About: Coronation Street in 2002   Sponge Permalink

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To lure back lapsed viewers, producers adopted a back-to-basics approach, playing to Coronation Street's traditional strengths such as comedy and avoiding the issue-led storylines favoured by Jane Macnaught. The changes began in the writers' room. Roberts believed that writers weren't being given enough freedom over scripts, resulting in the programme becoming too plot-driven, and ordered a change to lessen the influence of the storyliners. Meanwhile, Reynolds re-hired writers Ken Blakeson, Jan McVerry and John Stevenson, who had resigned after clashing with Macnaught in 2000, and in order to affect the desired stylistic changes to the programme, five of Macnaught's key writers - Mariam Vossough, Jo O'Keefe, Phil Ford, Julie Gearey and Susan Wilkins - left the team, allowing an influx of n

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rdfs:label
  • Coronation Street in 2002
rdfs:comment
  • To lure back lapsed viewers, producers adopted a back-to-basics approach, playing to Coronation Street's traditional strengths such as comedy and avoiding the issue-led storylines favoured by Jane Macnaught. The changes began in the writers' room. Roberts believed that writers weren't being given enough freedom over scripts, resulting in the programme becoming too plot-driven, and ordered a change to lessen the influence of the storyliners. Meanwhile, Reynolds re-hired writers Ken Blakeson, Jan McVerry and John Stevenson, who had resigned after clashing with Macnaught in 2000, and in order to affect the desired stylistic changes to the programme, five of Macnaught's key writers - Mariam Vossough, Jo O'Keefe, Phil Ford, Julie Gearey and Susan Wilkins - left the team, allowing an influx of n
dcterms:subject
dbkwik:coronation-...iPageUsesTemplate
dbkwik:coronations...iPageUsesTemplate
abstract
  • To lure back lapsed viewers, producers adopted a back-to-basics approach, playing to Coronation Street's traditional strengths such as comedy and avoiding the issue-led storylines favoured by Jane Macnaught. The changes began in the writers' room. Roberts believed that writers weren't being given enough freedom over scripts, resulting in the programme becoming too plot-driven, and ordered a change to lessen the influence of the storyliners. Meanwhile, Reynolds re-hired writers Ken Blakeson, Jan McVerry and John Stevenson, who had resigned after clashing with Macnaught in 2000, and in order to affect the desired stylistic changes to the programme, five of Macnaught's key writers - Mariam Vossough, Jo O'Keefe, Phil Ford, Julie Gearey and Susan Wilkins - left the team, allowing an influx of new talent in the form of Carmel Morgan, Debbie Oates, Stephen Russell, Chris Parker and John Fay. The now customary cast cull followed. At a two-day story conference, Reynolds, Roberts and the writers discussed the future potential of each character and from those analyses it was decided to write out Duggie Ferguson, Bobbi Lewis, Evelyn Elliott, Molly Hardcastle, Sam Kingston, and Matt and Charlie Ramsden. The Ramsdens left in April, deciding to fight for their marriage and put Matt's tryst with Maxine Peacock behind them, despite the fact that Maxine's son Joshua could be Matt's and not Ashley's. Duggie was dramatically killed off during an argument with Richard Hillman at The Ridings, a flat they were re-developing; Duggie leaned against a shoddy bannister which gave way, causing him to fall two flights to his death. Richard's never-ending financial problems continued for the rest of the year, with him taking ever more desperate actions - including murdering his ex-wife Patricia and trying to kill Audrey Roberts and Emily Bishop for their money - in order to provide for oblivious wife Gail and the children. Richard's storyline was a key factor in restoring Coronation Street's success and the programme's ratings rose the longer it went on.
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