Tag Archives: BBC

Waters of Mars

Can you believe that the BBC would have the audacity to show a new trailer for Waters of Mars at the San Diego Comic Con – which is, I might point out, in the flippin’ United States – and then post the damned thing to their website and make it UK-only?

That’s over-the-line – and also totally ineffectual. Here it is:

Oh, and John Simm is back as the Master.

Death of Economical Writing?

For those who don’t know, I’m supposed to be in England this week, getting ready to watch the ICC World Twenty20 Final on Sunday, but I’m not and therefore I’m in a grumpy mood, so rather than take it out on England’s mostly rubbish performance (Seriously, they lost a cricket match to the Netherlands?) I’m going to continue to pick on Primeval for a while.

ITV, the people who commission and broadcast Primeval, are loosing money. Ad revenues are down, and Primeval is an expensive show, even though its ratings are good enough to deserve a renewal. ITV has decided to concentrate on “post watershed programming”.

For Americans who read my blog, the watershed is a curiously quaint British television concept. Before the watershed is time for family programming – cute furry animals, Doctor Who and lots and lots of gardening shows. After the watershed, which I believe starts precisely at 8:23PM each night, they are allowed to talk dirty and show naked women’s breasts in the shower with water erotically cascading off their nipples. (Hence the origin of the term, “watershed”.)

(In America we solved this problem by evolving a television industry that never makes any program than anyone would ever want to watch.)

If ITV wants to concentrate on post-watershed programming we can conclude one of two things. People are more likely to be home and watching TV later at night, or more people like to watch women in showers. (You can decide that one.)

Primeval, being pre-watershed, doesn’t make was much money as ITV would like. They could solve this problem in one of three ways (or a combination of all three.)

  • They could have kept Jenny (and/or Claudia) and write in plot devices that would involve herself taking more showers, thereby forcing a move to post-watershed scheduling.
  • They could write high-quality and compelling scripts to increase viewership.
  • They could learn to write economically.

I’m going to address the later, because the other two are self-evident and before anybody says, “You’re not a scriptwriter, you don’t know what you’re talking about”, I’ll just interject the disclaimer, nope, I’m not a professional scriptwriter, but I have studied the craft of scriptwriting and I’m paraphrasing the words of people who do know what they’re talking about.

Writing is an art. Scriptwriting is a craft. This is because scriptwriting is a part of an overall production, be it stage, radio, TV or movies. If the script is not produced, it is a failed script. Part of being able to write a produceable script is to understand the limitations of the target medium and write accordingly.

Prolific scriptwriters learn this and turn in scripts that producers read and say, “I can make this on my budget.” Producers, in turn, remember this and come back to those same writers for more work.

Part of the writing process is for the author to take a critical look at each and ever scene of his/her own script and ask if it really advances the plot, and, even if it does, will it be difficult to produce. When a producer receives that script, he’ll do the same thing – or he ought to.

I contend that the writers of Primeval could easily produce a few episodes (not back to back) which did not have an incursion by an expensive CGI creature from the past or future, or even an open anomaly. They had a ensemble cast and an overarching mystery. Time could have been spent on those issues. An episode of Primeval without an anomaly should be much easier than an episode of Doctor Who without the Doctor – and the Who production team pulled that off with varying degrees of success.

In one episode of Primeval, they appeared to cut cost corners by not showing the anomaly being locked and unlocked, despite the fact that it made for an awkward scene without the visual. Yet repeatedly, they waste their FX budget on Conner and Abby’s adopted prehistoric animals, which virtually never advanced the plot in any meaningful way. If they needed a pet for comic relief, get a dog. They’re much cheaper.

I’m not saying that a program like Primeval doesn’t require expensive FX. It does. It simply wouldn’t work without the credible threat of time-traveling creatures, but the judicious use of them could have helped save the show from extinction.

Doctor Who – The Next Doctor – Review

I think I’ve finally figured out why I never seem to get around to reviewing the Doctor Who Christmas episodes – it’s because, Christmas is over and by this point it all seems hokey to dredge up stuff about Christmas. It’s like watching A Charlie Brown Christmas in July.

Therefore, I will make this short:

Continue reading Doctor Who – The Next Doctor – Review

Doctor Who and the Archives of the BBC

The BBC has posted some fascinating – if a bit difficult to navigate – documents concerning the creation of Doctor Who.

BBC Archive – The Genesis of Doctor Who – The Creation of a Television Hero

Particularly fascinating are the two reports by the BBC on the feasibility of Science Fiction on the BBC, written a year or so before Doctor Who first aired.

Other BBC news: BBC One an BBC Two will be simulcast over the Internet starting November 27th.

Once again, BBC content will only be available to machines inside the UK.

Buy a clue people! There are many people, worldwide, like myself, who would gladly pay the license fee (and not even whinge about it) to get live BBC content. The system of international rights and royalties is obsolete in the 21st century. Someone’s got to be the pioneer and start to break down those walls.