LondonScribe

The Australian soap Neighbours is in the midst of a story where the men in a same-sex marriage are in the early stages of a pregnancy via a surrogate. 
 

The thing is the young woman who is carrying their child is a relative newcomer and trouble. And I fully anticipate she will fall for the child and cause them no end of grief for the couple if she carries to term and gives birth. I don’t think she will simply hand it over and let them be the primary carers as currently agreed.

So if these Mariah anvils land where it is thought they will, it has the potential to be an interesting and complex storyline if told compellingly..... I repeat, if told compellingly.

5 hours ago, MichaelGL said:

Currently enjoying this show the most out of the UK soaps. I’m liking how much of the stories are starting to connect and involve multiple characters.

 

I’m sure like usual it won’t last.

It’s amazing. 
 

Out of all the shows and their producers, Iain MacLeod was the one with the lowest standing, off the back of his rather bland period in charge of Emmerdale. 
 

And now, at the end of 2020, Coronation Street is arguably in the strongest position of the 4.

Just goes to show.

1 hour ago, Faulkner said:

Again, That Black Storyline (MAB) is saving this show.
 

I’m curious if Elena’s (and potentially Nate’s) days are numbered with Imani potentially on the scene as an Amanda rival. It’s sad that we have to think that way, but again we’ve been trained by years of daytime “quotas.” 
 

I like that we have two fiery actresses playing sisters à la Kim Zimmer/Laura Wright.
 

BUT Leigh-Ann Rose isn’t on contract to my knowledge, and we know Josh Griffith often puts the brakes on promising stories right when they start to take off. We’ll have to see if this is a slow-paced introduction (which would be fantastic) or a road to nowhere.

This is the EXACT point I made when news of their casting was announced, and for the same reason. And this was with the knowledge that they are recurring. 
 

I guess the real test will be if one or both of them are put on contract.

1 hour ago, Faulkner said:

2 hours ago, Paul Raven said:

I think there is a favorable response to the Amanda story because 

a. Mishel is a strong actress as are the women cast as mother/sister

b. the story is fresh and not involving characters we've seen in a million different situations

c. the beats are being played and the pacing is right

Whether it continues in this vein remains to be seen...

Pure speculation on my part but does anyone think this particular story has the hand/guidance of Susan Dansby over it? She was previously very good when it came to writing authentically for the Winters and was usually given the episodes to write where they would feature somewhat prominently.

Bringing it over here again for a second. Eastenders for a period were very good at returns of legendary characters, though in many cases, the long term stories weren’t all successes.

It can’t be overstated the excitement in 2005 when this happened.

Since 1990, the Mitchell Brothers added a new dynamic to Albert Square and drove much of the action and drama up until 1999 when Ross Kemp, portrayer of younger brother Grant, decided to move on.

Phil, played by Steve McFadden, decided to take some time off in 2003 and, save for a short cameo, stayed away until 2005. 
 

Their on-screen mother, Peggy, played by recently departed Dame Barbara Windsor, was being terrorised by local gangster, Johnny Allen and sent a goon out to harm her.

When the end of this clip occurred, the there were yells of joy. Literally.

Genuine question for anyone who cares to answer...

I referenced it in passing last month, but I’ll delve little deeper. There’s an attachment to Charlie around these parts. 
 

Is it to do with the new dynamic he brings to existing characters, the talent of the actor (forgive me for not remembering his name) or is it driven by his looks? (I.e, if he was the same character, acted the same way but he wasn’t being crushed on, would there be the same clamour to get around the writing to keep him?)

I ask because his (initial) arc seems to be defined, and set in stone, with a beginning, middle and end, but it is being received as an affront to some of the viewers, who feel he’s being ruined.

I did a double take when I saw that John Bishop is joining the show.

I don’t recall seeing him act before, but he’s got decent screen presence, is handsome (pretty widely accepted, though I suspect that won’t matter on the show ) and has a certain charisma.

 
For those who don’t know, he’s a stand up comedian by ‘trade’ and has a very pronounced Liverpool accent. I do think his character will speak slower than perhaps John Bishop does normally. Certainly no Jamie Carragher or Conor Coady vibes here. Look them up...

1 hour ago, BetterForgotten said:

Brian Park fired and chased out quite a few longterm writers during his tenure as EP. Many may have left anyway and whilst the show needed a jolt back then, I wonder if this did more longterm damage than good in the end. Classic Corrie had such vivid characters, each with a unique voice. You didn’t get much of that after Park’s tenure.

That is true. Brian Park’s tenure seemed like an attempt to keep up with Eastenders and Brookside in the ‘drama’ and sensationalism, which increased the ratings initially, but as was said, ripped the heart (or certain something) out of the show that has never been truly restored.

Jane McNaught’s tenure did even more damage, by going for the throat, with Alma’s death and Toyah’s rape. Though the latter does happen in life, it seemed to be told in such a ham-fisted, jarring way.

British soaps have a tendency to do that. Throwing out the baby with the bath water.

6 hours ago, Soap-princess said:

Maybe it’s me, but it seems like Elena and Nate are being pushed out. 

I don’t think it’s just you.

If I’m being generous, I’d say they are being back-burned, but with Amanda’s insta-family potentially emerging from the fog, I wouldn’t be surprised to see Elena and Nate quietly leave town.

18 hours ago, RavenWhitney said:

Sara Ensley removed from associate head writer credits on Y&R today, 12/28 US episode.

If it’s like James Harmon Brown, then she may still contribute scripts, just without any story influence.

But at the end of the day, the fish rots from the head.

There’s a bit to suggest that either harm will come to Tripp before the truth comes out, or the truth will emerge just as someone is about to take life threatening action against him.

15 hours ago, DramatistDreamer said:

Didn't Mal also kill Hilary off and called it a "gift" to the viewers? I'm not sure where this nostalgia for Mal is coming from. Personally, I could see there being a greater likelihood that MY and SS would have clashed, repeatedly. And for any creative project to work, there must be some synergy present. A constant battle of wills won't work.

This was one of the most egregious acts, sacrificing Lily in the process. I know the latter (or rather Cristel Khalil) isn’t the most popular, but it was destructive, counter-productive writing in my opinion. 
 

I agree that Mal Young would have clashed with Sally Sussman Morina, as I subsequently found out that he has clashed with or significantly disagreed with most people he worked with in the U.K. I happened to read an old  interview with former Eastenders Executive Producer Matthew Robinson, who made it clear he didn’t exactly get on with Mal Young, who had hired him. 
 

In reality, it is likely that they did clash and disagree on the vision of the show, and Mal Young is historically used to telling people what to do and getting his way, hence his strokes pulled to remove Sussman.

Plus, turning Summer into Phyllis Jr (by way of insecurity and irrationality) isn’t the way to go, especially when you then introduce someone else who has a little of the younger Phyllis (in both scheming, ambition and looks) to be her ‘rival’/prop.

I agree that his approach to this Head Writing tenure has been absolutely mind-boggling. Sharon might as well have stepped out of the shower in his first credited episode.

But I wouldn’t be surprised if Josh Griffith is kept on in the name of ‘stability’ during these precarious world times. A ‘steady’ hand to keep the show ticking over.

Otherwise, look for Amanda Beall (who Griffith shifted to be his Associate Head Writer last year, at least that is what I think she is, and I speculate would be his preferred successor) or Susan Dansby (who I think I read the senior executives placed as Story Consultant) to be made Head Writer.

Mal Young was always a curious choice for Head Writer and Executive Producer because he grew up and developed in British soap operas and dramas, and for the record, has a very mixed record. I won’t go over his history again but I do remember ostensibly warning everyone on here about him. He immediately came on and changed the fabric and storytelling construct of the show, making each episode a separate day and trying to eliminate the musical score in its entirety (something he confirmed after he had left), pretty much making it like a U.K. soap.

By the way, was it not Mal Young who wrote out Chelsea, Kevin and Chloe as well as quietly discarding Paul as well as the pretty unique and charming Ravi, and setting the wheels in motion to axe Neil? Making JT an abuser and having him push Victor down the stairs, introducing the Rosales family (though there were other forces at play there also) and having the least interesting of them overrun the show. 
 

The L.A episodes aside, I’m not sure how well he would have worked with SSM and Alden as their sensibilities were different and possibly at odds with each other. 
 

Plus we all know the ‘bible’ power play Young pulled, which led to their exits.

Considering that SSM took the reins with no prep, she could have done a much worse job. And at the risk of repeating myself, I haven’t enjoyed much since hers and Alden’s names disappeared off the credits.

British producers and writers aren’t exactly covering themselves in glory right now (and I warn people to keep a close eye on this proposed ‘Pine Valley’ prime time reboot with Leo Richardson as the Head Writer) so I won’t even joke about the fact that Hollyoaks Executive Producer Bryan Kirkwood is days away from becoming available

10 hours ago, Taoboi said:

I have always found your comments insightful and fair. And there are definitely other people who are much more negative...or just trolling.  

 

This is the most I've watched in a while myself. I stopped I think mid-Mal Young's run, was drawn back in for SSM who I acutally liked (and felt all she needed as a good co-writer).

 

I am surprised to find anything of interest period post-Nina and Jill. So, like you, I would be surprised if I stick to regular viewing. That rumor above is intriguing to me and overdue if it is true...but given how the one other storyline that would keep me watching regularly appears to be either done or slowly paced...I might do the same. 

 

Right now, GH is more my pace right now. 

I’ve highlighted the bits that I co-sign the most. 
 

I thought getting rid of Sally Sussman Morina and Kay Alden (as quickly as they did) was a mistake at the time and I believe the following 3-4 years have bore that out. I do agree that if Kay Alden was not going to Co-Head Write then one was needed.

General Hospital and Days Of Our Lives are currently more appealing to me, but I understand that it’s not permanent, plus both shows have dull characters. The difference is that neither show is overrun with them or hollowed out veterans. 
 

However, I appreciate the shows for what they are, their differences, the genres they lean into and am not one of the growing number of people online wishing that Dan O’Connor and/or Chris Van Etten would move over to The Young and The Restless. And no to Ron Carlivati.
 

Just to be clear, my comments on Y&R come from a place of love and concern, as this is the show that opened my eyes to American soaps as a young boy in London looking for good stories on TV that didn’t look like Eastenders.

I want it to succeed, I want to be able to watch it religiously, recognise the characters, follow their journeys and not get bored. This year has taught me to stop accepting mediocrity, and I shed a lot of fat from my TV viewing as well as my own writing projects. But Y&R is the one belly roll I can’t shed and I really don’t want to. 
 

So, when compelled, or concerned I’ll speak up.

In the spirit of acknowledging things, I got it wrong about Josh Griffith, and he is wholly unsuited to this gig this time around. I guess the issue then becomes, who is out there or within the team that can galvanise the canvas of characters?

I watched the Eastenders Christmas Day episode- the first full episode in a long, long time, and oh Lordy. What a s*** show!

I thought Kate Oates sensibilities would suit the show, but it looks like her worst instincts are more prominent here than at Emmerdale Coronation Street. But the biggest culprit (in my view) is Jon Sen. 
 

I wasn’t fond of his work on Casualty (really making background music a feature of the series and playing with a few production techniques), and remember being surprised when he was made EP of Eastenders, especially as I’m sure he was not a producer on the previous show. 
 

A few people I’ve spoken to believe Jon Sen’s rapid ascension up the ranks is identity and class politics at work, due to the fact he is Indian and is a graduate of the University of Cambridge.

I’m not so cynical, mind you.

One thing I do agree on is the Fox family should take a bow. Denise and Chelsea were powerful and Diane Parrish is a force of nature. Lucas is not a changed man, that’s for sure. There were enough anvils dropped in this episode alone that I think subtlety, nuance and some compelling beats will be missing from this story. I’m predicting he will kill or be killed by Anniversary week.
 

I don’t have the same ‘emotional’ (read: sexual) investment many on here have in the actor who plays Charlie, but the character is an interesting one, reasonably well acted and is clearly viable, so I have no doubt Ron Carlivati will find a way to re-introduce him further down the line, but given what he’s done and the way the story has gone, he has to go (for now) unless they plan to plausibly retain him and show the consequences of his actions and journey back from that.

He’s already positioned to incur the wrath of most of the cast and tied to another young man that he can become a rival for in years to come.

It’s very telling that as soon as I clicked into the topic and saw they were black people, my immediate thought was “so, which Winter/Hamilton/Hastings is being written out to make this possible?”

It’s a pretty fun video, though it is ever so slightly ‘spoilery’. And I’m watching at Australian pace as well.

Having watched tomorrow’s episode (December 2nd), James Harmon Brown was gone from the credits. 
 

Unsure if it’s temporary or permanent.

On 11/24/2020 at 10:13 PM, Skylover said:

I'm glad you enjoyed it. I love this show. I would have liked a third season but that's currently looking unlikely in light of the pandemic.

That is true and that is a huge shame. I’d be more willing to accept it’s likely fate had the quality dropped in Series 2, but it didn’t. In fact it felt like it was about to step up a gear.

I hope I’m wrong but the pandemic has decimated network budgets and cut a swathe through ordinarily viable shows.

Back in 2018, I became aware of the forthcoming drama, The Heights, due for a 2019 debut on ABC in Australia.

It looked interesting because it was set in a housing community that hosted a high rise, where many of the characters lived, and could have more of an inner city feel. You don’t even really get that over here. 

For various reasons, I was never able to find it, and decided I would not look for episode recaps. It left my mind, and It took me until only a few weeks ago to find out it had been broadcast on BBC TV over here.

So I binge watched the 60 episodes produced (over 2 series, with a question mark over a 3rd despite critical acclaim).

It’s gritty, a little grown up in tone and compelling, with a very diverse cast, both in terms of ethnicity but other compositions, such as disability, the relative lack of the former in Neighbours and especially H&A being a general observation over here.
 

Addendum: I was not aware of the dismissive tomes of any of the actors towards soap operas, but realistically, that wouldn’t have stopped me watching based on the good reviews the show has gotten. 
 

I’d certainly recommend it in and of itself as it’s well written, generally well acted (but that’s always subjective) and sugar coats very little. 
 

Oops, ignore. A thread exists for this already

It’s an odd one. They’ve been saying for a large part of the year that Adam Woodyatt is taking a break from the show but very recently, I’ve started to think that the information being released is a red herring and that Ian is in fact being killed off.

If he is, either Woodyatt has decided he’s wanted a change (because unlike the other ‘episode one’ originals, Letitia Dean and Gillian Taylforth, who have both had extended periods away from the show, AW has, more consistently been there for all 35 years) or Jon Sen/Kate Oates are making a VERY bold statement and writing him out.

Between this and the Peter storyline, it looks like there will be a good number of casualties and exits in next few weeks up to the end of the year.