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Post by mark687 on Dec 10, 2018 22:21:54 GMT
In semi seriousness every 9 months any longer they loose the casual interest again. Regards mark687 Why? Other programmes manage it. That's my point other programmes don't wait the calendar year, they wait 9 months, which seems to work to keep a steady and casual audience.
Regards
mark687
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Post by mark687 on Dec 10, 2018 22:25:33 GMT
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bobod
Chancellery Guard
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Post by bobod on Dec 10, 2018 22:40:06 GMT
Why? Other programmes manage it. That's my point other programmes don't wait the colander year, they wait 9 months, which seems to work to keep a steady and casual audience.
Regards
mark687
I was talking about the ones which have longer than a year between seasons and are still huge.
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Post by mark687 on Dec 10, 2018 22:41:54 GMT
That's my point other programmes don't wait the colander year, they wait 9 months, which seems to work to keep a steady and casual audience.
Regards
mark687
I was talking about the ones which have longer than a year between seasons and are still huge. Which GOT maybe what others?
Regards
mark687
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Post by masterdoctor on Dec 11, 2018 5:48:57 GMT
I was talking about the ones which have longer than a year between seasons and are still huge. Which GOT maybe what others?
Regards
mark687
Line of Duty increased viewership every season, even with long breaks in between. Luther increased viewership between Season 4 and 3 and increased viewership. Black Mirror etc.
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Post by mark687 on Dec 11, 2018 10:38:07 GMT
Which GOT maybe what others?
Regards
mark687
Line of Duty increased viewership every season, even with long breaks in between. Luther increased viewership between Season 4 and 3 and increased viewership. Black Mirror etc. Line of Duty until this current gap there wasn't a year's delay Luther granted, Black Mirror is on Netflix/ and Amazon don't release figures do they?
Regards
mark687
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Deleted
Deleted Member
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Post by Deleted on Dec 11, 2018 11:05:24 GMT
Line of Duty increased viewership every season, even with long breaks in between. Luther increased viewership between Season 4 and 3 and increased viewership. Black Mirror etc. Line of Duty until this current gap there wasn't a year's delay Luther granted, Black Mirror is on Netflix/ and Amazon don't release figures do they?
Regards
mark687
Not sure what Line Of Duty you've been watching - there was nearly 2 years between season 1 and 2, and 2 years between seasons 2 and 3. The year long gap leading up to season 4 is the one and only time the show hasn't been off air for 2 years between seasons since the gap between 4 and 5 is another 2 years now.
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Post by mark687 on Dec 11, 2018 11:12:32 GMT
Line of Duty until this current gap there wasn't a year's delay Luther granted, Black Mirror is on Netflix/ and Amazon don't release figures do they?
Regards
mark687
Not sure what Line Of Duty you've been watching - there was nearly 2 years between season 1 and 2, and 2 years between seasons 2 and 3. The year long gap leading up to season 4 is the one and only time the show hasn't been off air for 2 years between seasons since the gap between 4 and 5 is another 2 years now. Alright then ignore me every viewer will cone back to it in 12-16 Months no problem.
Regards
mark687
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Deleted
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Post by Deleted on Dec 11, 2018 11:15:45 GMT
Not sure what Line Of Duty you've been watching - there was nearly 2 years between season 1 and 2, and 2 years between seasons 2 and 3. The year long gap leading up to season 4 is the one and only time the show hasn't been off air for 2 years between seasons since the gap between 4 and 5 is another 2 years now. Alright then ignore me every viewer will cone back to it in 12-16 Months no problem.
Regards
mark687
No need to spit the dummy Mark. You told MasterDoctor they were wrong in what they said to justify your opinion, only pointing out what they said in the first place was perfectly accurate.
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Post by mark687 on Dec 11, 2018 11:20:33 GMT
Alright then ignore me every viewer will cone back to it in 12-16 Months no problem.
Regards
mark687
No need to spit the dummy Mark. You told MasterDoctor they were wrong in what they said to justify your opinion, only pointing out what they said in the first place was perfectly accurate. I do apologize, I thought it was a mild overaction but your right it was still an overaction.
Regards
mark687
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Post by nucleusofswarm on Jan 7, 2019 18:42:47 GMT
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Post by mark687 on Jan 9, 2019 16:06:43 GMT
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Deleted
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Post by Deleted on Jan 10, 2019 0:08:35 GMT
Saw this on facebook and rushed to tell the people of the divergent universe of its existense..seems i was only just beaten to it by 7 hours....
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Deleted
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Post by Deleted on Jan 11, 2019 20:20:51 GMT
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Post by tuigirl on Jan 11, 2019 20:48:24 GMT
No surprises there....
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Deleted
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Post by Deleted on Jan 11, 2019 22:25:23 GMT
No surprises there.... It may seem like stating the bleeding obvious to those of us on this forum, but this goes back a long way. The Jeremy Lloyd, David Croft/Jimmy Perry stable of family oriented Sitcoms stretched from Dads Army in 1968 to Oh Doctor Beeching in 1997. This long run came to end after Doctor Beeching was axed after two successful series. It was replaced by 'Garden Force', a cheap show where a team would give a persons garden a makeover and led to similar shows where peoples rooms would get renovated. Cheap programming for the same time-slot that continues to this day and the main reason we no longer have a stable of established writers of actors for family sitcoms. The genre has become extinct due to budget cuts and the BBC has found it very hard to try and resuscitate the genre of late. Hence 'Mrs Browns Boys' getting so much over-egging to the mystification of many. If you fill the schedules with low quality, low cost product which still gets the viewers, you starve the talent and it becomes harder to call upon when you need it again. Mike Tucker summed up a similar situation when Doctor Who came back in 2005, that the series was lucky that he and a few others had managed to keep going as freelancers (as a team) when the BBC axed their department after it stopped making sci-fi programmes in the 1990's. Many others, he noted, experienced periods of famine and feast as Hollywood shifted productions back and forth across the pond, requiring either modelling work or CGI. Once many went bust, London became less viable to potential productions as people need a constant source of work. They were very fortunate to get him back on board for the Modelling work they achieved otherwise it would have been cheap CGI on the budget the then relaunched show had at its disposal. One of the underrated heroes of the relaunch, Mike Tucker is, if you ask me. Doctor Who needs a greater run of episodes if it is to keep calling on a talented pool of production crew and writers to match US fantasy shows, otherwise it becomes an open target for those who may see it as the poor relation. Think of the BBC's attempt to relaunch some classic sitcoms a couple of years back. Having to rely on the partnerships of Laurence Marks & Maurice Gran (Goodnight Sweetheart) and Dick Clement & Ian Le Frenais (Porridge). The latter two now in their eighties. It has also been pointed out by some in the business that, with regular Drama at the BBC consisting of Eastenders, Casualty and Holby City, that in house scriptwriters are cutting their teeth on a limited, repetitive source, which is why the Andrew Davies (82) continues to be their main go-to writer for quality prestige drama, now the likes of Dennis Potter et al are long gone. Who will replace him with a record of delivering consistently, productions with the same stature and critical acclaim? Long post, but there are consequences where rationing is concerned. After decades of not building new houses, there is now a raft of complaints of shoddy building emerging in the UK, as we attempt to address the housing shortage. The analogy continues. Put simply, the BBC makes it harder to bring the show back at the same level each time it creates 'Gap-Years' as the majority are not kept on roll in between.
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Post by nucleusofswarm on Jan 12, 2019 0:52:16 GMT
No surprises there.... It may seem like stating the bleeding obvious to those of us on this forum, but this goes back a long way. The Jeremy Lloyd, David Croft/Jimmy Perry stable of family oriented Sitcoms stretched from Dads Army in 1968 to Oh Doctor Beeching in 1997. This long run came to end after Doctor Beeching was axed after two successful series. It was replaced by 'Garden Force', a cheap show where a team would give a persons garden a makeover and led to similar shows where peoples rooms would get renovated. Cheap programming for the same time-slot that continues to this day and the main reason we no longer have a stable of established writers of actors for family sitcoms. The genre has become extinct due to budget cuts and the BBC has found it very hard to try and resuscitate the genre of late. Hence 'Mrs Browns Boys' getting so much over-egging to the mystification of many. If you fill the schedules with low quality, low cost product which still gets the viewers, you starve the talent and it becomes harder to call upon when you need it again. Mike Tucker summed up a similar situation when Doctor Who came back in 2005, that the series was lucky that he and a few others had managed to keep going as freelancers (as a team) when the BBC axed their department after it stopped making sci-fi programmes in the 1990's. Many others, he noted, experienced periods of famine and feast as Hollywood shifted productions back and forth across the pond, requiring either modelling work or CGI. Once many went bust, London became less viable to potential productions as people need a constant source of work. They were very fortunate to get him back on board for the Modelling work they achieved otherwise it would have been cheap CGI on the budget the then relaunched show had at its disposal. One of the underrated heroes of the relaunch, Mike Tucker is, if you ask me. Doctor Who needs a greater run of episodes if it is to keep calling on a talented pool of production crew and writers to match US fantasy shows, otherwise it becomes an open target for those who may see it as the poor relation. Think of the BBC's attempt to relaunch some classic sitcoms a couple of years back. Having to rely on the partnerships of Laurence Marks & Maurice Gran (Goodnight Sweetheart) and Dick Clement & Ian Le Frenais (Porridge). The latter two now in their eighties. It has also been pointed out by some in the business that, with regular Drama at the BBC consisting of Eastenders, Casualty and Holby City, that in house scriptwriters are cutting their teeth on a limited, repetitive source, which is why the Andrew Davies (82) continues to be their main go-to writer for quality prestige drama, now the likes of Dennis Potter et al are long gone. Who will replace him with a record of delivering consistently, productions with the same stature and critical acclaim? Long post, but there are consequences where rationing is concerned. After decades of not building new houses, there is now a raft of complaints of shoddy building emerging in the UK, as we attempt to address the housing shortage. The analogy continues. Put simply, the BBC makes it harder to bring the show back at the same level each time it creates 'Gap-Years' as the majority are not kept on roll in between. I think, while some interesting history is raised, your points are really scattershot and don't cohese into a proper thesis.
I don't see how giving Who two or three more episodes will meaningfully change anything with regards to issues of talent rearing or the landscape, as someone who is that in there: almost no one gets their first or even second gig on that show because it's too expensive and high profile. Much of that talent starts on different kinds of shows: you start as a runner on reality TV, you may well end up as production manager on Who. Writers come up through the soap/continuing drama route all the time to properly drill them and ensure they can do what they need to effectively and efficiently. And episode count is just a reality of the market: 13 episode runs are just not a thing anymore, no one commissions them. Shorter series designed for binging and the online market are where things are heading. 6-8, 10 at an absolute stretch Those American shows you're worried about? All same or shorter runs and you know what else they have? More money from wider and more revenue streams. That is and always will be the core issue:Who will never be able to go beat for beat with say Lost in Space or STD on a technical level. It can get close but it's just not viable: Netflix and Amazon have more money than Satan, while the BBC battles license fee freezes, potentially losing the over 75s, shrinking terrestrial viewing and, well, the very structure that pays for the shows that will always favour a certain type of programming. Increasing Who and stretching resources is not a solution here.
In fact, I'd take the view that what is needed is more low budget, cost effective 'returnable' dramas and comedies, if you're really worried about talent, not pumping air into flagships. And if it's genre shows you're worried, well, Netflix and Amazon don't seem to be slowing down with those, and now they have offices in Europe, new opportunities could arise.
Also, who will replace Andrew? There's no shortage of options, and Les Mis' very ordinary performance suggests even he is not bulletproof: Sarah Phelps, Guy Bert, Jed Mercurio, Jez Butterworth, anybody involved with Downton or Victoria. And if you're just talking about star writers period? Grab a pencil.
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Post by nucleusofswarm on Jan 12, 2019 1:11:18 GMT
Now, as an addendum to my response, I think it'll be interesting to see how much more the landscape changes again by 2020, particularly how the BBC measures success, and what bearing that will have on Who. The increased incorporation of online and Iplayer into their metrics, as well as the expansion of tiem when it comes to measuring ratings data, could all have an interesting effect in judging where we go with and beyond S12. If Whitaker slides into Capaldi's 2s and 3s, will long term growth compensate and keep everything healthy?
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Post by dangerwillrobinson on Jan 23, 2019 11:56:03 GMT
Not sure if this has already been posted anywhere by anyone... Bradley Walsh (and presumably the rest of the fam) is back filming in South Africa - he couldn’t make the NTAs for an award and so facetimed them from all the way over there! Here’s hoping for some more stunning cinematography next year!
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Post by sherlock on Jan 23, 2019 20:06:08 GMT
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