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UK LAW

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  1. Gosh, this reads like absolute carnage. And Mal Young seems to be at the centre of all of it. He seems to have been given the go-ahead to upset as much of the applecart as he wishes. At this stage I think he will be given as much leeway as Steve Kent et al can give him. This fits in with the idea I’ve seen floated around that CBS/SONY want a certain type of show and people like Jill Farren Phelps/Charles Pratt Jr/Mal Young are seen as proponents of that style, hence them being given more time as opposed to (more) traditional writers like Kay Alden (and Sally Sussman, faults and all) who were given 8 months and shown the door as soon as possible.
  2. Emmerdale: Discussion Thread

    McLeod’s name is gone from the credits? Well, I’ll let the anniversary week pass (likely when he planned some of his stories to conclude) and gauge the general consensus before deciding whether to get back in or not. His Emmerdale was not for me. I’m taking the Y&R approach (though I think that may turn into a more long term ‘holiday’ given the shiny new hatchet gifted to Mal Young).
  3. Tyler and Mason I think so. Leslie, I believe, was introduced under Maria Arena Bell. Arguably Josh Griffith’s biggest success, character wise, was Hilary.
  4. I fully accept that. My initial reaction was perhaps it was as it seemed (and I won’t edit it) but the more I read from those on here who know the U.S. business more than I and with more recent news/allegations the more it almost seems inevitable. Josh Griffith, though? Not because I think he’s horrible, as I’ve liked his stuff but it has shown at least twice now that he might not be the best fit for the show’s style or canvas.
  5. I note this article speaks ‘definitively’ about the fact that Mal Young is nearing exit at CBS Studios.
  6. BTS harassment at Y&R

    The heightened vernacular aside, if even half of what is here is, it’s likely the most ‘junior’ of the named executives could realistically find himself out of his position sooner rather than later. Is the recent recent production rehiring more than a co-incidence?
  7. I agree with the above. And that is something some UK shows do well when they are ended. The Bill ended at the conclusion of a day’s work. You knew they were coming back to do it again the next day. No exits or deaths of main characters. Just did a single shot roam of characters going home, to the pub, or to wherever (and I think those on the night shift coming in). I remember complaints by some people that they didn’t bring any legendary characters back like Burnside, Bob Cryer, Jim Carver, June Ackland or Tony Stamp but it was realistic. Family Affairs ended with a stroke of midnight to see in a new year and even though long-suffering Eileen was revealed to have got a Happy ever after, and Yasmin finally got her man, it was not a case of wrapping everything up nicely for everyone. In fact Doug McKenzie left Cat in the street and we were left with a never-to-be-answered ‘what happened next?’ with Katie and murderous pub landlord, Rex. I certainly hope Y&R has more than a little while to go and that whatever step is taken (with or without Mal Young) can do more than halting the decline. That it actually raises quality... I know, right? A ‘dream’ scenario for those who want meritocracy implemented here is for (long time writers, hired by Bill Bell and Kay Alden and you would assume have an understanding of the show’s torn fabric) Natalie Minardi Slater and Janice Ferri Esser to steer the writer while Sally McDonald is finally rewarded for her hard work with an Executive Producer’s credit. But, Devil’s advocate, do they even want the jobs? Could they do the jobs? Or is Sally Sussman merely the exception to the rule that all writers schooled (or hired) by Bill Bell can effectively write the show, staying true to its roots? And even if they could write (and produce) the show, returning it to some kind of semblance of what was, would the ‘current target’ audience respond or reject it? Personally, I don’t think network executives are willing to take the risk and give writers and producers untested in showrunning opportunities to do so. Hence revolving door of the same people with their mistakes, missteps and failures for all to see, somehow hoping for a different result. This isn’t exclusive to the United States. It happens in the U.K and in Australia, Home Away went back to Louise Bowes last year as producer, even though she previously overran the show with the Braxtons/River Boys, crime and dodgy characters and seemingly migrated half of Mangrove River to Summer Bay in the process. It sometimes works but often does not. Anyway, there’s a saying born out of that kind of action...
  8. I’ll be careful to address this in two parts. The first one is on what Josh Griffith has done previously. His go at Head Writer (end on 2007-August 2008), in my opinion, wasn’t awful, if a little dry. He re-introduced Adam the first time around, and levelled things out after Lyn Marie Latham spun the show out of control before the writers strike. I also think he did an admirable job of finding a role to keep Jerry Douglas on screen, even if the premise was a little silly. But Jerry Douglas played the heck out of Alistair Wallingford. Sabrina was quite a departure for the show and for Victor but ultimately I’m not sure how much that worked and it was no surprise she was one of the first people Maria Arena Bell and Hogan Sheffer wrote out when they were given control. In the end it was a calmer but uneven tenure. His second go around, again, could be called uneven, with Jack’s addiction and trying to explain Sharon’s erratic behaviour by having her diagnosed with bi-polar disorder but seemingly not doing too much to curtail said actions. I believe Nikki was diagnosed with M.S under Griffith and he botched the Summer paternity story, but I will forever be grateful to him for introducing the character of Hilary Curtis and giving Mishael Morgan such a platform. And I think I’m in a minority of one when I say that I liked his dark, twisted take on Days of Our Lives. Certainly at the time. Hindsight hasn’t been kind to his overall impact as I certainly don’t agree with all of his steps but I liked the writing in general and think he took risks. Even if it was probably more obvious to those in the know that Joseph Mascolo was getting very ill, I’m not sure about having Stefano be murdered in cold blood by Hope of all people. The casting of the teens yielded mixed results and the fact that only one of the actors chosen at the time remains probably tells you how well that went. Though the Ciara rape story was a really bad decision. The second part of my response to this news relates to what he could be doing now. Given his patchy past and the repeated cutting off of his legs I wonder how wise it is to potentially turn to him if indeed the higher ups are looking to cash in their chips with Mal Young down the line. People would simply skip the grace period and start counting down to his inevitable ignominious exit from day one, so stability would not be achieved. That’s why, rather naively, I’m going to take this walking and quacking duck as the one it looks to be. Then again, if there is one thing you can trust the powers that be to do is make the wrong decision...
  9. US Soap General Discussion

    Funny you mention that. Days Of Our Lives had a period from about 2007-2008 (I can be corrected) when the production values were pretty high and very different. The lighting was darker at that point. One of the Executive Producers was Ed Scott, formerly of The Young and the Restless. Of course, that was likely before a pickaxe was taken to the budget.
  10. EastEnders: Discussion Thread

    http://www.digitalspy.com/soaps/eastenders/news/a863452/eastenders-casualty-holby-city-new-producer-kate-oates/ Reality is often more bizarre than fiction. And she’ll be overseeing Casualty and Holby City, too ? If I’m right, I believe this also makes her the first producer to get the ‘top job’ on the traditionally BIG 3 soaps (of the past 30 years) Of Eastenders, Coronation Street and Emmerdale.
  11. EastEnders: Discussion Thread

    https://www.thesun.co.uk/tvandshowbiz/6839858/kate-oates-heading-to-walford/ Nothing even close to being confirmed, but it seems it was more than just wishful thinking by the DS forum crowd.
  12. Y&R July 2018 Discussion Thread

    That’s very kind to say, though I’m not sure how much I can offer other than my opinion ?? My opinion, though, is that Mal is a square peg in a round hole. There’s obviously something to him otherwise he wouldn’t have over 35 years in soaps and drama (and across several continents) but when you’re dealing with a show that (at least at one point) had such a unique, defined identity, it doesn’t often work to try take a surgeon’s apparatus to it. That applies to Lyn Marie Latham trying to model it on Knots Landing or any prime time soap. To Maria Arena Bell modelling the shows style and casting policy on ABC. To Jill Farren Phelps who took a rusty hammer to the show’s production and sound. I say hammer because it was useful for a while on Guiding Light nearly 30 years ago and complimented by some very good writers. To Charles Pratt Jr who took what did NOT work in that year he wrote for All My Children and did the exact same thing. To Mal Young now and primarily the highers up at both Sony and CBS who are complicit in this 12 year move to fundamentally change the fabric of the show. It’s like state-sponsored criminality. I’ll never completely leave the show but at the moment, I dip in and out when something looks like it could be interesting. And whatever was said regarding the period Sally Sussman and Kay Alden wrote the show, I found there was something that kept me coming back.
  13. Y&R July 2018 Discussion Thread

    Depending on the wider feedback, ratings, and the views of the higher ups, it may not be THE jump-the-shark moment (I mean, take your pick from the last 12 years or so) but it may well be the moment those up top take a look and think “are you sure?”...
  14. YR: JT Reveal

    I agree with this sentiment. 2004 was when I stopped enjoying the show on a consistent basis. However (and in response to the wider point), the last thing needed is less soap. And as daft as this might sound, if there is ever a show that does NOT need cancelling it’s The Young and the Restless. It needs its powers that be to decide which coat of paint it wants and get the correct person to paint it. While I didn’t say it explicitly, I more than strongly hinted that Mal Young and his storytelling sensibilities might not be the best fit for Y&R. And it’s nothing to do with him being British. David Shaughnessy (EP up to the mighty 2003) is London-born. I’ve lived through what he did to Brookside from 1991-1997 (shifting it from its social commentary and politically charged roots to sensationalism and headline-seeking) and what he encouraged and Head of Drama at the BBC (specifically in regards to Eastenders and Casualty, though I do thank him for creating Holby City and bringing back Doctor Who) so knew his interpretation of American soaps would be what it has been- especially as his ‘direct education’ was gained under the learning tree of Jill Farren Phelps and Charles Pratt Jr.
  15. Best Soap Opera Opening

    I still remember when they first made the switch to this Neighbours theme (I think in 1992) there was such a backlash, but I always really liked it. Though I always liked the title style that originally went with it. It was like an envelope or postbox.
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