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Post by Deleted on Oct 15, 2017 0:56:05 GMT
In light of the writer's room necessitating writers of a particular price range, we could see some of the B and C list Who writers with TV credits get some possible love. Joe Lidster, Clayton Hickman, PJ Hammond, John Fay. Hammond would be amazing! And you know, if Hammond proves unavailable after the brief, then it could easily be written by Andy Lane. Paradise 5 was really, really good.
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Post by dalekbuster523finish on Oct 15, 2017 8:58:04 GMT
Mark Gatiss totally needs to come back also. He was the Moffat era's Moffat. I actually strongly disagree with both of your statements. I wouldn’t mind seeing Gatiss back again but he’s certainly not a must and certainly isn’t the Moffat eras Moffat. The only really good stories he’s written (at least in my eyes) are The Unquiet Dead and The Empress of Mars. That’s not to say that his other stories are awful, but they’re mostly just really mediocre and waste good ideas. I do really enjoy the Crimson Horror and Robot of Sherwood though they can’t really be considered objectively good stories. I’d like to see him back again, but I definitely don’t think he deserves to come back over other writers like Sarah Dollard. Sarah Dollard is great, but personally I prefer Mark Gatiss. He would have been my choice to showrun after Steven Moffat, but I'm sure Chris Chibnall will do a good job.
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Post by nucleusofswarm on Oct 31, 2017 18:58:13 GMT
Mark Gatiss totally needs to come back also. He was the Moffat era's Moffat. I actually strongly disagree with both of your statements. I wouldn’t mind seeing Gatiss back again but he’s certainly not a must and certainly isn’t the Moffat eras Moffat. The only really good stories he’s written (at least in my eyes) are The Unquiet Dead and The Empress of Mars. That’s not to say that his other stories are awful, but they’re mostly just really mediocre and waste good ideas. I do really enjoy the Crimson Horror and Robot of Sherwood though they can’t really be considered objectively good stories. I’d like to see him back again, but I definitely don’t think he deserves to come back over other writers like Sarah Dollard. He'll have his hands full with Dracula for a while, so you need not worry. Apparently, he's quite good in Gunpowder.
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Post by Audio Watchdog on Oct 31, 2017 22:10:15 GMT
Mark Gatiss totally needs to come back also. He was the Moffat era's Moffat. I actually strongly disagree with both of your statements. I wouldn’t mind seeing Gatiss back again but he’s certainly not a must and certainly isn’t the Moffat eras Moffat. The only really good stories he’s written (at least in my eyes) are The Unquiet Dead and The Empress of Mars. That’s not to say that his other stories are awful, but they’re mostly just really mediocre and waste good ideas. I do really enjoy the Crimson Horror and Robot of Sherwood though they can’t really be considered objectively good stories. I’d like to see him back again, but I definitely don’t think he deserves to come back over other writers like Sarah Dollard. I'd agree with that. The Unquiet Dead, The Crimson Horror and The Empress of Mars are all top flight episodes. The rest is a truly mixed bag. And I say this as a fan of Mark Gatiss. And I don't feel like Mark Gatiss has ever come close to writing anything as good as The Doctor Dances or Blink.
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Post by nucleusofswarm on Nov 26, 2017 1:34:06 GMT
I imagine, for sure, we'll see more female writers for obvious reasons. I wonder if we'll also see our first non-white male writer for the TV series (Robin Mukherjee was close but no cigar, back in the 80s, of course).
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Post by nucleusofswarm on Dec 1, 2017 21:04:12 GMT
Compiled a list of writers Chibnall has worked with before (no need to restate the Torchwood team again, and Gracepoint is unlikely for obvious reasons).
If nothing else, it'll be an amusing bit of box-ticking when we get an announcement, sometime next year.
Law and Order: Born and Bred: Camelot:
Terry Cafolla Nigel McCrery Michael Hirst
Emilia di Girolamo Dan Sefton Louise Fox Nathan Cockerill Gaby Chiappe Sarah Phelps Debbie O’Malley Nick Warburton Steven Lightfoot
Richard Stokes Robert Fraser Nicholas Hicks-Beach Stephen Bennett Suzie Smith Ewan Armstrong Noel Farragher Matthew Broughton
Jane Hudson Peter Morris Tom Grieves Stuart Morris Matt Evans Jamie Crichton Louise Ironside
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izp1
Big Finish Creative Team
Not actually a member of a Big Finish Creative Team but I've worked for them off and on since 2002.
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Post by izp1 on Dec 1, 2017 22:22:50 GMT
Matthew's said he's not part of it, but he knows people who are.
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Post by nucleusofswarm on Dec 2, 2017 0:00:43 GMT
Matthew's said he's not part of it, but he knows people who are. That would be Brougton, right?
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izp1
Big Finish Creative Team
Not actually a member of a Big Finish Creative Team but I've worked for them off and on since 2002.
Likes: 175
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Post by izp1 on Dec 2, 2017 1:05:48 GMT
Yep, hadn't noticed there was a Matt there too, sorry.
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Post by nucleusofswarm on Dec 2, 2017 23:17:20 GMT
That's Matthew struck off, then.
Also, Steve Lightfoot's out cuz of this little show called Punisher, which he is head honcho of. And Emilia: she's doing The Tunnel.
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Post by mark687 on Dec 2, 2017 23:35:05 GMT
That's Matthew struck off, then. Also, Steve Lightfoot's out cuz of this little show called Punisher, which he is head honcho of. And Emilia: she's doing The Tunnel. Its the Tunnel's last season though and its showing on SKY in the UK very soon so she could have the time to contribute.
Regards
mark687
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Post by nucleusofswarm on Dec 2, 2017 23:37:59 GMT
That's Matthew struck off, then. Also, Steve Lightfoot's out cuz of this little show called Punisher, which he is head honcho of. And Emilia: she's doing The Tunnel. Its the Tunnel's last season though and its showing on SKY in the UK very soon so she could have the time to contribute.
Regards
mark687
Possibly, but I'd hedge more series 12 than 11 if she does do it.
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Post by nucleusofswarm on Dec 23, 2017 22:48:57 GMT
And now, thanks to Gatiss, we know it's all new blood, so sorry to those who were hoping for Shearman or Cornell. This would also rule out Tregenna, but not necessarily other Torchwood alum.
Also, Warburton hasn't written in seven years, and is nearly 80, so that's crosses him off.
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Post by agentten on Dec 24, 2017 0:56:48 GMT
New blood is always an exciting prospect.
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Post by Deleted on Dec 25, 2017 0:49:42 GMT
I wonder if we might be seeing Who move past of a lot of it's established mythology to something new. The original series wasn't exactly heavily invested in it's own mythology and while I understand pulling on those threads for arcs and an ongoing narrative (and that's part of TV these days and I'm in favour for it), it might be time to do something different.
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Post by Deleted on Dec 25, 2017 1:04:55 GMT
I wonder if we might be seeing Who move past of a lot of it's established mythology to something new. The original series wasn't exactly heavily invested in it's own mythology and while I understand pulling on those threads for arcs and an ongoing narrative (and that's part of TV these days and I'm in favour for it), it might be time to do something different. Impossible to say at the moment, I suppose. Chibnall's two biggest successes, Broadchurch and Law & Order have completely different approaches. You can't dip in and out of Broadchurch, it's serialised, tight arc-heavy storytelling that relies on set up and pay off. L&O, meanwhile, could be watched almost in any order and with few tiny exceptions there's little character growth or development - pure procedural. So his own work doesn't give much of a clue as to what he might do. He's not been as auterist as RTD or Moffat were pre-Who. He's much less proactive in courting the press and actively avoided them during the Broadchurch phenom so I think it'll be a lot harder to second guess much about him or his work. Which is exciting. We have ZERO idea what Doctor Who is gonna be like next year, just a few actors in it.
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Post by Deleted on Dec 25, 2017 1:15:43 GMT
I wonder if we might be seeing Who move past of a lot of it's established mythology to something new. The original series wasn't exactly heavily invested in it's own mythology and while I understand pulling on those threads for arcs and an ongoing narrative (and that's part of TV these days and I'm in favour for it), it might be time to do something different. Impossible to say at the moment, I suppose. Chibnall's two biggest successes, Broadchurch and Law & Order have completely different approaches. You can't dip in and out of Broadchurch, it's serialised, tight arc-heavy storytelling that relies on set up and pay off. L&O, meanwhile, could be watched almost in any order and with few tiny exceptions there's little character growth or development - pure procedural. So his own work doesn't give much of a clue as to what he might do. He's not been as auterist as RTD or Moffat were pre-Who. He's much less proactive in courting the press and actively avoided them during the Broadchurch phenom so I think it'll be a lot harder to second guess much about him or his work. Which is exciting. We have ZERO idea what Doctor Who is gonna be like next year, just a few actors in it. They'll be an ongoing narrative. As much as I hate to say it, you don't shake things up this much and not have some sort of contigiency for wary viewers AND I'd imagine given the expense that goes into Who, I'd imagine higher ups would never want a series to go out without one.
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Post by Deleted on Dec 25, 2017 1:28:29 GMT
Impossible to say at the moment, I suppose. Chibnall's two biggest successes, Broadchurch and Law & Order have completely different approaches. You can't dip in and out of Broadchurch, it's serialised, tight arc-heavy storytelling that relies on set up and pay off. L&O, meanwhile, could be watched almost in any order and with few tiny exceptions there's little character growth or development - pure procedural. So his own work doesn't give much of a clue as to what he might do. He's not been as auterist as RTD or Moffat were pre-Who. He's much less proactive in courting the press and actively avoided them during the Broadchurch phenom so I think it'll be a lot harder to second guess much about him or his work. Which is exciting. We have ZERO idea what Doctor Who is gonna be like next year, just a few actors in it. They'll be an ongoing narrative. As much as I hate to say it, you don't shake things up this much and not have some sort of contigiency for wary viewers AND I'd imagine given the expense that goes into Who, I'd imagine higher ups would never want a series to go out without one. Of course there will be - but to what extent and of what nature? Entirely up in the air. As is his use of returning elements. Again, being much less of a press-fave than RTD and Moffat and not someone who actively has remained in fandom (like Moff being on Outpost Gallifrey), we know so little of what Chibnall thinks of most parts of Who. We can guess he's probably not gonna revisit much from Sixie's era. I wonder how familiar he is with BF, if at all bar being aware of their existence? Moffat was at the first BF meet and has singled out a few stories for praise, RTD has worked with BF as far back as 2003 writing the foreword for The Inside Story and fought for them to retain the licence when the Beeb were thinking of ending it. Both were involved with the shows fandom and EU during the Wilderness Years writing Damaged Goods, Curse Of Fatal Death and Continuity Errors. All three of those stories had foreshadowing of elements that would go on to be staples of their eras when Moff and RTD took ove. We've got none of that with Chibnall. It's quite exciting having someone we don't know as much about taking over. He could be a traditionalist, could be a total revolutionary, could be anything. It's nice not having a scooby. For all we know Chibnall hates BF, thinks there should be a multi-Doc story every year and wants to use his new role to bring the Zarbi and Sensorites back as the big bads of Season 11.
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Post by stcoop on Dec 25, 2017 2:21:10 GMT
I'm not someone who gets super worried over hearing Spoilers but I'm kind of delighted by just how secret everything has been kept so far. Beyond seeing a couple of photos of Jodie in the remnants of Capaldi's outfit there's two episodes in the can so far with no information at all available.
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Post by nucleusofswarm on Jan 14, 2018 12:28:27 GMT
I've briefly addressed this topic before, but I feel the need to go into more detail now about what Who means to a UK screenwriter.
Who is arguably the most coveted writing gig in British television. Not just because it's a cultural icon and a chance to fulfill childhood dreams, but because it represents a jump to the highly lucrative American market. Many NuWho alumni have gotten US TV and even film gigs post-their episodes: Moffat got Tintin, Cross got to work with DelToro and write Crossbones, MacRae and Roberts got Librarians, Cornell Elementary and Graham Childhood's End and an episode of Electric Dreams.
The American market doesn't just offer bigger budgets, more broadcasters/distributors and a bigger audience than UK productions can, but also much bigger paydays. In the coveted 'writer's room' system, a writer doesn't just get paid for the script and then residuals/a buyout (the network pays you what they think the total residuals of repeats will be), you also get paid for your time in the room. Yes, you get paid for eating donuts and going over the series arc and your episode in a process that can last several weeks.
I knew a guy who worked as a writer's assistant on Man In The High Castle and I think Ransom (both Spotnitz shows): the writers got a super comfy room, some even got bean bags, and piled with food and treats and coffee (but no booze) while they worked with Frank on the shows. I guarantee you, some like Moran or Thompson made more money off of their one episode of Crusoe and Sinbad, respectively, then did for Who or just about anything they made in the UK bar Jericho.
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