Emma Smithwick was better than Marquess, Lucy Allan and the guy inbetween her and Marquess whose name I don't remember. Her only huge blunder was the abundance of new characters that had no end in sight.

Kathleen Beedles has been at all the soaps. What's her reputation? Are you guys a fan of her work?

Thanks for posting UK LAW.

The show in general doesn't appear to know what it wants to do. Each successive producer seems to want do something entirely different to the predecessor, even discarding the good elements of their stewardship.

I know next to nothing about the backstage macinations of the soaps, but I think (and let's stress the word 'think') she may not have had total choice over this move. I wish her luck as I was not part of the lynchmob over on aforementioned website, and the last few months + Hollyoaks means I think she'll not struggle to find work if she doesn't have something in place.

I only mooted Kath Beedles as she is already there and was BK's Story Producer on Eastenders (a position now held by the immensely talented Patrick Homes, I've loved his written episodes of The Bill, Holby City and Casualty, look out for him in future).

I like Beedles and attribute some of the more recent story cohesion in HO to her. She'll be best remembered for her time as Series Producer on Emmerdale. She took the show over in quite a precarious state, as previous producer Steve Frost (now November) had succumbed to some of his more dark and boring tenancies (see the general apathy to his tenure in charge of Coronation Street).

She tightened the stories and lets be frank, made the show (mega) dramatic, and glamorous. It was, on ocassion, likened to Dynasty, as the Kings and the Sinclairs caused no end of problems for themselves, others and each other. Let's not forget, the Show Home Collapse that more or less kicked off the build to Tom King's murder at Christmas 2005 (a masterful seasonal episode). There was the couple of episodes that saw Cain Dingle and Sadie King leave. Absolutely bonkers episode(s) but hugely watchable. If you can find them online, you should have a blast watching them.

There's more to that period, that was never really capitalised on by Anita Turner and her instantly forgettable period in charge. It took (the late) Gavin Blyth to restore something to that show. But, as you can tell, I've veered off course. Lol

Another producer change. This one is NOT surprising.

Emma Smithwick has stepped down as Series Producer. Her last day is October 5th. EP's Tony Wood and Bryan Kirkwood will oversee the show.

Writing on my phone so can't post the link but it's DS.

I'm guessing Kathleen Beedles will be made Series Producer.

Otherwise, can lightning strike twice?

Michelle Fowler's last ever scene from 1995:

<iframe width="420" height="315" src="http://www.youtube.com/embed/FDlX7NXWZbU" frameborder="0" allowfullscreen></iframe>

Too bad the whole episode isn't up, and too bad there's no Julia's Theme (though they used it a lot less in those days). I believe Michelle was the character with most Julia's Theme closings until Stacey, but I think Stacey's record may be in a single year.

Not sure how much of this is known, but Susan Tully's father, Mike, has been an extra in Eastenders for many years. Elderly man, light-coloured/grey hair and glasses.

Very softly spoken and very nice man. Seeing this just reminded me of that.

There is an overriding sense of satisfaction and victory on the Digital Spy forums at the moment. I've never had a great deal of time for that 'community/lynch mob' but since more or less the time it was announced Bryan Kirkwood would become the Executive Producer it has gotten worse, to the point the moderators had to ban users at regular intervals for out-of-line comments, ranging from linking his sexuality to his choice of stories and actors to his Scottish heritage. Bonkers.

However, I do think he was ultimately a bad fit for Eastenders. Having not gone back and read it, I think I commented on the 'Eastenders Machine' when he was appointed. Diederick Santer, Kate Harwood and going back, John Yorke all worked within a BBC machine prior to taking the reigns at Elstree.

Whilst in charge of Hollyoaks, I can only imagine the workings at Lime Pictures were less 'structured/restricted' and thus, Bryan Kirkwood had less people to appease and answer to. He also didn't have a massive fanbase and media to answer to. Certainly not on the scale he has had for the last 2 years.

Don't get me wrong, this isn't a 'defence' as such, because the quality has been very 'hit-and-miss'. I don't need to go over what has already been said because I agree largely with it. I don't think the show was ever as bad as stated. I like a long-running story and didn't mind the Masood/Yusuf story lasting 1 Year+. I mean, it gave us the magnetic Ace Bhatti for a sustained period of time.

Do I think he and Kath Beedles were asked to 'resign'? Probably, as suggested by the installation of an interim EP. Think the hasty exit of Paul Marquess from Hollyoaks and the temporary reign of Gareth Phillips. There is enough talent in the two of them that I don't think they will have problems finding new gigs.

Eastenders doesn't mark everybody's cards.

I mentioned the fanbase that needs to be appeased. I feel with this fanbase in particular that they know what they DON'T want but may not actually know what they DO want, and in that regard, they may not know what they have with any new permanent until it's 'too late'. Then it will all begin again.

On that note, I don't suppose it's too late to tempt Myar Craig-Brown back form ITV?