Miss no good drama
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By chance, the pandemic pushed him into his strengths as a long-form drama writer (as seen in series like Broadchurch), and his penchant for introducing huge crowds of one-off characters was diluted by having them return week after week, allowing for more development than they’d get in one standalone episode. Create a serialised story that will allow repeated use of sets, locations and guest cast members.Īs we now know, Chibnall took the latter option – and Flux was all the better for it.Create a series of limited-location, limited-cast stories that didn’t move around much (notably, the approach that seems to be being used for New Year’s Day time loop special Eve of the Daleks).The entire serialised structure of Flux (and the cast of returning characters) comes thanks to COVID-19 filming restrictions that gave Chris Chibnall and the Who team two options. Though of course, that wasn’t the biggest hurdle the series faced when filming began in 2020.īecause the Judoon in the room for series 13 is, obviously, the coronavirus pandemic. The true triumph of Flux is how well it overcomes these hindrances to make a fairly cohesive, dynamic and entertaining whole. Masses of underused characters (what did Yaz and Dan even do in the final two episodes?), complicated sci-fi explanations that didn’t advance the plot, contrived plot points and an unclear character profile for the Doctor were all present and correct at different times, and to varying degrees. However, it was also a series that suffered from familiar problems long seen in this era. For details on how we use your data, please see our privacy policy.