With warts and all... bold, yes, but then there's those warts., 06 Nov 2008
First, the good stuff: this is a bold, honest, naked and funny tome about the writing process for one of television's most acclaimed comebacks. The reader follows Russell T. Davies through the agony and the ectasy of the entire writing process and, goaded along by Benjamin Cook, who acts as much as a muse as an enabler, the cigarette-fuelled revelations are so personal that one can get a contact high from being so ensconced in this man's head.

The pictures (including many beautiful stills during production as well as Davies' insanely brilliant cartoons) are to be cherished as much as the raw scripts that litter the hysterically titled email exchanges between Davies and Cook.

The ugly bits, for me, come from Davies' approach to writing Season 4 of 'Doctor Who.' Davies admits that his writing style is to wait until the last minute to commence drafting - and then waits some more. This sounds very maverick and daring, and for most series it is. Unfortunately, the ambitious arc of the season called for meticulous attention and, like many viewers for Season 4, the reader can gradually feel Season 4 slip away from its creator. While genius is evident in many places (his accounting of the development of 'Midnight' as the anti-'Voyage of the Damned' is stunning), the fact is that the plan to bring back so many characters for the big finale was terribly under-managed. Davies actively struggles with the second coming and going of the Rose Taylor character, but still gives her a sendoff that diminishes Season 2's exit - and taking Donna Noble's potentially heartbreaking departure with it. The reason is, the reader learns, is Davies' wait-til-it's-too-late approach.

The other niggle I have is that there is a tendency for icons (the Beatles, Monty Python) to avoid constructing an actual book by simply having extended monologues that can be read like a script. While this may be considered edgy or original in some circles, this book, moreso than the Beatle or Python books constructed the same, needs some sort of centering mechanism, like an impartial summary or prologue to each chapter written by Benjamin Cook.

Like all honesty from an artist of this magnitude, there will be things that will make the reader wonder to him/herself what's he's on about, or simply what he's on.

Having ranted all that, however, this book is still honest and bold and I'm pleased to have it in my collection.

"Hooray!", 09 Oct 2008
A fascinating insight into the mind of a TV writer. I hadn't realised that RTD worked so hard - heavily rewriting almost everyone's scripts (apart from Steven Moffat's) including the much lauded Human Nature/Family of Blood.

What I also found interesting about this collection of emails between RTD and Benjamin Cook is that it could almost be said that RTD was using the exchange as therapy - who could have thought that the talking head crying "Marvelous!" and "Hooray!" during Doctor Who Confidential was so wracked with self doubt and self criticism during the creative process? Whatever you may personally think about the episodes he wrote, reading this will give you massive respect for the man.

Despite Russell's disclaimers in the text, in my opinion this book would be useful for *all* budding writers, even if they have no interest in Doctor Who...

Probably the ultimate window into the frantic world of Doctor Who, 01 Oct 2008
There's no shortage of glossy "Doctor Who" books on the shelves but this is by far the most revealing. It digs deep and gives the reader a fascinating insight into the exhaustion, exhileration and relentless hard slog that goes into the flagship show. Read it, even if you don't care for DW, if you want to know the truth about a writer's life. It's very warts-and-all, at times very funny, and always comes over as being honest. You won't get closer than this to finding out why things turned out the way they did. In particular, RTD's thoughts on "Journey's End", the S4 finale, are intriguing and reveal how he copes with the inevitable gulf between his first concept of how a story should end and the version that reaches the screen, subject to the limitations of budget, time, actor availability and overall tone.

Like the Doctor himself, RTD clearly feels under pressure as the man everyone looks to for answers, he finds it almost impossible to relinquish control of his beloved show, yet a part of him longs for a break from the constant creative demands on his energies, preferably before the stress kills him.

There are certainly a few dark nights of the soul here, but also complete versions of the scripts of "Voyage of the Damned", "Partners in Crime" and the explosive two-parter finale, including the early drafts and absorbing explanations for the way things changed later. An extra bonus is a plethora of photographs, some from deleted scenes, and RTD's unexpectedly witty and professional cartoons of cast and characters.

Well worth reading, 29 Sep 2008
Predictably witty and honest, this is a book that will be enjoyed by Doctor Who fans and aspiring writers alike. What really comes across is that Davies is passionate about the show he resurrected and is often tortured by his perceived shortcomings as a writer. I can well understand why he's had enough, although I suspect he won't in fact be able to stay away for long.
The e-mail format and excerpts from Doctor Who scripts mean this is a book you can 'dip into' quite easily rather than reading from cover to cover and the writer's own cartoon illustrations are an unexpected bonus - is there anything this man can't do? This would make a fantastic Christmas present for those of us who don't know how we'll make it through 2009 without a Dr Who series.
Of course everybody knows that Swansea produces the best writers in the world, but it's nice to have a bit more proof.

Fantastic!, 28 Sep 2008
An astonishingly enjoyable read. If you've ever even toyed with the idea of writing, this gives you huge insights into the sheer grind and self doubt that goes into trying to get a script out, and it's a fascinating read. The email exchange structure gives a frankness that any other style would probably skirt around and you get a feeling of a genuine professional friendship between the authors. Some of the content might be a little too frank if you were thinking of buying a "Doctor Who" book for the kiddies, because it's not really a "Doctor Who" book - it's a book about writing, and the writing happens to be "Doctor Who". You do end up worrying if Russell EVER sleeps and whether this writing lark is good for his health, you do wonder how anyone finds the time to do that job, and you do get to see another side to the cheery upbeat soul who appears on TV, but that just makes it all the more intriguing. And on top of all his other work, Russell's found time to provide a large number of very inventive cartoons to illustrate the text - you'd have to hate the guy if he wasn't so good at it. The book looks fantastic, too, beautifully laid out. All in all, a big fat Hooray!!

With warts and all... bold, yes, but then there's those warts., 06 Nov 2008
First, the good stuff: this is a bold, honest, naked and funny tome about the writing process for one of television's most acclaimed comebacks. The reader follows Russell T. Davies through the agony and the ectasy of the entire writing process and, goaded along by Benjamin Cook, who acts as much as a muse as an enabler, the cigarette-fuelled revelations are so personal that one can get a contact high from being so ensconced in this man's head.

The pictures (including many beautiful stills during production as well as Davies' insanely brilliant cartoons) are to be cherished as much as the raw scripts that litter the hysterically titled email exchanges between Davies and Cook.

The ugly bits, for me, come from Davies' approach to writing Season 4 of 'Doctor Who.' Davies admits that his writing style is to wait until the last minute to commence drafting - and then waits some more. This sounds very maverick and daring, and for most series it is. Unfortunately, the ambitious arc of the season called for meticulous attention and, like many viewers for Season 4, the reader can gradually feel Season 4 slip away from its creator. While genius is evident in many places (his accounting of the development of 'Midnight' as the anti-'Voyage of the Damned' is stunning), the fact is that the plan to bring back so many characters for the big finale was terribly under-managed. Davies actively struggles with the second coming and going of the Rose Taylor character, but still gives her a sendoff that diminishes Season 2's exit - and taking Donna Noble's potentially heartbreaking departure with it. The reason is, the reader learns, is Davies' wait-til-it's-too-late approach.

The other niggle I have is that there is a tendency for icons (the Beatles, Monty Python) to avoid constructing an actual book by simply having extended monologues that can be read like a script. While this may be considered edgy or original in some circles, this book, moreso than the Beatle or Python books constructed the same, needs some sort of centering mechanism, like an impartial summary or prologue to each chapter written by Benjamin Cook.

Like all honesty from an artist of this magnitude, there will be things that will make the reader wonder to him/herself what's he's on about, or simply what he's on.

Having ranted all that, however, this book is still honest and bold and I'm pleased to have it in my collection.

"Hooray!", 09 Oct 2008
A fascinating insight into the mind of a TV writer. I hadn't realised that RTD worked so hard - heavily rewriting almost everyone's scripts (apart from Steven Moffat's) including the much lauded Human Nature/Family of Blood.

What I also found interesting about this collection of emails between RTD and Benjamin Cook is that it could almost be said that RTD was using the exchange as therapy - who could have thought that the talking head crying "Marvelous!" and "Hooray!" during Doctor Who Confidential was so wracked with self doubt and self criticism during the creative process? Whatever you may personally think about the episodes he wrote, reading this will give you massive respect for the man.

Despite Russell's disclaimers in the text, in my opinion this book would be useful for *all* budding writers, even if they have no interest in Doctor Who...

Probably the ultimate window into the frantic world of Doctor Who, 01 Oct 2008
There's no shortage of glossy "Doctor Who" books on the shelves but this is by far the most revealing. It digs deep and gives the reader a fascinating insight into the exhaustion, exhileration and relentless hard slog that goes into the flagship show. Read it, even if you don't care for DW, if you want to know the truth about a writer's life. It's very warts-and-all, at times very funny, and always comes over as being honest. You won't get closer than this to finding out why things turned out the way they did. In particular, RTD's thoughts on "Journey's End", the S4 finale, are intriguing and reveal how he copes with the inevitable gulf between his first concept of how a story should end and the version that reaches the screen, subject to the limitations of budget, time, actor availability and overall tone.

Like the Doctor himself, RTD clearly feels under pressure as the man everyone looks to for answers, he finds it almost impossible to relinquish control of his beloved show, yet a part of him longs for a break from the constant creative demands on his energies, preferably before the stress kills him.

There are certainly a few dark nights of the soul here, but also complete versions of the scripts of "Voyage of the Damned", "Partners in Crime" and the explosive two-parter finale, including the early drafts and absorbing explanations for the way things changed later. An extra bonus is a plethora of photographs, some from deleted scenes, and RTD's unexpectedly witty and professional cartoons of cast and characters.

Well worth reading, 29 Sep 2008
Predictably witty and honest, this is a book that will be enjoyed by Doctor Who fans and aspiring writers alike. What really comes across is that Davies is passionate about the show he resurrected and is often tortured by his perceived shortcomings as a writer. I can well understand why he's had enough, although I suspect he won't in fact be able to stay away for long.
The e-mail format and excerpts from Doctor Who scripts mean this is a book you can 'dip into' quite easily rather than reading from cover to cover and the writer's own cartoon illustrations are an unexpected bonus - is there anything this man can't do? This would make a fantastic Christmas present for those of us who don't know how we'll make it through 2009 without a Dr Who series.
Of course everybody knows that Swansea produces the best writers in the world, but it's nice to have a bit more proof.

Fantastic!, 28 Sep 2008
An astonishingly enjoyable read. If you've ever even toyed with the idea of writing, this gives you huge insights into the sheer grind and self doubt that goes into trying to get a script out, and it's a fascinating read. The email exchange structure gives a frankness that any other style would probably skirt around and you get a feeling of a genuine professional friendship between the authors. Some of the content might be a little too frank if you were thinking of buying a "Doctor Who" book for the kiddies, because it's not really a "Doctor Who" book - it's a book about writing, and the writing happens to be "Doctor Who". You do end up worrying if Russell EVER sleeps and whether this writing lark is good for his health, you do wonder how anyone finds the time to do that job, and you do get to see another side to the cheery upbeat soul who appears on TV, but that just makes it all the more intriguing. And on top of all his other work, Russell's found time to provide a large number of very inventive cartoons to illustrate the text - you'd have to hate the guy if he wasn't so good at it. The book looks fantastic, too, beautifully laid out. All in all, a big fat Hooray!!

The ideal gift for any fan of the series, 16 Nov 2008
Gavin and Stacey has been something of a little phenomenon, winning awards aplenty and appealing to a wide cross-section of ages. Its success lies in creating a skewed but completely believable world populated by eccentric but lovable characters. Its essential sweetness is ideal for disguising the odd completely filthy gag or piercing satirical observation (the surnames of Gavin and Stacey being Shipman and West is only the tip of the iceberg. Here, for example, a police incident report recalling Gavin leaping a ticket barrier evokes uncomfortable parallels with the De Menezes case).

James Corden and Ruth Jones are not only wonderful performers but write with real comic insight into the quirkiness of life and the human condition. The story of Gavin and Stacey is, at heart, a simple one of boy meets girl, but their families and friends throw up such a wealth of eccentricities and foibles that...well...there's a whole book's worth of stuff about them.

The whole thing is presented as a scrapbook of cuttings, documents, Facebook entries etc (I was reminded of The League of Gentlemen's book some years ago or The Goodies Files from way, way back) with much to amuse the fan. It should perhaps be pointed out that someone who doesn't know the series well already may not know quite what to make of it - get the DVDs first!

These titbits flesh out the characters wonderfully. See the order of service from the wedding with Smithy's scribbled notes. Find out more about Ness and John Prescott. Marvel at Gwen's recipes for omelettes.

The star of it all is, of course, Uncle Bryn. Do we find out any more about that mysterious fishing trip? Alas no, but there's plenty to keep us entertained and it's impossible not to hear Rob Brydon's voice in your head as you read these bits.

All in all, a worthy addition to an unexpected and much deserved success story - and one which proved that BBC3 is capable of giving us something rather better than Two Pints of bloody Lager and a Packet of effing Crisps.

I won't lie to you-this book is lush!, 15 Nov 2008
If you are a G+S fan, you will enjoy this book.It has lots of insights into all the characters, and in a most unusual format-text messages, recipes, letters, and a whole lot more.It was written by the hugely talented Corden and Jones.I, for one, hope they'll relent and give us a third series.
Buy this book, you won't be disappointed.

A cracking read - funny and informative!, 06 Nov 2008
This is a must read for any fan of the show. There's so much to look at, and so many different styles and page designs that this book can be happily swallowed in one go - or just as easily be dipped in and out of as you wish.

I was a big fan of both series, so was slightly worried I would find this a hastily knocked together spin-off, but because it was actually written by Corden and Jones (who devised and wrote Gavin and Stacey) it's been lovingly written with lots of fantastic pictures and original page lay-outs. In fact, it makes a really nice accompaniment to the show as there's so much detailed (and hilarious) information about the characters and settings.

There's a lot to choose from, but I think my favourite page would have to be Smithy's relationship do's and don'ts ("It's completely natural to own up to a dozen porno videos so don't let her tell you any different") although the heartfelt (if one-sided!) correspondence between Nessa and John Prescott is a close second! This book would make a great present, but make sure you have a good look and giggle at it first.

Alan Bennett's award-winning series of six television monologues, Talking Heads, may have been first aired in 1988, but over a decade later it is still impossible to read these deeply moving and affectionate scripts without hearing the voices of the actors who played them. Maggie Smith as the alcoholic vicar's wife finding a semblance of happiness in an affair with an Indian shop owner, Patricia Routledge as the poisonous neighbour, Julie Walters as the over-the-hill dolly bird auditioning for a porn film and of course Thora Hird as Doris, the old lady alone in her home having fallen and broken her hip. All great performances and all made possible by Bennett's wonderfully observant and poignant scripts. Bennett rightly notes in his introduction to the pieces that, maybe apart from Doris, his narrators are artless in that they "don't quite know what they are saying and are telling a story to the meaning of which they are not entirely privy". But through their artlessnes they reveal more about Britain today and the stresses and strains placed upon ordinary people, than any number of docu-soaps that now claim to show us real life. --Nick Wroe

With warts and all... bold, yes, but then there's those warts., 06 Nov 2008
First, the good stuff: this is a bold, honest, naked and funny tome about the writing process for one of television's most acclaimed comebacks. The reader follows Russell T. Davies through the agony and the ectasy of the entire writing process and, goaded along by Benjamin Cook, who acts as much as a muse as an enabler, the cigarette-fuelled revelations are so personal that one can get a contact high from being so ensconced in this man's head.

The pictures (including many beautiful stills during production as well as Davies' insanely brilliant cartoons) are to be cherished as much as the raw scripts that litter the hysterically titled email exchanges between Davies and Cook.

The ugly bits, for me, come from Davies' approach to writing Season 4 of 'Doctor Who.' Davies admits that his writing style is to wait until the last minute to commence drafting - and then waits some more. This sounds very maverick and daring, and for most series it is. Unfortunately, the ambitious arc of the season called for meticulous attention and, like many viewers for Season 4, the reader can gradually feel Season 4 slip away from its creator. While genius is evident in many places (his accounting of the development of 'Midnight' as the anti-'Voyage of the Damned' is stunning), the fact is that the plan to bring back so many characters for the big finale was terribly under-managed. Davies actively struggles with the second coming and going of the Rose Taylor character, but still gives her a sendoff that diminishes Season 2's exit - and taking Donna Noble's potentially heartbreaking departure with it. The reason is, the reader learns, is Davies' wait-til-it's-too-late approach.

The other niggle I have is that there is a tendency for icons (the Beatles, Monty Python) to avoid constructing an actual book by simply having extended monologues that can be read like a script. While this may be considered edgy or original in some circles, this book, moreso than the Beatle or Python books constructed the same, needs some sort of centering mechanism, like an impartial summary or prologue to each chapter written by Benjamin Cook.

Like all honesty from an artist of this magnitude, there will be things that will make the reader wonder to him/herself what's he's on about, or simply what he's on.

Having ranted all that, however, this book is still honest and bold and I'm pleased to have it in my collection.

"Hooray!", 09 Oct 2008
A fascinating insight into the mind of a TV writer. I hadn't realised that RTD worked so hard - heavily rewriting almost everyone's scripts (apart from Steven Moffat's) including the much lauded Human Nature/Family of Blood.

What I also found interesting about this collection of emails between RTD and Benjamin Cook is that it could almost be said that RTD was using the exchange as therapy - who could have thought that the talking head crying "Marvelous!" and "Hooray!" during Doctor Who Confidential was so wracked with self doubt and self criticism during the creative process? Whatever you may personally think about the episodes he wrote, reading this will give you massive respect for the man.

Despite Russell's disclaimers in the text, in my opinion this book would be useful for *all* budding writers, even if they have no interest in Doctor Who...

Probably the ultimate window into the frantic world of Doctor Who, 01 Oct 2008
There's no shortage of glossy "Doctor Who" books on the shelves but this is by far the most revealing. It digs deep and gives the reader a fascinating insight into the exhaustion, exhileration and relentless hard slog that goes into the flagship show. Read it, even if you don't care for DW, if you want to know the truth about a writer's life. It's very warts-and-all, at times very funny, and always comes over as being honest. You won't get closer than this to finding out why things turned out the way they did. In particular, RTD's thoughts on "Journey's End", the S4 finale, are intriguing and reveal how he copes with the inevitable gulf between his first concept of how a story should end and the version that reaches the screen, subject to the limitations of budget, time, actor availability and overall tone.

Like the Doctor himself, RTD clearly feels under pressure as the man everyone looks to for answers, he finds it almost impossible to relinquish control of his beloved show, yet a part of him longs for a break from the constant creative demands on his energies, preferably before the stress kills him.

There are certainly a few dark nights of the soul here, but also complete versions of the scripts of "Voyage of the Damned", "Partners in Crime" and the explosive two-parter finale, including the early drafts and absorbing explanations for the way things changed later. An extra bonus is a plethora of photographs, some from deleted scenes, and RTD's unexpectedly witty and professional cartoons of cast and characters.

Well worth reading, 29 Sep 2008
Predictably witty and honest, this is a book that will be enjoyed by Doctor Who fans and aspiring writers alike. What really comes across is that Davies is passionate about the show he resurrected and is often tortured by his perceived shortcomings as a writer. I can well understand why he's had enough, although I suspect he won't in fact be able to stay away for long.
The e-mail format and excerpts from Doctor Who scripts mean this is a book you can 'dip into' quite easily rather than reading from cover to cover and the writer's own cartoon illustrations are an unexpected bonus - is there anything this man can't do? This would make a fantastic Christmas present for those of us who don't know how we'll make it through 2009 without a Dr Who series.
Of course everybody knows that Swansea produces the best writers in the world, but it's nice to have a bit more proof.

Fantastic!, 28 Sep 2008
An astonishingly enjoyable read. If you've ever even toyed with the idea of writing, this gives you huge insights into the sheer grind and self doubt that goes into trying to get a script out, and it's a fascinating read. The email exchange structure gives a frankness that any other style would probably skirt around and you get a feeling of a genuine professional friendship between the authors. Some of the content might be a little too frank if you were thinking of buying a "Doctor Who" book for the kiddies, because it's not really a "Doctor Who" book - it's a book about writing, and the writing happens to be "Doctor Who". You do end up worrying if Russell EVER sleeps and whether this writing lark is good for his health, you do wonder how anyone finds the time to do that job, and you do get to see another side to the cheery upbeat soul who appears on TV, but that just makes it all the more intriguing. And on top of all his other work, Russell's found time to provide a large number of very inventive cartoons to illustrate the text - you'd have to hate the guy if he wasn't so good at it. The book looks fantastic, too, beautifully laid out. All in all, a big fat Hooray!!

The ideal gift for any fan of the series, 16 Nov 2008
Gavin and Stacey has been something of a little phenomenon, winning awards aplenty and appealing to a wide cross-section of ages. Its success lies in creating a skewed but completely believable world populated by eccentric but lovable characters. Its essential sweetness is ideal for disguising the odd completely filthy gag or piercing satirical observation (the surnames of Gavin and Stacey being Shipman and West is only the tip of the iceberg. Here, for example, a police incident report recalling Gavin leaping a ticket barrier evokes uncomfortable parallels with the De Menezes case).

James Corden and Ruth Jones are not only wonderful performers but write with real comic insight into the quirkiness of life and the human condition. The story of Gavin and Stacey is, at heart, a simple one of boy meets girl, but their families and friends throw up such a wealth of eccentricities and foibles that...well...there's a whole book's worth of stuff about them.

The whole thing is presented as a scrapbook of cuttings, documents, Facebook entries etc (I was reminded of The League of Gentlemen's book some years ago or The Goodies Files from way, way back) with much to amuse the fan. It should perhaps be pointed out that someone who doesn't know the series well already may not know quite what to make of it - get the DVDs first!

These titbits flesh out the characters wonderfully. See the order of service from the wedding with Smithy's scribbled notes. Find out more about Ness and John Prescott. Marvel at Gwen's recipes for omelettes.

The star of it all is, of course, Uncle Bryn. Do we find out any more about that mysterious fishing trip? Alas no, but there's plenty to keep us entertained and it's impossible not to hear Rob Brydon's voice in your head as you read these bits.

All in all, a worthy addition to an unexpected and much deserved success story - and one which proved that BBC3 is capable of giving us something rather better than Two Pints of bloody Lager and a Packet of effing Crisps.

I won't lie to you-this book is lush!, 15 Nov 2008
If you are a G+S fan, you will enjoy this book.It has lots of insights into all the characters, and in a most unusual format-text messages, recipes, letters, and a whole lot more.It was written by the hugely talented Corden and Jones.I, for one, hope they'll relent and give us a third series.
Buy this book, you won't be disappointed.

A cracking read - funny and informative!, 06 Nov 2008
This is a must read for any fan of the show. There's so much to look at, and so many different styles and page designs that this book can be happily swallowed in one go - or just as easily be dipped in and out of as you wish.

I was a big fan of both series, so was slightly worried I would find this a hastily knocked together spin-off, but because it was actually written by Corden and Jones (who devised and wrote Gavin and Stacey) it's been lovingly written with lots of fantastic pictures and original page lay-outs. In fact, it makes a really nice accompaniment to the show as there's so much detailed (and hilarious) information about the characters and settings.

There's a lot to choose from, but I think my favourite page would have to be Smithy's relationship do's and don'ts ("It's completely natural to own up to a dozen porno videos so don't let her tell you any different") although the heartfelt (if one-sided!) correspondence between Nessa and John Prescott is a close second! This book would make a great present, but make sure you have a good look and giggle at it first.


Genius, 14 Dec 2007
I am a fan of talking books, and I would describe many of the ones that I have heard as good, entertaining, thought provoking even. But this collection of stories stands so far above everything else that I have listened to that I can't see them ever being eclipsed. They are that very rare thing in literature - something that is brilliant, complex, moving - but absolutely not worthy, or 'difficult'. How many of us have struggled through a Booker prize winner because we 'ought to', when really it was too much like hard work? These stories are just so entertaining. You very quickly forget that they are monologues because the scenes and other characters are so real that you can see and hear them as if you were watching a full-cast production. You will be able to come back to them again and again because they are so rich with detail, and so beautifully written, and spoken, that they will always be fresh. If you are considering whether or not to buy these, then consider no longer. This is a cast iron guaruntee that tou will love them - and I don't say that very often, if at all.

Try this, and be surprised, 13 Nov 2006
Some twenty years ago, mr. van Broekhoven, who taught us english, told us one day to be sure and watch a television programme called "Talking Heads" which would be shown on the BBC that same evening.
I loved it, right from the start. I was spellbound by the quality of the acting and by the words, especially by Alan Bennett's ability to put the right words in a character's mouth. He fashioned these truly moving stories out of little else but the dreary everyday life of ordinary people.
"Talking Heads" started me off on Alan Bennett and I've read a lot of his other work since, which I've also enjoyed very much.
Bennett writes with elegance, understatement and with uncanny empathy. He succeeds in really making these people come to life. One can't help but be moved by what these people tell us and you end up sympathising with them, pitying them, hoping they'll be alright, hoping it'll all work out for them. You end up sympathising with nasty small-minded people like Miss Ruddick, who is a poisoned pen-letter writer, with sad people like Graham, a man in his forties who lives with his mum, with a gullible, naïve half-wit like Lesley: a bit-part actress or "extra" who unwittingly, but unrelentingly cheerful and chirpy, ends up doing a cheap German nookie film, you even end up sympathising, awkward though it is, with a pedophile.
Yet there are no tricks, no ploys being used to achieve this, to draw upon emotions. It's just ordinary people telling their stories, revealing much about themselves, even those thing they would not want to reveal to a stranger. Reading this reminded me of a familiar experience: one feels as if being on a train, or in a waiting room. There is only one other person there and this person starts talking to you. You nod and smile politely, listen with half an ear, try and hide behind a paper or a book, but they just keep on talking, not even expecting a reply, just being glad of the chance to talk.

The form and the words are brilliantly chosen. There is so much in the little, throwaway remarks, in the seemingly unimportant. Much sadness, and loss and so much loneliness, sand painful self-awareness (or the absence thereof), much comedy, too, although these 13 people do not mean to tell a funny story. What they do, in fact, is to tell us the story of their lives (even if they do not really mean to) in little more than 30 minutes. Unwittingly they open cupboards and one or more skeletons fall out, as happens in all our lives.
Also, each of these stories has one or more wicked twists, which work marvellously: your perception of the story and of the person telling it is suddenly being tilted as the story sort of hits a bump. And after it's been given this jolt, nothing is quite the same.

I'll bugger off now but not after making 3 appeals:
1. Do not be put off by the fact that these are monologues, do not be put off by the fact that it's all about very ordinary people and do not be put off by the fact that all kinds of people about whose judgment is suspect (like teachers, critics, or indeed amazon-book reviewers) keep on telling you this is Literature, and great stuff. Just give this book a try. You will be amazed by the quality, the sensitivity and the common sense of the writing. You will probably end up as I did: recommending it to others.
2. Mr. Bennett: I know it's a bore being asked this, but could you find it in your heart to write some more of these wonderful monologues, to celebrate 20 years of "talking heads"?
3. BBC: bring them back!! Show them again, all thirteen of them, and do so every year, please.



Second chances are a good thing..., 19 Sep 2006
I too had to study the Bennett monologues at `A' level, and found it hard work - in fact, I came out of the whole ordeal with a great disliking for Bennetts work. However, I recently found myself with some time to spare and so I decided I'd perhaps give the monologues a second chance. I'm glad I did. Second time around I found the tales of each of the characters to be highly enjoyable. The characters were extremely well drawn and likable - be it the naive actress Lesley in `Her Big Chance' comparing the differences of a German director of an adult film to Polanski, or the rather sad character of Graham, dependent on his mother and horrified when she starts to have a life without him. Personally, I liked the story told by Miss Ruddock, that of someone obviously in need of attention and trying so hard to get it.

Bennett has captured perfectly the nature and personality of the simple characters in each of his stories and manages to recount each tale in both a humorous and touching way. The stories leave you caring for each of the main figures, each broken in some way and most of them blind to the fact.

Once again, I can only say how glad I am to have revisited this work and offer my apologies to the author for missing the point in the first place!


review of talking heads, 25 Jun 2005
Having to study Alan Bennet's talking heads for A-level, I can honestly say that it was an arduous task. It was near on impossible to write one thousand words on this travesty, as there is just no substance to his work. Bennet presents us with six characters. The format is the same with each, (except possibly Celia and Violet), there's some bizzare macabre secret that comes to be revealed, Wilfred is a peadophile, Marjory's Husband is a murderer etc. Wow, big deal. Bennet plays with appearance and deception. *STOP THE PRESSES!* I have grown up exposed to ardent praise of Bennet from my parents, who were born some time after the war. When I lived at home, Bennet truly was a sanctimonious icon of british drama, and regarded as a genius of his day. Maybe I'm young and just 'unaware', but I really can't see what all the fuss is about, and I really can't see Bennet's 'genius'. He achieves nothing new here, and Im just glad my A-levels are over. Avoid this at all costs.

Observational Genius!, 15 Nov 2002
Breathtaking is a word so often used to describe an offering from any artist, but this truly is. From simply observing the different and sometimes darkest side of human nature you find yourself completely engrosed and almost personally attatched to each charachter. His ability to exploit humor, and then drift into sadness and frustration without even seeming to step aside is superb. Within afew lines, even as early as the preliminary "setting", the personal effect his writing has takes you instantly into the situation and leaves you unable to exit until the sometimes bitter,sometimes hilarous, but always intriguing end. Each charachter seems genuinely real, the ordinary lives turning out as anything but. Of all this writers brilliant work this is unboubtedly the best (although "The Lady In The Van" is also worth a look, as is "Telling tales"...)to name but afew.
Amust for any fan of literature.

For many people under 35, their most vivid glimpses of Britain's illustrious history have been through the Blackadder chronicles which brightened television screens from 1983 to 1989. Their constantly reborn protagonist, Edmund Blackadder, flounced through a bloody Middle Ages, a campy Elizabethan court, even camper Regency revels, and the rat-infested trenches of the Great War, armed with only his repulsive servant Baldrick, and a fine line in complex insults ("you would bore the leggings off a village idiot"; "he's got a brain the size of a weasel's wedding tackle").

Now you can brush up your Blackadder with a fine collection of the complete scripts, interspersed with useful titbits on medieval torture instruments, the menu in Mrs Miggins' coffee house, and the Prince Regent's laundry list. Bereft of their familiar faces and voices, television comedy scripts often fall flat--and Blackadder without the rubber-faced consonant-spitting of its hero Rowan Atkinson is surely unthinkable. But here the Blackadder oeuvre, penned by Richard Curtis and various collaborators, stands up wonderfully.

Curtis's bizarre, surreal take on English history takes up where 1066 and All That left off, wickedly skewering venerable historical personages, and hilariously literalising the classic clichés of textbook history (marvel again at the Puritan Whiteadders sitting on spikes so they won't enjoy their dinner). Classily produced, and with royalties going to the entertainment charity fund, Comic Relief, this is one TV tie-in well worth getting. --Alan Stewart

With warts and all... bold, yes, but then there's those warts., 06 Nov 2008
First, the good stuff: this is a bold, honest, naked and funny tome about the writing process for one of television's most acclaimed comebacks. The reader follows Russell T. Davies through the agony and the ectasy of the entire writing process and, goaded along by Benjamin Cook, who acts as much as a muse as an enabler, the cigarette-fuelled revelations are so personal that one can get a contact high from being so ensconced in this man's head.

The pictures (including many beautiful stills during production as well as Davies' insanely brilliant cartoons) are to be cherished as much as the raw scripts that litter the hysterically titled email exchanges between Davies and Cook.

The ugly bits, for me, come from Davies' approach to writing Season 4 of 'Doctor Who.' Davies admits that his writing style is to wait until the last minute to commence drafting - and then waits some more. This sounds very maverick and daring, and for most series it is. Unfortunately, the ambitious arc of the season called for meticulous attention and, like many viewers for Season 4, the reader can gradually feel Season 4 slip away from its creator. While genius is evident in many places (his accounting of the development of 'Midnight' as the anti-'Voyage of the Damned' is stunning), the fact is that the plan to bring back so many characters for the big finale was terribly under-managed. Davies actively struggles with the second coming and going of the Rose Taylor character, but still gives her a sendoff that diminishes Season 2's exit - and taking Donna Noble's potentially heartbreaking departure with it. The reason is, the reader learns, is Davies' wait-til-it's-too-late approach.

The other niggle I have is that there is a tendency for icons (the Beatles, Monty Python) to avoid constructing an actual book by simply having extended monologues that can be read like a script. While this may be considered edgy or original in some circles, this book, moreso than the Beatle or Python books constructed the same, needs some sort of centering mechanism, like an impartial summary or prologue to each chapter written by Benjamin Cook.

Like all honesty from an artist of this magnitude, there will be things that will make the reader wonder to him/herself what's he's on about, or simply what he's on.

Having ranted all that, however, this book is still honest and bold and I'm pleased to have it in my collection.

"Hooray!", 09 Oct 2008
A fascinating insight into the mind of a TV writer. I hadn't realised that RTD worked so hard - heavily rewriting almost everyone's scripts (apart from Steven Moffat's) including the much lauded Human Nature/Family of Blood.

What I also found interesting about this collection of emails between RTD and Benjamin Cook is that it could almost be said that RTD was using the exchange as therapy - who could have thought that the talking head crying "Marvelous!" and "Hooray!" during Doctor Who Confidential was so wracked with self doubt and self criticism during the creative process? Whatever you may personally think about the episodes he wrote, reading this will give you massive respect for the man.

Despite Russell's disclaimers in the text, in my opinion this book would be useful for *all* budding writers, even if they have no interest in Doctor Who...

Probably the ultimate window into the frantic world of Doctor Who, 01 Oct 2008
There's no shortage of glossy "Doctor Who" books on the shelves but this is by far the most revealing. It digs deep and gives the reader a fascinating insight into the exhaustion, exhileration and relentless hard slog that goes into the flagship show. Read it, even if you don't care for DW, if you want to know the truth about a writer's life. It's very warts-and-all, at times very funny, and always comes over as being honest. You won't get closer than this to finding out why things turned out the way they did. In particular, RTD's thoughts on "Journey's End", the S4 finale, are intriguing and reveal how he copes with the inevitable gulf between his first concept of how a story should end and the version that reaches the screen, subject to the limitations of budget, time, actor availability and overall tone.

Like the Doctor himself, RTD clearly feels under pressure as the man everyone looks to for answers, he finds it almost impossible to relinquish control of his beloved show, yet a part of him longs for a break from the constant creative demands on his energies, preferably before the stress kills him.

There are certainly a few dark nights of the soul here, but also complete versions of the scripts of "Voyage of the Damned", "Partners in Crime" and the explosive two-parter finale, including the early drafts and absorbing explanations for the way things changed later. An extra bonus is a plethora of photographs, some from deleted scenes, and RTD's unexpectedly witty and professional cartoons of cast and characters.

Well worth reading, 29 Sep 2008
Predictably witty and honest, this is a book that will be enjoyed by Doctor Who fans and aspiring writers alike. What really comes across is that Davies is passionate about the show he resurrected and is often tortured by his perceived shortcomings as a writer. I can well understand why he's had enough, although I suspect he won't in fact be able to stay away for long.
The e-mail format and excerpts from Doctor Who scripts mean this is a book you can 'dip into' quite easily rather than reading from cover to cover and the writer's own cartoon illustrations are an unexpected bonus - is there anything this man can't do? This would make a fantastic Christmas present for those of us who don't know how we'll make it through 2009 without a Dr Who series.
Of course everybody knows that Swansea produces the best writers in the world, but it's nice to have a bit more proof.

Fantastic!, 28 Sep 2008
An astonishingly enjoyable read. If you've ever even toyed with the idea of writing, this gives you huge insights into the sheer grind and self doubt that goes into trying to get a script out, and it's a fascinating read. The email exchange structure gives a frankness that any other style would probably skirt around and you get a feeling of a genuine professional friendship between the authors. Some of the content might be a little too frank if you were thinking of buying a "Doctor Who" book for the kiddies, because it's not really a "Doctor Who" book - it's a book about writing, and the writing happens to be "Doctor Who". You do end up worrying if Russell EVER sleeps and whether this writing lark is good for his health, you do wonder how anyone finds the time to do that job, and you do get to see another side to the cheery upbeat soul who appears on TV, but that just makes it all the more intriguing. And on top of all his other work, Russell's found time to provide a large number of very inventive cartoons to illustrate the text - you'd have to hate the guy if he wasn't so good at it. The book looks fantastic, too, beautifully laid out. All in all, a big fat Hooray!!

The ideal gift for any fan of the series, 16 Nov 2008
Gavin and Stacey has been something of a little phenomenon, winning awards aplenty and appealing to a wide cross-section of ages. Its success lies in creating a skewed but completely believable world populated by eccentric but lovable characters. Its essential sweetness is ideal for disguising the odd completely filthy gag or piercing satirical observation (the surnames of Gavin and Stacey being Shipman and West is only the tip of the iceberg. Here, for example, a police incident report recalling Gavin leaping a ticket barrier evokes uncomfortable parallels with the De Menezes case).

James Corden and Ruth Jones are not only wonderful performers but write with real comic insight into the quirkiness of life and the human condition. The story of Gavin and Stacey is, at heart, a simple one of boy meets girl, but their families and friends throw up such a wealth of eccentricities and foibles that...well...there's a whole book's worth of stuff about them.

The whole thing is presented as a scrapbook of cuttings, documents, Facebook entries etc (I was reminded of The League of Gentlemen's book some years ago or The Goodies Files from way, way back) with much to amuse the fan. It should perhaps be pointed out that someone who doesn't know the series well already may not know quite what to make of it - get the DVDs first!

These titbits flesh out the characters wonderfully. See the order of service from the wedding with Smithy's scribbled notes. Find out more about Ness and John Prescott. Marvel at Gwen's recipes for omelettes.

The star of it all is, of course, Uncle Bryn. Do we find out any more about that mysterious fishing trip? Alas no, but there's plenty to keep us entertained and it's impossible not to hear Rob Brydon's voice in your head as you read these bits.

All in all, a worthy addition to an unexpected and much deserved success story - and one which proved that BBC3 is capable of giving us something rather better than Two Pints of bloody Lager and a Packet of effing Crisps.

I won't lie to you-this book is lush!, 15 Nov 2008
If you are a G+S fan, you will enjoy this book.It has lots of insights into all the characters, and in a most unusual format-text messages, recipes, letters, and a whole lot more.It was written by the hugely talented Corden and Jones.I, for one, hope they'll relent and give us a third series.
Buy this book, you won't be disappointed.

A cracking read - funny and informative!, 06 Nov 2008
This is a must read for any fan of the show. There's so much to look at, and so many different styles and page designs that this book can be happily swallowed in one go - or just as easily be dipped in and out of as you wish.

I was a big fan of both series, so was slightly worried I would find this a hastily knocked together spin-off, but because it was actually written by Corden and Jones (who devised and wrote Gavin and Stacey) it's been lovingly written with lots of fantastic pictures and original page lay-outs. In fact, it makes a really nice accompaniment to the show as there's so much detailed (and hilarious) information about the characters and settings.

There's a lot to choose from, but I think my favourite page would have to be Smithy's relationship do's and don'ts ("It's completely natural to own up to a dozen porno videos so don't let her tell you any different") although the heartfelt (if one-sided!) correspondence between Nessa and John Prescott is a close second! This book would make a great present, but make sure you have a good look and giggle at it first.


Genius, 14 Dec 2007
I am a fan of talking books, and I would describe many of the ones that I have heard as good, entertaining, thought provoking even. But this collection of stories stands so far above everything else that I have listened to that I can't see them ever being eclipsed. They are that very rare thing in literature - something that is brilliant, complex, moving - but absolutely not worthy, or 'difficult'. How many of us have struggled through a Booker prize winner because we 'ought to', when really it was too much like hard work? These stories are just so entertaining. You very quickly forget that they are monologues because the scenes and other characters are so real that you can see and hear them as if you were watching a full-cast production. You will be able to come back to them again and again because they are so rich with detail, and so beautifully written, and spoken, that they will always be fresh. If you are considering whether or not to buy these, then consider no longer. This is a cast iron guaruntee that tou will love them - and I don't say that very often, if at all.

Try this, and be surprised, 13 Nov 2006
Some twenty years ago, mr. van Broekhoven, who taught us english, told us one day to be sure and watch a television programme called "Talking Heads" which would be shown on the BBC that same evening.
I loved it, right from the start. I was spellbound by the quality of the acting and by the words, especially by Alan Bennett's ability to put the right words in a character's mouth. He fashioned these truly moving stories out of little else but the dreary everyday life of ordinary people.
"Talking Heads" started me off on Alan Bennett and I've read a lot of his other work since, which I've also enjoyed very much.
Bennett writes with elegance, understatement and with uncanny empathy. He succeeds in really making these people come to life. One can't help but be moved by what these people tell us and you end up sympathising with them, pitying them, hoping they'll be alright, hoping it'll all work out for them. You end up sympathising with nasty small-minded people like Miss Ruddick, who is a poisoned pen-letter writer, with sad people like Graham, a man in his forties who lives with his mum, with a gullible, naïve half-wit like Lesley: a bit-part actress or "extra" who unwittingly, but unrelentingly cheerful and chirpy, ends up doing a cheap German nookie film, you even end up sympathising, awkward though it is, with a pedophile.
Yet there are no tricks, no ploys being used to achieve this, to draw upon emotions. It's just ordinary people telling their stories, revealing much about themselves, even those thing they would not want to reveal to a stranger. Reading this reminded me of a familiar experience: one feels as if being on a train, or in a waiting room. There is only one other person there and this person starts talking to you. You nod and smile politely, listen with half an ear, try and hide behind a paper or a book, but they just keep on talking, not even expecting a reply, just being glad of the chance to talk.

The form and the words are brilliantly chosen. There is so much in the little, throwaway remarks, in the seemingly unimportant. Much sadness, and loss and so much loneliness, sand painful self-awareness (or the absence thereof), much comedy, too, although these 13 people do not mean to tell a funny story. What they do, in fact, is to tell us the story of their lives (even if they do not really mean to) in little more than 30 minutes. Unwittingly they open cupboards and one or more skeletons fall out, as happens in all our lives.
Also, each of these stories has one or more wicked twists, which work marvellously: your perception of the story and of the person telling it is suddenly being tilted as the story sort of hits a bump. And after it's been given this jolt, nothing is quite the same.

I'll bugger off now but not after making 3 appeals:
1. Do not be put off by the fact that these are monologues, do not be put off by the fact that it's all about very ordinary people and do not be put off by the fact that all kinds of people about whose judgment is suspect (like teachers, critics, or indeed amazon-book reviewers) keep on telling you this is Literature, and great stuff. Just give this book a try. You will be amazed by the quality, the sensitivity and the common sense of the writing. You will probably end up as I did: recommending it to others.
2. Mr. Bennett: I know it's a bore being asked this, but could you find it in your heart to write some more of these wonderful monologues, to celebrate 20 years of "talking heads"?
3. BBC: bring them back!! Show them again, all thirteen of them, and do so every year, please.



Second chances are a good thing..., 19 Sep 2006
I too had to study the Bennett monologues at `A' level, and found it hard work - in fact, I came out of the whole ordeal with a great disliking for Bennetts work. However, I recently found myself with some time to spare and so I decided I'd perhaps give the monologues a second chance. I'm glad I did. Second time around I found the tales of each of the characters to be highly enjoyable. The characters were extremely well drawn and likable - be it the naive actress Lesley in `Her Big Chance' comparing the differences of a German director of an adult film to Polanski, or the rather sad character of Graham, dependent on his mother and horrified when she starts to have a life without him. Personally, I liked the story told by Miss Ruddock, that of someone obviously in need of attention and trying so hard to get it.

Bennett has captured perfectly the nature and personality of the simple characters in each of his stories and manages to recount each tale in both a humorous and touching way. The stories leave you caring for each of the main figures, each broken in some way and most of them blind to the fact.

Once again, I can only say how glad I am to have revisited this work and offer my apologies to the author for missing the point in the first place!


review of talking heads, 25 Jun 2005
Having to study Alan Bennet's talking heads for A-level, I can honestly say that it was an arduous task. It was near on impossible to write one thousand words on this travesty, as there is just no substance to his work. Bennet presents us with six characters. The format is the same with each, (except possibly Celia and Violet), there's some bizzare macabre secret that comes to be revealed, Wilfred is a peadophile, Marjory's Husband is a murderer etc. Wow, big deal. Bennet plays with appearance and deception. *STOP THE PRESSES!* I have grown up exposed to ardent praise of Bennet from my parents, who were born some time after the war. When I lived at home, Bennet truly was a sanctimonious icon of british drama, and regarded as a genius of his day. Maybe I'm young and just 'unaware', but I really can't see what all the fuss is about, and I really can't see Bennet's 'genius'. He achieves nothing new here, and Im just glad my A-levels are over. Avoid this at all costs.

Observational Genius!, 15 Nov 2002
Breathtaking is a word so often used to describe an offering from any artist, but this truly is. From simply observing the different and sometimes darkest side of human nature you find yourself completely engrosed and almost personally attatched to each charachter. His ability to exploit humor, and then drift into sadness and frustration without even seeming to step aside is superb. Within afew lines, even as early as the preliminary "setting", the personal effect his writing has takes you instantly into the situation and leaves you unable to exit until the sometimes bitter,sometimes hilarous, but always intriguing end. Each charachter seems genuinely real, the ordinary lives turning out as anything but. Of all this writers brilliant work this is unboubtedly the best (although "The Lady In The Van" is also worth a look, as is "Telling tales"...)to name but afew.
Amust for any fan of literature.

Priceless work, 28 May 2008
One of the best TV shows ever, with lines as funny as watching Celine Dion being tarred and feathered by music lovers. If you want to see how great comedy is scripted, or just want a laugh or an ideal toilet book, then buy this.

The Whole Damn Dynasty, 10 Dec 2004
This book is a must have for any Blackadder fan. The Individuality of this classic sitcom, immortalised in this one fantastic book, including All the Episodes, and other interesting anecdotes (e.g. Baldrick's Family Tree, a page from Dr Johnson's Dictionary, and many pictures to name but a few). Buy it!

Brilliant - humour and history, 17 Feb 2004
The annals of Edmund Blackadder's life, along with his sidekick Baldrick, are collected in one volume in this collection. Disappointingly, none of the special episodes such as the excellent Blackadder Back and Forth are included, however, the scripts which are there are still well worth a look at.
In order to appreciate the book properly, I feel that a familiarity with the television version is required as it can, at times, take some effort to see the episodes translated into action. Similarly, a number of the jokes cannot be understood without seeing the brilliant acting of Rowan Atkinson, Tony Robinson, Tim McInnery etc.
The whole damn dynasty also has extras in it, and whilst these aren't as extensive as in some comedy series collections (especially Curtis' other effort in The Vicar of Dibley) but those which are included certainly add to the scripts.
The best part of the collection, other than the scripts themselves, is the introduction to each of the series, these are well written and fill in the blanks of Blackadder's history.
Recommende 100 per cent

Not your typical dynasty..., 09 Jan 2004
The authors Richard Curtis and Ben Elton are well known to BBC audiences for their comedic masterwork, having been severally and individually part of the Vicar of Dibley, Mr. Bean, The Young Ones, The Man from Auntie. Rowan Atkinson, the lead actor in this series, also collaborated as writer and actor in other features such as Mr. Bean and the Thin Blue Line. John Lloyd was the producer who helped bring this series to life.

The Blackadder series, begun in the 1980s, was a comedic masterpiece set forth by Rowan Atkinson and his comrades. From start to finish, the first series was a masterstroke of wit, irony and comedic styling that fits both the contemporary and medieval situations perfectly. The combination of slapstick and intellectual humour blended well, and the literary types will not miss the occasional credit of William Shakespeare as a collaborating writer on some episodes -- this might well be the kind of comedy Shakespeare would have produced today.

The first series was set in the pre-Tudor royal family, projecting that Richard III won at Bosworth Field, and Richard IV succeeded him, until after many adventures, the entire royal family was done in, and Henry Tudor reworte history thereafter. The first series starred Brian Blessed and Elspet Gray as the King and Queen, and Robert East as their eldest son, the Prince of Wales. Rowan Atkinson played the second son, who with companions Percy and Baldrick (Tim McInnerny and Tony Robinson) create most of the comic scenes. BlackAdder variously becomes the Archbishop of Canterbury, the betrothed of the Spanish Infanta, a witch on trial, and finally, however briefly, King of England.

The second series sees Percy and Baldrick following a descendent of Blackadder in Elizabethan times; as befits the period, the characters are more vibrant and saucy, particularly Blackadder, who still seeks his fortune as one of the Queen's suitors. Here he variously becomes the royal executioner, a sea-faring discoverer, a bankrupt noble, and finally a traitor to the crown, albeit not without a sense of humour. Miranda Richardson puts in a spectacular performance as Queen Elizabeth, with Stephen Fry and Patsy Byrne in attendance. Stephen Fry will recur throughout the series.

In the third series, Blackadder is still close to the crown, as the butler of the Prince Regent, a despised position to a despised person. Baldrick is still around, and the Prince is played by Hugh Laurie, who will recur in the final series. Done almost as a period comedy, the very titles and situations pay hommage to the day of the Scarlet Pimpernel, Dr. Johnson's dictionary, and the conflict with France. Through an interesting set of circumstances, butler and prince trade places, and the Blackadder finally becomes his intended goal, albeit in the name of someone else.

In the fourth and final series, Blackadder has fallen from a great height, and is an officer in the trenches of World War I. Baldrick is still there, and Percy and the Prince have transformed into fellow field officers, with Stephen Fry playing a bellicose general here as he did Wellington in the third series. The main device of this series is the effort by Blackadder to escape the trenches, by variously becoming an artist, a theatre producer, a chef, but to no avail finally, producing a sombre end to the dynasty.

The book is a fabulous companion piece to the series, as the BBC is known to do with television series of success. The six episodes of each of the four seasons is laid out in script-narrative form, with a generous collection of side offerings, such as the Blackadder family tree, the menu of Mrs. Miggins' pie shoppe, and other pieces of interest related to but not found in the actual series. The cast is included at the beginning of each series section. The book concludes with a partial collection of some of Blackadder's best insults.

This book was printed in aid of Comic Relief, who give a brief outline of their history of funding good causes in the last few pages.

This is a must-have for any Blackadder fan. Regretably, it does not contain the addition special features (such as the Victorian Christmas of Blackadder), but for any devotee of the series, this is a requirement.

Brilliant Book - Laugh every time, 06 Apr 2003
No matter which episode I read, or when I read it, I always find myself laughing out loud. People on the train give me strange looks when ever I start laughing to myself, until they see the front cover, then they smile.

It is, quite simply, the scripts. There isn't anything more to say about them other than it is a very good read. If you loved the programme you will not be disapointed if you bought this book.

With warts and all... bold, yes, but then there's those warts., 06 Nov 2008
First, the good stuff: this is a bold, honest, naked and funny tome about the writing process for one of television's most acclaimed comebacks. The reader follows Russell T. Davies through the agony and the ectasy of the entire writing process and, goaded along by Benjamin Cook, who acts as much as a muse as an enabler, the cigarette-fuelled revelations are so personal that one can get a contact high from being so ensconced in this man's head.

The pictures (including many beautiful stills during production as well as Davies' insanely brilliant cartoons) are to be cherished as much as the raw scripts that litter the hysterically titled email exchanges between Davies and Cook.

The ugly bits, for me, come from Davies' approach to writing Season 4 of 'Doctor Who.' Davies admits that his writing style is to wait until the last minute to commence drafting - and then waits some more. This sounds very maverick and daring, and for most series it is. Unfortunately, the ambitious arc of the season called for meticulous attention and, like many viewers for Season 4, the reader can gradually feel Season 4 slip away from its creator. While genius is evident in many places (his accounting of the development of 'Midnight' as the anti-'Voyage of the Damned' is stunning), the fact is that the plan to bring back so many characters for the big finale was terribly under-managed. Davies actively struggles with the second coming and going of the Rose Taylor character, but still gives her a sendoff that diminishes Season 2's exit - and taking Donna Noble's potentially heartbreaking departure with it. The reason is, the reader learns, is Davies' wait-til-it's-too-late approach.

The other niggle I have is that there is a tendency for icons (the Beatles, Monty Python) to avoid constructing an actual book by simply having extended monologues that can be read like a script. While this may be considered edgy or original in some circles, this book, moreso than the Beatle or Python books constructed the same, needs some sort of centering mechanism, like an impartial summary or prologue to each chapter written by Benjamin Cook.

Like all honesty from an artist of this magnitude, there will be things that will make the reader wonder to him/herself what's he's on about, or simply what he's on.

Having ranted all that, however, this book is still honest and bold and I'm pleased to have it in my collection.

"Hooray!", 09 Oct 2008
A fascinating insight into the mind of a TV writer. I hadn't realised that RTD worked so hard - heavily rewriting almost everyone's scripts (apart from Steven Moffat's) including the much lauded Human Nature/Family of Blood.

What I also found interesting about this collection of emails between RTD and Benjamin Cook is that it could almost be said that RTD was using the exchange as therapy - who could have thought that the talking head crying "Marvelous!" and "Hooray!" during Doctor Who Confidential was so wracked with self doubt and self criticism during the creative process? Whatever you may personally think about the episodes he wrote, reading this will give you massive respect for the man.

Despite Russell's disclaimers in the text, in my opinion this book would be useful for *all* budding writers, even if they have no interest in Doctor Who...

Probably the ultimate window into the frantic world of Doctor Who, 01 Oct 2008
There's no shortage of glossy "Doctor Who" books on the shelves but this is by far the most revealing. It digs deep and gives the reader a fascinating insight into the exhaustion, exhileration and relentless hard slog that goes into the flagship show. Read it, even if you don't care for DW, if you want to know the truth about a writer's life. It's very warts-and-all, at times very funny, and always comes over as being honest. You won't get closer than this to finding out why things turned out the way they did. In particular, RTD's thoughts on "Journey's End", the S4 finale, are intriguing and reveal how he copes with the inevitable gulf between his first concept of how a story should end and the version that reaches the screen, subject to the limitations of budget, time, actor availability and overall tone.

Like the Doctor himself, RTD clearly feels under pressure as the man everyone looks to for answers, he finds it almost impossible to relinquish control of his beloved show, yet a part of him longs for a break from the constant creative demands on his energies, preferably before the stress kills him.

There are certainly a few dark nights of the soul here, but also complete versions of the scripts of "Voyage of the Damned", "Partners in Crime" and the explosive two-parter finale, including the early drafts and absorbing explanations for the way things changed later. An extra bonus is a plethora of photographs, some from deleted scenes, and RTD's unexpectedly witty and professional cartoons of cast and characters.

Well worth reading, 29 Sep 2008
Predictably witty and honest, this is a book that will be enjoyed by Doctor Who fans and aspiring writers alike. What really comes across is that Davies is passionate about the show he resurrected and is often tortured by his perceived shortcomings as a writer. I can well understand why he's had enough, although I suspect he won't in fact be able to stay away for long.
The e-mail format and excerpts from Doctor Who scripts mean this is a book you can 'dip into' quite easily rather than reading from cover to cover and the writer's own cartoon illustrations are an unexpected bonus - is there anything this man can't do? This would make a fantastic Christmas present for those of us who don't know how we'll make it through 2009 without a Dr Who series.
Of course everybody knows that Swansea produces the best writers in the world, but it's nice to have a bit more proof.

Fantastic!, 28 Sep 2008
An astonishingly enjoyable read. If you've ever even toyed with the idea of writing, this gives you huge insights into the sheer grind and self doubt that goes into trying to get a script out, and it's a fascinating read. The email exchange structure gives a frankness that any other style would probably skirt around and you get a feeling of a genuine professional friendship between the authors. Some of the content might be a little too frank if you were thinking of buying a "Doctor Who" book for the kiddies, because it's not really a "Doctor Who" book - it's a book about writing, and the writing happens to be "Doctor Who". You do end up worrying if Russell EVER sleeps and whether this writing lark is good for his health, you do wonder how anyone finds the time to do that job, and you do get to see another side to the cheery upbeat soul who appears on TV, but that just makes it all the more intriguing. And on top of all his other work, Russell's found time to provide a large number of very inventive cartoons to illustrate the text - you'd have to hate the guy if he wasn't so good at it. The book looks fantastic, too, beautifully laid out. All in all, a big fat Hooray!!

The ideal gift for any fan of the series, 16 Nov 2008
Gavin and Stacey has been something of a little phenomenon, winning awards aplenty and appealing to a wide cross-section of ages. Its success lies in creating a skewed but completely believable world populated by eccentric but lovable characters. Its essential sweetness is ideal for disguising the odd completely filthy gag or piercing satirical observation (the surnames of Gavin and Stacey being Shipman and West is only the tip of the iceberg. Here, for example, a police incident report recalling Gavin leaping a ticket barrier evokes uncomfortable parallels with the De Menezes case).

James Corden and Ruth Jones are not only wonderful performers but write with real comic insight into the quirkiness of life and the human condition. The story of Gavin and Stacey is, at heart, a simple one of boy meets girl, but their families and friends throw up such a wealth of eccentricities and foibles that...well...there's a whole book's worth of stuff about them.

The whole thing is presented as a scrapbook of cuttings, documents, Facebook entries etc (I was reminded of The League of Gentlemen's book some years ago or The Goodies Files from way, way back) with much to amuse the fan. It should perhaps be pointed out that someone who doesn't know the series well already may not know quite what to make of it - get the DVDs first!

These titbits flesh out the characters wonderfully. See the order of service from the wedding with Smithy's scribbled notes. Find out more about Ness and John Prescott. Marvel at Gwen's recipes for omelettes.

The star of it all is, of course, Uncle Bryn. Do we find out any more about that mysterious fishing trip? Alas no, but there's plenty to keep us entertained and it's impossible not to hear Rob Brydon's voice in your head as you read these bits.

All in all, a worthy addition to an unexpected and much deserved success story - and one which proved that BBC3 is capable of giving us something rather better than Two Pints of bloody Lager and a Packet of effing Crisps.

I won't lie to you-this book is lush!, 15 Nov 2008
If you are a G+S fan, you will enjoy this book.It has lots of insights into all the characters, and in a most unusual format-text messages, recipes, letters, and a whole lot more.It was written by the hugely talented Corden and Jones.I, for one, hope they'll relent and give us a third series.
Buy this book, you won't be disappointed.

A cracking read - funny and informative!, 06 Nov 2008
This is a must read for any fan of the show. There's so much to look at, and so many different styles and page designs that this book can be happily swallowed in one go - or just as easily be dipped in and out of as you wish.

I was a big fan of both series, so was slightly worried I would find this a hastily knocked together spin-off, but because it was actually written by Corden and Jones (who devised and wrote Gavin and Stacey) it's been lovingly written with lots of fantastic pictures and original page lay-outs. In fact, it makes a really nice accompaniment to the show as there's so much detailed (and hilarious) information about the characters and settings.

There's a lot to choose from, but I think my favourite page would have to be Smithy's relationship do's and don'ts ("It's completely natural to own up to a dozen porno videos so don't let her tell you any different") although the heartfelt (if one-sided!) correspondence between Nessa and John Prescott is a close second! This book would make a great present, but make sure you have a good look and giggle at it first.


Genius, 14 Dec 2007
I am a fan of talking books, and I would describe many of the ones that I have heard as good, entertaining, thought provoking even. But this collection of stories stands so far above everything else that I have listened to that I can't see them ever being eclipsed. They are that very rare thing in literature - something that is brilliant, complex, moving - but absolutely not worthy, or 'difficult'. How many of us have struggled through a Booker prize winner because we 'ought to', when really it was too much like hard work? These stories are just so entertaining. You very quickly forget that they are monologues because the scenes and other characters are so real that you can see and hear them as if you were watching a full-cast production. You will be able to come back to them again and again because they are so rich with detail, and so beautifully written, and spoken, that they will always be fresh. If you are considering whether or not to buy these, then consider no longer. This is a cast iron guaruntee that tou will love them - and I don't say that very often, if at all.

Try this, and be surprised, 13 Nov 2006
Some twenty years ago, mr. van Broekhoven, who taught us english, told us one day to be sure and watch a television programme called "Talking Heads" which would be shown on the BBC that same evening.
I loved it, right from the start. I was spellbound by the quality of the acting and by the words, especially by Alan Bennett's ability to put the right words in a character's mouth. He fashioned these truly moving stories out of little else but the dreary everyday life of ordinary people.
"Talking Heads" started me off on Alan Bennett and I've read a lot of his other work since, which I've also enjoyed very much.
Bennett writes with elegance, understatement and with uncanny empathy. He succeeds in really making these people come to life. One can't help but be moved by what these people tell us and you end up sympathising with them, pitying them, hoping they'll be alright, hoping it'll all work out for them. You end up sympathising with nasty small-minded people like Miss Ruddick, who is a poisoned pen-letter writer, with sad people like Graham, a man in his forties who lives with his mum, with a gullible, naïve half-wit like Lesley: a bit-part actress or "extra" who unwittingly, but unrelentingly cheerful and chirpy, ends up doing a cheap German nookie film, you even end up sympathising, awkward though it is, with a pedophile.
Yet there are no tricks, no ploys being used to achieve this, to draw upon emotions. It's just ordinary people telling their stories, revealing much about themselves, even those thing they would not want to reveal to a stranger. Reading this reminded me of a familiar experience: one feels as if being on a train, or in a waiting room. There is only one other person there and this person starts talking to you. You nod and smile politely, listen with half an ear, try and hide behind a paper or a book, but they just keep on talking, not even expecting a reply, just being glad of the chance to talk.

The form and the words are brilliantly chosen. There is so much in the little, throwaway remarks, in the seemingly unimportant. Much sadness, and loss and so much loneliness, sand painful self-awareness (or the absence thereof), much comedy, too, although these 13 people do not mean to tell a funny story. What they do, in fact, is to tell us the story of their lives (even if they do not really mean to) in little more than 30 minutes. Unwittingly they open cupboards and one or more skeletons fall out, as happens in all our lives.
Also, each of these stories has one or more wicked twists, which work marvellously: your perception of the story and of the person telling it is suddenly being tilted as the story sort of hits a bump. And after it's been given this jolt, nothing is quite the same.

I'll bugger off now but not after making 3 appeals:
1. Do not be put off by the fact that these are monologues, do not be put off by the fact that it's all about very ordinary people and do not be put off by the fact that all kinds of people about whose judgment is suspect (like teachers, critics, or indeed amazon-book reviewers) keep on telling you this is Literature, and great stuff. Just give this book a try. You will be amazed by the quality, the sensitivity and the common sense of the writing. You will probably end up as I did: recommending it to others.
2. Mr. Bennett: I know it's a bore being asked this, but could you find it in your heart to write some more of these wonderful monologues, to celebrate 20 years of "talking heads"?
3. BBC: bring them back!! Show them again, all thirteen of them, and do so every year, please.



Second chances are a good thing..., 19 Sep 2006
I too had to study the Bennett monologues at `A' level, and found it hard work - in fact, I came out of the whole ordeal with a great disliking for Bennetts work. However, I recently found myself with some time to spare and so I decided I'd perhaps give the monologues a second chance. I'm glad I did. Second time around I found the tales of each of the characters to be highly enjoyable. The characters were extremely well drawn and likable - be it the naive actress Lesley in `Her Big Chance' comparing the differences of a German director of an adult film to Polanski, or the rather sad character of Graham, dependent on his mother and horrified when she starts to have a life without him. Personally, I liked the story told by Miss Ruddock, that of someone obviously in need of attention and trying so hard to get it.

Bennett has captured perfectly the nature and personality of the simple characters in each of his stories and manages to recount each tale in both a humorous and touching way. The stories leave you caring for each of the main figures, each broken in some way and most of them blind to the fact.

Once again, I can only say how glad I am to have revisited this work and offer my apologies to the author for missing the point in the first place!


review of talking heads, 25 Jun 2005
Having to study Alan Bennet's talking heads for A-level, I can honestly say that it was an arduous task. It was near on impossible to write one thousand words on this travesty, as there is just no substance to his work. Bennet presents us with six characters. The format is the same with each, (except possibly Celia and Violet), there's some bizzare macabre secret that comes to be revealed, Wilfred is a peadophile, Marjory's Husband is a murderer etc. Wow, big deal. Bennet plays with appearance and deception. *STOP THE PRESSES!* I have grown up exposed to ardent praise of Bennet from my parents, who were born some time after the war. When I lived at home, Bennet truly was a sanctimonious icon of british drama, and regarded as a genius of his day. Maybe I'm young and just 'unaware', but I really can't see what all the fuss is about, and I really can't see Bennet's 'genius'. He achieves nothing new here, and Im just glad my A-levels are over. Avoid this at all costs.

Observational Genius!, 15 Nov 2002
Breathtaking is a word so often used to describe an offering from any artist, but this truly is. From simply observing the different and sometimes darkest side of human nature you find yourself completely engrosed and almost personally attatched to each charachter. His ability to exploit humor, and then drift into sadness and frustration without even seeming to step aside is superb. Within afew lines, even as early as the preliminary "setting", the personal effect his writing has takes you instantly into the situation and leaves you unable to exit until the sometimes bitter,sometimes hilarous, but always intriguing end. Each charachter seems genuinely real, the ordinary lives turning out as anything but. Of all this writers brilliant work this is unboubtedly the best (although "The Lady In The Van" is also worth a look, as is "Telling tales"...)to name but afew.
Amust for any fan of literature.

Priceless work, 28 May 2008
One of the best TV shows ever, with lines as funny as watching Celine Dion being tarred and feathered by music lovers. If you want to see how great comedy is scripted, or just want a laugh or an ideal toilet book, then buy this.

The Whole Damn Dynasty, 10 Dec 2004
This book is a must have for any Blackadder fan. The Individuality of this classic sitcom, immortalised in this one fantastic book, including All the Episodes, and other interesting anecdotes (e.g. Baldrick's Family Tree, a page from Dr Johnson's Dictionary, and many pictures to name but a few). Buy it!

Brilliant - humour and history, 17 Feb 2004
The annals of Edmund Blackadder's life, along with his sidekick Baldrick, are collected in one volume in this collection. Disappointingly, none of the special episodes such as the excellent Blackadder Back and Forth are included, however, the scripts which are there are still well worth a look at.
In order to appreciate the book properly, I feel that a familiarity with the television version is required as it can, at times, take some effort to see the episodes translated into action. Similarly, a number of the jokes cannot be understood without seeing the brilliant acting of Rowan Atkinson, Tony Robinson, Tim McInnery etc.
The whole damn dynasty also has extras in it, and whilst these aren't as extensive as in some comedy series collections (especially Curtis' other effort in The Vicar of Dibley) but those which are included certainly add to the scripts.
The best part of the collection, other than the scripts themselves, is the introduction to each of the series, these are well written and fill in the blanks of Blackadder's history.
Recommende 100 per cent

Not your typical dynasty..., 09 Jan 2004
The authors Richard Curtis and Ben Elton are well known to BBC audiences for their comedic masterwork, having been severally and individually part of the Vicar of Dibley, Mr. Bean, The Young Ones, The Man from Auntie. Rowan Atkinson, the lead actor in this series, also collaborated as writer and actor in other features such as Mr. Bean and the Thin Blue Line. John Lloyd was the producer who helped bring this series to life.

The Blackadder series, begun in the 1980s, was a comedic masterpiece set forth by Rowan Atkinson and his comrades. From start to finish, the first series was a masterstroke of wit, irony and comedic styling that fits both the contemporary and medieval situations perfectly. The combination of slapstick and intellectual humour blended well, and the literary types will not miss the occasional credit of William Shakespeare as a collaborating writer on some episodes -- this might well be the kind of comedy Shakespeare would have produced today.

The first series was set in the pre-Tudor royal family, projecting that Richard III won at Bosworth Field, and Richard IV succeeded him, until after many adventures, the entire royal family was done in, and Henry Tudor reworte history thereafter. The first series starred Brian Blessed and Elspet Gray as the King and Queen, and Robert East as their eldest son, the Prince of Wales. Rowan Atkinson played the second son, who with companions Percy and Baldrick (Tim McInnerny and Tony Robinson) create most of the comic scenes. BlackAdder variously becomes the Archbishop of Canterbury, the betrothed of the Spanish Infanta, a witch on trial, and finally, however briefly, King of England.

The second series sees Percy and Baldrick following a descendent of Blackadder in Elizabethan times; as befits the period, the characters are more vibrant and saucy, particularly Blackadder, who still seeks his fortune as one of the Queen's suitors. Here he variously becomes the royal executioner, a sea-faring discoverer, a bankrupt noble, and finally a traitor to the crown, albeit not without a sense of humour. Miranda Richardson puts in a spectacular performance as Queen Elizabeth, with Stephen Fry and Patsy Byrne in attendance. Stephen Fry will recur throughout the series.

In the third series, Blackadder is still close to the crown, as the butler of the Prince Regent, a despised position to a despised person. Baldrick is still around, and the Prince is played by Hugh Laurie, who will recur in the final series. Done almost as a period comedy, the very titles and situations pay hommage to the day of the Scarlet Pimpernel, Dr. Johnson's dictionary, and the conflict with France. Through an interesting set of circumstances, butler and prince trade places, and the Blackadder finally becomes his intended goal, albeit in the name of someone else.

In the fourth and final series, Blackadder has fallen from a great height, and is an officer in the trenches of World War I. Baldrick is still there, and Percy and the Prince have transformed into fellow field officers, with Stephen Fry playing a bellicose general here as he did Wellington in the third series. The main device of this series is the effort by Blackadder to escape the trenches, by variously becoming an artist, a theatre producer, a chef, but to no avail finally, producing a sombre end to the dynasty.

The book is a fabulous companion piece to the series, as the BBC is known to do with television series of success. The six episodes of each of the four seasons is laid out in script-narrative form, with a generous collection of side offerings, such as the Blackadder family tree, the menu of Mrs. Miggins' pie shoppe, and other pieces of interest related to but not found in the actual series. The cast is included at the beginning of each series section. The book concludes with a partial collection of some of Blackadder's best insults.

This book was printed in aid of Comic Relief, who give a brief outline of their history of funding good causes in the last few pages.

This is a must-have for any Blackadder fan. Regretably, it does not contain the addition special features (such as the Victorian Christmas of Blackadder), but for any devotee of the series, this is a requirement.

Brilliant Book - Laugh every time, 06 Apr 2003
No matter which episode I read, or when I read it, I always find myself laughing out loud. People on the train give me strange looks when ever I start laughing to myself, until they see the front cover, then they smile.

It is, quite simply, the scripts. There isn't anything more to say about them other than it is a very good read. If you loved the programme you will not be disapointed if you bought this book.

Perceptive and very funny, 26 May 2004
This is a marvellously funny book, well worth reading. Unlike most collections of scripts from TV comedies, this has been carefully and skilfully edited to make it into a highly plausible diary.

We learn of Jim Hacker's rise to the office of Prime Minister and observe his relationships with leading Civil Service figures, such as Sir Humphrey Appleby and Bernard Woolley. The tension between party politics and goverment and the scheming of the civil service officials is brilliantly worked out throughout the diary. Wry comments on British political, religious and military history subtly abound.

A highly entertaining book that presents a tongue-in-cheek view of the goings on at No 10, it's easy to get really involved with the story. The portrayal of various characters is superb, the odious and somewhat ineffectual PM Jim Hacker, the highly intelligent, scheming Sir Humphrey and the pragmatic and pedantic Bernard Woolley shine through.

Great fun - read it.

Intelligent, clever humour., 17 Feb 2004
The relationship between Jim Hacker, Sir Humphrey and Bernard Wooley are brilliantly detailed in this collection of the episodes. Instead of the normal transcribe of scripts that one expects in humour series books, the episodes are carefully presented in diary form. We learn all the information through a variety of diaries, official documents and letters from different sources. The clever humour of the television series is not lost in the translation and in fact possibly increases. It is possible that the book form is even better than the television series (excepting the brilliant acting).
This is clever humour that does not dumb down for anyone and gives a corrageously accurate depiction of the British civil service.

Superb, 06 Oct 2003
At last television series scripts that aren't.

I am ususally disappointed when I am given 'scripts' to various sitcoms, as they are dry and boring to read, but with Yes Prome Minister, not so! Lynn and Jay have expertly transferred the screenplay into continous prose, with excellent returns. Super just to 'dip into', the light-hearted antics of Whitehall and No. 10 will amuse almost anyone! A real pleasure to read - again and again!

The Real Thing, 05 Apr 2003
This is the definitive text book on how British politics works.

It is essential reading for students of politics to save wasting time on all those theoretical constitutional tomes, and for anyone who ever comes into contact with government - it will reassure you that your experiences are not unique but are part of an overall pattern of creative inertia. Sir Humphrey should be the role model for all civil servants who want to get on in their careers and want to prevent their political masters getting on in theirs. There is no evidence that Sir Humphrey is a reincarnation of Machiavelli but it is highly likely. How did earlier generations cope without this masterpiece?

Can never be read too often.

A superb and insightful read- typical of Yes PM, 12 Jun 2000
A brilliant read, superbly crafted, the diary entries of James Harker, Humphrey and Bernard. The book goes through each Yes PM episode in am way of diary entries, as expected the PM's entries makes himself look clever, Humphrey's makes his irrational ideas look normal and Bernard fight with his conscience. More books like these should be available. In a word................Superb

With warts and all... bold, yes, but then there's those warts., 06 Nov 2008
First, the good stuff: this is a bold, honest, naked and funny tome about the writing process for one of television's most acclaimed comebacks. The reader follows Russell T. Davies through the agony and the ectasy of the entire writing process and, goaded along by Benjamin Cook, who acts as much as a muse as an enabler, the cigarette-fuelled revelations are so personal that one can get a contact high from being so ensconced in this man's head.

The pictures (including many beautiful stills during production as well as Davies' insanely brilliant cartoons) are to be cherished as much as the raw scripts that litter the hysterically titled email exchanges between Davies and Cook.

The ugly bits, for me, come from Davies' approach to writing Season 4 of 'Doctor Who.' Davies admits that his writing style is to wait until the last minute to commence drafting - and then waits some more. This sounds very maverick and daring, and for most series it is. Unfortunately, the ambitious arc of the season called for meticulous attention and, like many viewers for Season 4, the reader can gradually feel Season 4 slip away from its creator. While genius is evident in many places (his accounting of the development of 'Midnight' as the anti-'Voyage of the Damned' is stunning), the fact is that the plan to bring back so many characters for the big finale was terribly under-managed. Davies actively struggles with the second coming and going of the Rose Taylor character, but still gives her a sendoff that diminishes Season 2's exit - and taking Donna Noble's poten