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Davies in April 2008 Born Stephen Russell Davies ( 1963-04-27) 27 April 1963 (age 54), Wales Occupation Screenwriter, television producer Years active 1986–present Spouse(s) Andrew Smith ( m. 2012) Stephen Russell Davies, (born 27 April 1963), better known as Russell T Davies, is a Welsh screenwriter and television producer whose works include,,,, the 2005 revival of the classic British science fiction series, and the trilogy,, and. Born in, Davies aspired to work as a in his adult life, until a careers advisor at suggested that he study English literature; he consequently focused on a career of play- and screen-writing. After he graduated from Oxford University, Davies joined the in 1985 on a part-time basis and worked in varying positions, including writing and producing two series, and. He left the BBC in the early 1990s to work for and later became a freelance writer. Davies moved into writing adult television dramas in 1994. His early scripts generally explored concepts of religion and sexuality among various backdrops: was a soap opera about organised religion and featured a lesbian vicar; was a soap drama about a Catholic family in contemporary; explored society's opinion of subjects such as prostitution, abortion and homosexuality during the; and Queer as Folk, his first prolific series, recreated his experiences in the.

Russell T Davies - Wikipedia. Russell T Davies. OBEDavies in April 2. Stephen Russell Davies(1. Swansea, Wales. English Conversation Practice By Grant Taylor Pdf Creator. Getyourmegazone.web.fc2.com › English Conversation Practice By Grant Taylor Pdf.

Following this, his adult series in the 2000s include Bob & Rose, which portrayed a gay man who fell in love with a woman; The Second Coming, which focused on the and of from a mostly non-religious point of view;, a comedy about a family who discover they own the entire city of Swansea; and Casanova, an adaptation of of Venetian adventurer. He revived and ran Doctor Who after a sixteen-year hiatus, with, and later, in the title role. Davies' tenure as of the show oversaw a surge in popularity that led to the production of two series, and, and the revival of the Saturday prime-time dramas as a profitable venture for production companies. Davies was appointed an OBE in 2008 for services to drama, which coincided with his announcement that he would step down from Doctor Who as the show's executive producer with his final script, (2009–10). Davies moved to in 2009, where he oversaw production of and the fifth and final series of The Sarah Jane Adventures. After his partner developed cancer in late 2011, Davies returned to the UK, and co-created the drama,, which aired from 2012 to 2014.

He created Cucumber, a series about middle-aged gay men in the Manchester gay scene; Banana, an series about young LGBT people in the Cucumber universe; and Tofu, an online documentary series available on discussing issues which have arisen in the sister series, modern sex and sexuality with the cast and public. All three shows aired in 2015 for a single series. Dark Season was a breakthrough role for multi-award-winning actress.

During his tenure on Why Don't You?, Davies oversaw the production of a story that took place in. The story was the precursor for his first freelance children's project:. The show, originally called The Adventuresome Three, would feature the Why Don't You? Characters in a purely dramatic setting that was influenced by his childhood. He submitted the script to the head of the BBC's Children's department,, and. Both companies were interested in producing the show with minor changes: Granada wished to produce it as one six-part serial, as opposed to Davies' plan of two three-part serials; and Home was interested in accepting the show on the condition it included a new cast of characters. He accepted Home's offer, and the show was allocated the budget and timeslot of, which had been put on hiatus the year before.

The first three episodes of Dark Season feature three young teenagers in a contemporary secondary school, Reet (), Marcie (Victoria Lambert), and Tom (Ben Chandler), who discover a plot by the villain Mr Eldritch (Grant Parsons) to take over the world using school computers. Eldritch is eventually defeated by Marcie and the computer expert Professor Polzinsky (). The next three episodes focus on a new villain: the archaeologist Miss Pendragon (), later described by Davies as a ' lesbian', who becomes a part of the ancient supercomputer Behemoth. The two distinct plot elements converge at the end of the fifth episode, when Pendragon crashes through the school stage as Eldritch walks into the auditorium.

Dark Season uses concepts seen in his tenure as executive producer of Doctor Who: ', written by, shares its concept of the antagonist using computers in a to take over the world; ' unexpectedly brings together the series' two major villains for the final episode; and the characters of Marcie and her friends are similar, albeit unintentionally, to the structure of the and his. Dark Season was the first series that he was credited as 'Russell T Davies'—the initial arbitrarily chosen to distinguish himself from —and the first series that he was commissioned to write a novelisation: it features a more ambiguous climax and foreshadows a sequel set in an arcade similar to the one featured in serial,. Davies started planning a second series for Dark Season that followed a similar structure. The first half of the series would take part in the arcade mentioned in the novelisation, and the second would feature the appearance of psychic twins and the re-emergence of the villain Eldritch. The concepts were transferred to its spiritual successor,, which was produced in 1993 at the request of Dark Season director. The series primarily used the 'psychic twins' concept and was set in an isolated village based on those in the and the.

The plot of Century Falls is driven by a legend that no children had been born in the eponymous village for more than forty years. The lead protagonist, Tess Hunter (Catherine Sanderson), is an overweight teenager who moves to the village with her mother at the beginning of the serial.

She quickly befriends the psychic Ben Naismith () and his twin sister Carey (Emma Jane Lavin). The three teenagers examine the waterfall that gave Ben his powers and the disaster that caused the legendary infertility. The serial climaxes in a confrontation between Tess and the deity Century, who is attempting to fuse with Tess's unborn sister. Main article: Davies' next project was The Grand, a set in a Manchester hotel during the. It was designed to be a valuable show in a ratings war with the BBC and was scheduled at 9 pm on a Friday night. After the original writer abandoned the series, Granada approached him to write the entire show. His scripts for the first series reflect the pessimism of the period; each episode added its own emotional trauma on the staff, including a soldier's execution for desertion, a destitute maid who threatens to illegally abort her unborn child to survive, and a multi-episode storyline centred on the chambermaid, Monica Jones (), who kills her rapist in self-defence, is arrested, and eventually hanged for murder.

The show was renewed for a second series despite the first's dark tone. The second series had a lighter tone and greater emphasis on character development, which Davies attributed to his friend Sally, who had previously warned him of the adult humour in Breakfast Serials; she told him that his show was too bleak to be compared to real life. He highlighted the sixth and eighth episodes of the second series as a time of maturity as a writer: for the sixth, he utilised then-unconventional narrative devices such as to explore the hotel barman's closeted homosexuality and the societal attitudes towards sexuality in the 1920s; and he highlighted the eighth as when he allowed the series to 'take on its own life' by deliberately inserting plot devices such as to enhance the comic relief of the series.

Although well received, the series' ratings were not high enough to warrant a third series. After its cancellation in September 1997, Davies had an after almost dying from an accidental overdose; the experience persuaded him to detoxify and make a name for himself by producing a series that celebrated his homosexuality. Queer as Folk [ ]. Main article: Shindler continued to pitch The Second Coming to other television networks while Davies sought other ventures. His next series was based on a gay friend who married a woman and fathered a child.

Kaplan Usmle Step 1 Qbank Pdf. He saw the relationship as a promising concept for an unconventional love story and asked the couple about their relationship to develop the show. After developing the series around the prejudice that he and his gay friends had shown, he realised he was, and instead focused on telling a traditional love story and gave the couple the traditionally British names of Bob Gossage and Rose Cooper. To simulate a classic love story, the plot required antagonists, in the form of Bob's best friend and fellow teacher Holly Vance and Rose's boyfriend Andy Lewis ().

While Andy, named after Davies' boyfriend Andrew Smith, was a minor character and departed in the third episode, Holly featured throughout the entirety of the series. Bob & Rose thus followed a similar format to Queer as Folk, in particular, the triumvirate of main characters composed of a couple and an outsider who lived in contemporary Manchester, and inverted the traditional ' story by focusing on Bob's uncharacteristic attraction to Rose; Bob describes his sexual life by simply speaking the line 'I fancy men. The series was similar to the film (1997), as they both portrayed a romance between a straight character and gay character and the resulting ostracism from the couple's social circles, much like The Second Coming shared its concept with Smith's 1999 film. Like Queer as Folk, Bob & Rose contributed to the contemporary political debate regarding LGBT rights: a subplot involves the fictional pressure group Parents Against Homphobia (PAH), led by Bob's mother Monica (), an ardent gay rights activist, and their campaign to repeal, which prohibited local authorities from 'intentionally promot[ing]' homosexuality. Main article: Shortly after the transmission of Bob & Rose, Davies was approached by Abbott to write for his new BBC show.

He accepted the offer and wrote an episode where the titular character (portrayed by ) and her friends attend a schoolmate's funeral and become psychologically haunted by the deceased woman's solitary life. His first work for the BBC in eight years prompted them to approach him with additional concepts for period dramas, which he invariably declined as his sole intent was to revive Doctor Who, which had then been on hiatus for over a decade. In 2002, he met with the BBC to discuss the revival of the show and producing The Second Coming; the BBC were unable to commit to either, and he again declined to work for them. After the BBC rejected The Second Coming, Shindler proposed that the series should be pitched to ITV. Despite the story's controversial message, the critical success of Bob & Rose encouraged the channel to commission the series for broadcast. The Second Coming had been several years in the making and endured many rewrites from the first draft presented to Channel 4 in 2000, but retained its key concept of a depiction of the with a humanity-centred deity.

A major removal from the script, due to time constraints, was a long sequence titled 'Night of the Demons': the main character, a shop assistant, Stephen Baxter, who discovers his divine lineage, takes over a hotel with his disciples and eventually encounters several of the hotel's employees that have been. Several similar sequences were removed to create a set in the days before. An experienced actor was required to portray Stephen; Davies approached, who had previously been approached for the role of Stuart in Queer as Folk, based on his performance as Nicky Hutchinson in the drama.

Eccleston accepted the role and helped Davies make the character more human after he observed that 'Baxter was getting lost amid his loftier pronouncements'. The character of Judith, who would represent the fall of God, was given to Lesley Sharp after her performance in Bob & Rose, and the role of the Devil was given to. The Second Coming was controversial from its conception. When it was a Channel 4 project, it was the subject of a article a year before its original projected transmission date of late 2001. The series would again receive criticism when it was rumoured it would be broadcast over the Easter weekend of 2003. The series was eventually broadcast over consecutive nights on 9–10 February 2003 to 6.3 million and 5.4 million viewers respectively, and received mixed reactions from the audience: Davies reportedly received death threats for its atheistic message and criticism for its anticlimactic ending, as well as two nominations for Television Awards and one for a Award.

Mine All Mine [ ]. Main article: In the time near his mother's death, Davies returned to Swansea several times and reflected on the role of family.

During one visit, he realised that he had not yet written a series set in Wales; hence, he started creating a series about a family who discovers that they own the entire city of Swansea. The Vivaldi Inheritance, later renamed Mine All Mine, was based on the tale of the Welsh pirate and his descendants' claim to 77 acres (310,000 m 2) of real estate in, New York City. The series was a departure from his trend of experimental social commentary; it was instead designed to be a mainstream comedy that utilised Welsh actors: Davies and Red Productions even planned a cameo appearance by -winning Swansea-born. Because the series was centred on an entire family, Red Productions was given the task of casting eleven principal characters: the role of family patriarch Max Vivaldi was given to, at the request of ITV for prolific actors; Rhian Morgan, Davies' ex-girlfriend from the WGYT, was cast as Max's wife Val; as Max's sister Stella; as Candy Vivaldi; Matthew Barry and as the Vivaldi siblings Loe and Maria; actress as Val's sister Myrtle Jones; and as Maria's boyfriend Gethin. The series, specifically the family's composition of two daughters and a gay son, mirrored his own upbringing to the point where Davies and his boyfriend referred to the show as 'The Private Joke'. The series was originally written in six parts, but Davies excised a large portion of the fifth episode because the crew expressed concerns with its pacing. The series was filmed in late 2003 under the direction of and Tim Whitby, and utilised many areas of Swansea that Davies was familiar with since his childhood.

It aired as four-hour-long episodes and a ninety-minute finale on Thursday nights preceding Christmas 2003. Eventually, Mine All Mine would be his least successful series and ended its run with just over two million viewers, which he later blamed on the series' high eccentricity. Casanova [ ]. See also: Since he watched the 's () into the () at the end of the 1966 serial, Davies had 'fallen in love' with the show and, by the mid-1970s, he was regularly writing reviews of broadcast serials in his diary.

His favourite writer and childhood hero was; during his career, he has complimented the creative use of BBC studios to create 'terror and claustrophobia' for Holmes's 1975 script —his favourite serial from the original series—and has opined that the first episode of (1977) featured 'the best dialogue ever written; it's up there with '. His screenwriting career also began with a Doctor Who submission; in 1987, he submitted a set on an intergalactic news aggregator and broadcaster, which was rejected by script editor, who suggested that he should write a more prosaic story about 'a man who is worried about his mortgage, his marriage, [and] his dog'. The script was eventually retooled and transmitted as ' in 2005. During the late 1990s, Davies lobbied the BBC to revive the show from its hiatus and reached the discussion stages in late 1998 and early 2002. His proposals would update the show to be better suited for a 21st-century audience: the series would be recorded on film instead of videotape; the length of each episode would double from twenty-five minutes to fifty; episodes would primarily take place on Earth, in the style of the () episodes; and Davies would remove 'excess baggage' from the mythology such as and the. His pitch competed against three others: 's fantasy retelling, 's -styled pitch, and 's reboot, which made the Doctor the character, instead of his. Davies also took cues from American fantasy television series such as and, most notably Buffy's concepts of series-long and the '.

In August 2003, the BBC had resolved legal issues over production rights that had surfaced as a result of the jointly produced –BBC–, and the Controller of BBC One and Controller of Drama Commissioning approached Gardner and Davies to create a revival of the series to air in a slot on Saturday nights, as part of their plan to devolve production to its regional bases. By mid-September, they accepted the deal to produce the series alongside Casanova. Davies' for Doctor Who was the first one he wrote voluntarily; previously, he opted to outline concepts of shows to commissioning executives and offer to write the pilot episode because he felt that a pitch made him 'feel like [he's] killing the work'. The fifteen-page pitch outlined a who was 'your best friend; someone you want to be with all the time', the 19-year-old () as a 'perfect match' for the new Doctor, avoidance of the 40-year back story 'except for the good bits', the retention of the,, and, removal of the Time Lords, and a greater focus on humanity.

His pitch was submitted for the first production meeting in December 2003 and a series of thirteen episodes was obtained by pressure from and a workable budget from. The first new series of Doctor Who featured eight scripts by Davies; the remainder were allocated to experienced dramatists and writers for the show's: penned a two-episode story, and,, and each wrote one script. Davies also approached his old friend Paul Abbott and author to write for the series; both declined due to existing commitments. Shortly after he secured writers for the show, Davies stated that he had no intention of approaching writers from the old series; the only writer he would have wished to work with was Holmes, who died in May 1986. By early 2004, the show had settled into a regular production cycle.

Davies, Gardner, and BBC Controller of Continuing Drama Series took posts as executive producers, and Phil Collinson, his old colleague from Granada, took the role of producer. Davies' official position as combined the roles of and and consisted of laying a skeletal plot for the entire series, holding 'tone meetings' to correctly identify the tone of an episode, often described in one word — for example, the 'tone word' for Moffat's ' was 'romantic' — and overseeing all aspects of production. The production team was also tasked with finding a suitable actor for the role of the Doctor.

Most notably, they approached film actor and comedian for the role. By the time Young suggested The Second Coming and actor to Davies, Eccleston was one of three left in the running for the role: the other candidates are rumoured to have been and.

Eccleston created his own characteristics of his rendition of the Doctor based on Davies' life, most notably, his catchphrase 'Fantastic!' : [The central message of the show is] seize life, it's brief, enjoy it. The Doctor is always saying 'isn't it fantastic?' , which is one of Russell's favourite words. 'Look at that blue alien, isn't it fantastic?

Oh, it's trying to kill me. Never mind, let's solve it.' Davies at a book signing for The Writers Tale in, the,, on 9 October 2008 In September 2008,, an imprint of, published The Writer's Tale, a collection of emails between Davies and and journalist. Dubbed the 'Great Correspondence' by Davies and Cook, The Writer's Tale covers a period between February 2007 and March 2008 and explores his writing processes and the development of his scripts for the of Doctor Who: ', ', ', ', ', and '. The book's first chapter focuses on Cook's 'big questions' on Davies' writing style, character development—using the Doctor Who character () and the character () as contrasting examples—, how he formulated ideas for stories, and the question 'why do you write?'

After several weeks, Cook assumes an unofficial advisory role to the scriptwriting and the development of the series. The book's epilogue consists of a short exchange between Davies and Cook: Cook changes from his role as 'Invisible Ben' to 'Visible Ben' and strongly advises to vastly alter the denouement to 'Journey's End' from a cliffhanger that led into '—which had occurred in the previous three series finales, ', ', and '—to a melancholy ending that showed the Doctor alone in the TARDIS. After three days of deliberation, Davies accepts Cook's suggestion and thanks him for improving both episodes. After its release, the pair embarked on a five-stop signing tour to promote the book in October 2008 at branches in London,, Manchester,, and Cardiff. — Russell T Davies to Benjamin Cook, 6 March 2007, The Writer's Tale: The Final Chapter In 2011, the series had entered into pre-production, with American cable network contracted for transmission and for distribution. Showtime had reached the point of casting before Davies moved back to Manchester, at which point the series was picked up by to be produced with and the. The commission by Channel 4 marked Davies' first collaboration with the channel since Queer as Folk and Shindler and Red since Casanova.

Davies was convinced to return to the channel by Head of Drama and former Doctor Who executive producer, who described the show as a 'political piece of writing' that creates a 'radical approach' to sexuality. Focuses on the life of the middle-aged Henry Best () and the fallout from a disastrous date with his boyfriend of nine years, and is accompanied with, an anthology series featuring younger characters across the LGBT spectrum on the periphery of the Cucumber narrative, and, an online documentary series available on discussing modern sex, sexuality and issues arisen during the show with the cast and public. The three names reference a urological scale categorising the by hardness from tofu to cucumber, and are used to symbolise differences in sexual attitudes and behaviour between the two generations. Although Cucumber was designed as a self-contained serial focusing on the life of one man, Davies envisioned Banana as open-ended with the potential to continue after its sister series finished. Davies' next project after Cucumber and Banana will be The Boys, a series about the crisis during the 1980s. The Boys will be a dramatised retrospective of the crisis which focuses on the men 'living in the bedsits' during the 1980s as opposed to films such as which focus on gay activists; Davies notes that the stories regarding the politics of the crisis and the virus itself has been told, but not those regarding the early victims of the virus itself.

Davies describes The Boys as a way of 'coming to terms' with his own actions during the 1980s, when the shock of the crisis prevented him from properly mourning the deaths of his close friends. After The Boys, Davies plans to write a series about that draws inspiration from real-life incidents of blackmail that resulted in suicide. Writing style [ ] Davies is an admitted and often waits hours or days for concepts to form before he commits them to the script. In The Writer's Tale, he describes his procrastination by discussing his early career: at the time, his method of dealing with the pressures of delivering a script was to 'go out drinking' instead. On one occasion in the mid-1990s, he was at the Manchester gay club when he thought of the climax to the first series of The Grand. As his career progressed, he instead spent entire nights 'just thinking of plot, character, pace, etc' and waited until 2:00 am, 'when the clubs used to shut', to overcome the urge of procrastination.

Davies described the sense of anxiety he experiences in an email to Cook in April 2007, in response to Cook's question of 'how do you know when to start writing?' : I leave it till the last minute. And then I leave it some more.

Eventually, I leave it till I'm desperate. I always think, I'm not ready to write it, I don't know what I'm doing, it's just a jumble of thoughts in a state of flux, there's no story, I don't know how A connects to B, I don't know anything!

I get myself into a genuine state of panic. Normally, I'll leave it till the deadline, and I haven't even started writing. This has become, over the years, a week beyond the deadline, or even more. It can be a week—or weeks—past the delivery date, and I haven't started writing. In fact, I don't have delivery dates any more.

I go by the start-of-preproduction date. I consider that to be my real deadline. And then I miss that. It's a cycle that I cannot break.

I simply can't help it. It makes my life miserable. — Russell T Davies, 'Struggle to keep Who secret', Davies attempts to both create imagery and to provide a social commentary in his scripts; for example, he uses camera directions in his scripts more frequently than newer screenwriters to ensure that anyone who reads the script, especially the director, is able to 'feel. The pace, the speed, the atmosphere, the mood, the gags, [and] the dread'. His stage directions also create an atmosphere by their formatting and avoidance of the first person.

Although the basis of several of his scripts derive from previous concepts, he claims that most concepts for storytelling have been already used, and instead tries to tell a relatively new and entertaining plot; for example, the Doctor Who episode ' shares its concept most notably with the 1998 film. Like how Sliding Doors examines two timelines based on whether Helen Quilley () catches a train, Davies uses the choice of the Doctor's companion to turn left or right at a road intersection to depict either a world with the Doctor, as seen throughout the rest of the fourth series, or an without the Doctor, examined in its entirety within the episode. The world without the Doctor creates a dystopia which he uses to provide a commentary on Nazi-esque fascism. Davies generally tries to make his scripts 'quite detailed, but very succinct', and eschews the long character and set descriptions; instead, he limits himself to only three adjectives to describe a character and two lines to describe a set to allow the dialogue to describe the story instead. Davies also uses his scripts to examine and debate on large issues such as sexuality and religion, especially from a homosexual or perspective. He refrains from a dependence on 'cheap, easy lines' that provide little deeper insight; his mantra during his early adult drama career was 'no boring issues'.

Queer as Folk is the primary vehicle for his social commentary of homosexuality and advocation of greater acceptance. He used the series to challenge the 'primal.

Gut instinct' of homophobia by introducing homosexual imagery in contrast to the heterosexual 'fundamental image of life, of family, of childhood, [and] of survival'. His next series, Bob & Rose, examined the issue of a gay man who falls in love with a woman, and the reaction of the couple's respective social circles. Torchwood, in Davies' own words, is 'a very bisexual programme', and demonstrates a fluid approach to both gender and sexuality 'almost from its opening moments': for example, the lead character nonchalantly mentions he was once pregnant; and later, the other lead characters discuss Jack's sexuality. The gay website opined that Torchwood 's biggest breakthrough could be ' representation' by showing Captain Jack as a character whose bisexuality is explored but not his only character trait.

His most notable commentaries of religion and atheism are The Second Coming and his 2007 Doctor Who episode '. The Second Coming's depiction of a contemporary and realistic of eschews the use of religious iconography in favour of a love story underlined by the male lead's 'awakening as the Son of God'. In contrast, 'Gridlock' takes a more pro-active role in debating religion: the episode depicts the unity of the supporting cast in singing the Christian hymns ' and ' as a positive aspect of faith, but depicts the Doctor as an atheistic hero which shows the faith as misguided because 'there is no higher authority'. He also includes his commentary as an undertone in other stories; he described the sub-plot of the differing belief systems of the Doctor and in ' as a conflict between 'Rational Man versus Head of the Church'. Like other scriptwriters during Doctor Who's original tenure, several of Davies scripts are influenced by his personal politics. Marc Edward DiPaolo of observes that Davies usually espouses a 'left-leaning' view through his scripts. Beyond religion and sexuality, Davies most notably satirises the United States under on Doctor Who: the in ' and ' and Henry van Statten in ' were portrayed as sociopathic capitalists; the under his tenure echoed contemporary American conservatives in their appearances, from religious fundamentalists in ' to imperialists in ' and '; and in ', a parody of Bush is murdered by the (), who was presented in the story as a reminiscent of.

Other targets of satire in his Doctor Who scripts include,, and the in ', plastic surgery and consumer culture in ', obesity and in ', and racism and paranoia in '. Recognition [ ] Saving it from extinction. —, when asked his opinion on Davies' greatest contribution to British television drama. Davies has received recognition for his work since his career as a children's television writer. Davies' first award nominations came in 1993 when he was nominated for the 'Best Children's Programme (Fiction)' Television Award for his work on Children's Ward.

Children's Ward was nominated for the Children's Drama award in 1996 and won the same award 1997. His next critically successful series was Bob & Rose; it was nominated for a Television Award for Best Drama Serial and won two for Best Comedy Drama and Writer of the Year. The Second Coming was nominated for the same Television Award in 2004. His work on The Second Coming earned him a nomination for a award. Most of Davies' recognition came as a result of his work on Doctor Who. In 2005, Doctor Who won two Television Awards—Best Drama Series and the Pioneer Audience Award—and he was awarded the honorary Dennis Potter Award for writing.

He also received that year's. At the, he was awarded the accolade of 'Industry Player of the Year' in 2006, and he was announced as recipient of the Outstanding Achievement Award in 2017. In 2007, Davies was nominated for the 'Best Soap/Series' Award—along with,,,,, and —for their work on the. He was again nominated for two BAFTA Awards in 2009: a Television Award for his work on Doctor Who, and the Television Craft Award for Best Writer, for the episode '. Under his tenure, Doctor Who won five consecutive between 2005 and 2010.

He has also been nominated for three, all in the category of ': in 2007, the story comprising ' and ' was defeated by Steven Moffat's '; in 2009, the episode ' was defeated by 's; and in 2010, all three of his scripts which were eligible for the award, ', the Davies– collaboration ', and the Davies– collaboration ', were nominated: the award was won by 'The Waters of Mars' and the other episodes took second and third place. During Davies' tenure as executive producer, only Steven Moffat's ', which was scheduled against the final of the, failed to win in its time slot. The show's viewing figures were consistently high enough that the only broadcasts to have consistently rivalled Doctor Who for viewers in the 's weekly charts were,,, and international matches. Two of his scripts, ' and ', broke audience records for the show by being declared the second most viewed broadcasts of their respective weeks, and ' became the first episode to be the most viewed broadcast of the week. The show enjoyed consistently high ratings: ', regarded by Doctor Who fans as his worst script, gained a rating of 76, just short of the 2006 average rating of 77; and the episodes ' and ' share the highest rating Doctor Who has received, at 91. Among Doctor Who fans, his contribution to the show ranks as high as the show's co-creator: in a 2009 poll of 6,700 readers, he won the 'Greatest Contribution' award with 22.62% of the votes against Lambert's 22.49% share, in addition to winning the magazine's 2005, 2006, and 2008 awards for the best writer of each series.

Ian Farrington, who commented on the 2009 'Greatest Contribution' poll, attributed Davies' popularity to his range of writing styles, from the epic ' to the minimalistic 'Midnight', and his ability to market the show to appeal to a wide audience. Davies' work on Doctor Who has led to accolades out of the television industry.

He features in the Pinc List of leading Welsh LGBT figures. Between 2005 and 2008, he was included in 's 'Media 100': in 2005, he was ranked the 14th most influential man in the media; in 2006, the 28th; in 2007, the 15th; and in 2008, the 31st. In 2008 he was ranked the 42nd most influential person in by The Telegraph. Recognised his contributions to the public by including him on seven consecutive, which chronicle the achievements of gay and lesbian personalities: in 2005, he was ranked the 73rd most influential gay person; in 2006, the 18th; in 2007, the most influential gay person; in 2008, the 2nd; in 2009, the 14th; in 2010, the 64th; in 2011, the 47th; in 2012, the 56th; and in 2013, was listed as a permanent member of the List's 'national treasures'. He was awarded an in the Queen's list for services to drama, and an honorary fellowship by in July 2008. Personal life [ ] Davies is openly and has been with his partner, Andrew Smith, since 1999. They were married on 1 December 2012 after Smith was diagnosed with a brain tumour from which he was given only a 3% chance of recovering.

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