My dream is to become a screenwriter. I would love to become a regular writing for a great TV series, like the ones I often watch on the TV. I have often thought about what things I would include, change or focus on if I was working for my favourite TV Series. I thought I would share three of these ideas with you today. Leave some feedback or maybe your own ideas on how a TV Series should go. You don’t even have to stick to my three examples below. Go crazy. I want to hear from you.


I love Luther: it is the best programme on the BBC in my opinion. I love the complex villains, especially the two criminals in the second series. The masked Cameron was a truly terrifying character and the twin killers were probably the most intriguing bad guys we have seen on that show. I would love to add to that colourful rogue gallery and I have thought hard on what form my psychologically disturbed felon would take.

Luther: now with 15% more ice cream.

Luther: now with 15% more ice cream.

The answer came from a disturbing newspaper clipping I stumbled upon (always a good place to look for inspiration: Luther often feeds off our real fears). It was reporting on a story where three thirteen year old boys mugged an elderly man, armed with shotguns. It was a dark slap in the face at some of the horrors going on out there. And like most heartless scriptwriters, I wanted to cash in on it.

Could you imagine the turmoil? A thirteen year old kid (or could I go younger?), on a shooting spree across London. This would also create a mixed emotion inside the audience. It reminds me of another BBC series, one-off drama, Line of Duty, that was about police corruption. There was a ten year old kid who hung around with the bad guys: he shouted insults at the cops, bullied the Down Syndrome neighbour and even tortured one of the main characters. We all knew he was just a kid, but, at the same time, the kid was such a w***** every single audience member wanted him to get killed off in a truly painful way. I would try and replicate that if I was allowed to write that episode of Luther.


The writers of House have got to be incredibly talented to do what they do. Every episode, most of the vocabulary goes over my head, yet at the same time I am completely hooked in the drama going on around me. However, one storyline in House that really fell down was Kutner’s death. It wasn’t their fault, in all honesty. The actor, Kal Penn, got a sudden job at the White House and he had to drop everything ASAP to start. This of course left the writers kind of stumped, as they had a short space of time to come up with a proper explanation, without using the actor in question.

The answer they came up with was to have him commit suicide. No one knew why and House, being someone who needs answers, was thrown by the death. The mystery over the whole affair was meant to be meaningful in some way, but we, the audience, knew the truth. The writers were backed into a corner and had no way of getting out of it.

On the downside, I often get mixed up between Dexter and House.

On the downside, I often get mixed up between Dexter and House.

Here’s what I would have proposed: it could have even fit quite happily into Season 8. A patient is admitted into Princeton-Plainsboro, suffering a bullet wound, running from the police. As House treats him (the bullet could become infected – I haven’t worked out a plot device to make the injury important enough for House), it soon becomes apparent that the patient is a serial killer, one who specialises in faking suicides. After a bit more probing, the cast realise they are treating Kutner’s killer.

This would throw the usual emotional struggles between the characters. Thirteen is happy to let the man die, while Foreman is determined to treat the patient like any other. But House is the real twist. Being, as ever, a tough man to work out, he asks the killer questions: why does he do the things he does? The other characters watch them and try to decipher House’s emotions. Is that respect? Of course, the serial killer, like most killers, likes to finally brag about his conquests, so as the episode progresses, the relationship between the two of them borders upon some kind of shaky friendship, even though this is the man who killed Kutner. I think it would throw some interesting character development into the mix and the audience would love Kutner to get a proper farewell.


Another storyline that disappointed me was Amy Pond’s death. The whole episode was handled poorly, so focused on being a big farewell that none of the characters were given any justice. I would rather the characters were just killed off than taken out of the Doctor’s reach. We already had that storyline: Rose Tyler. So I thought how would I have killed off Amy Pond (or any future Doctor companion). The obvious departures have been done. Several companions have been killed off (Astrid), Martha Jones left of her own free will and Donna had the most original of them, her memory unable to take being reminded about the Doctor.

Oh, I'm so over Rory. This? Oh, I just found it lying around my wardrobe. What a coincedence! Hahahahahahaha!!!

Oh, I’m so over Rory. This? Oh, I just found it lying around my wardrobe. What a coincedence! Hahahahahahaha!!!

There seems to be only one storyline untouched: Amy must become the villain. I discussed this theory with a friend and he pointed out that Amy had already become a bad guy once before in ‘The Girl Who Waited’, so I would have to approach this from a different angle. Step one: Kill off Rory. For real this time. And the Doctor would have to make a conscious choice not to go back and save him, either for some reason too difficult for Amy to understand or maybe out of fear of something (whatever overall plot was going on at the time). So deep down, Amy would blame the Doctor for her husband’s death.

Play on this for a while. Have a few more episodes of Amy being darker and more distraught at Rory’s death. She could either stay in the TARDIS or maybe become an occasional guest star (like River Song). I am assuming that Karen Gillian left to pursue other roles, so maybe that would be the better option. And then maybe, one day she snaps, takes some piece of TARDIS technology and vows to ruin the Doctor with it.

And then the Doctor has a whole new villain on his hands. Something to distract us from the Daleks and Cybermen (two characters that need to take a break from the series). Every time the Doctor faces off against her, he has this big emotional debate inside to face. Technically he created this new menace. Does he have the heart to kill her? I would let Stephen Moffat decide that one, but I do believe that Doctor Who missed out on a big opportunity to make Amy Pond’s farewell incredible, rather than having her slowly fade out over the course of five episodes.

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