You can read more about her decision to leave the show in an interview in today's Guardian.

The Weakest Link has been a hugely important and much-loved part of the BBC's schedules for well over a decade, but without Anne's iconic persona and acerbic wit (some of which I've been on the receiving end of as a commissioner), we have decided that we won't be recommissioning any new episodes following her departure.

I was working on BBC Two as its scheduler when Anne first started her incredible run of Weakest Link programmes.

By the end of its final series an amazing 1,693 episodes will have gone out with over 15,000 contestants who will have been asked over 235,000 questions.

I remember seeing the pilot episode and not being at all convinced she was right for the show.

Luckily, Jane Lush, who was the controller for daytime then, and head of entertainment David Young had other ideas and the rest is history.

Of course the series has not been without its controversy, with some of Anne's remarks at times causing a media storm, not least in Wales.

Like me, Anne's from Liverpool, but that hasn't stopped her aiming a few quips at Scousers and it's that side of her which would be impossible to replace.

Fans of Anne will, of course, continue to be able to see her in Watchdog.

I'm also pleased to announce that Anne will be back in the daytime schedules next year as we have just recommissioned another run of My Life In Books.

In terms of what will replace the Weakest Link, well, that's all still up for debate at the moment.

However, we've been really pleased with how some of our new quizzes on BBC Two have been doing, such as Pointless with Alexander Armstrong. A twittering Stephen Fry has already confirmed himself a keen viewer.

I, for one, am incredibly grateful to Anne in making this quiz such a brilliant watch over the years.

If you'd like to take a trip down memory lane, you can take a look at the very first episode that went out, on the Weakest Link site.

We're planning some special episodes to see the series out, which will be filmed in Glasgow in December 2011, and the show will continue to be on air until Spring 2012.

Liam Keelan is the controller of BBC daytime.

Comments made by writers on the BBC TV blog are their own opinions and not necessarily those of the BBC.

I can also reveal that our wonderful World War Two period drama Land Girls is also returning for a third series.

I commission programmes on BBC One and Two daytime, and it's fantastic to see a series resonate so strongly with you, our viewers.

Bringing more drama to daytime is something I care passionately about.

Sanjeev Bhaskar, who played Prem Sharma in The Indian Doctor, replied to your comments on this blog, saying he was humbled and overwhelmed by your support, and I know he is delighted that the series is returning.

The Indian Doctor also impressed the critics, winning a coveted Royal Television Society award last week, which all the team are absolutely thrilled with.

There is a long way to go before The Indian Doctor hits your screens again - probably early next year - so we're still busy working out the new storylines.

However, many of the characters will be returning. You can catch a taste of the first series here:

In the meantime, we also have two new dramas starting on BBC One afternoons which you might be interested in catching.

Next Monday, 32 Brinkburn Street kicks off.

Starring Eva Pope and Jack Deam, the drama is set around a dark secret at the heart of two generations of the same family, living in the same house in 1931 and 2011.

Moving between two very different eras, we've worked hard to bring something unique.

If you want to know more about Brinkburn Street, then take a look at the set designer Andrea Hughes' post, which is coming up on this blog on Monday.

Andrea gives a fascinating insight into how she researched and found inspiration for the 1931 set.

I think the series trailer here sets the scene perfectly:

Finally, from Monday, 4 April we have Justice, a new fast-paced contemporary drama set in Liverpool, starring Bob Pugh, Gary Mavers and Gillian Kearney (plus legendary boxer John Conteh - watch out for him).

Inspired by a real community justice centre in Liverpool, you can see a sneak preview on the BBC Press Office website.

I know many of you who commented on Sanjeev's post (julieapp #1, traceyanne #377, WiganBob #394 and maurobsop #416 to name a few) were disappointed that our dramas aren't shown in peak hours, so please don't forget to set your recorders, or catch it on iPlayer.

Also check your TV guides, as many of our dramas do get repeated later on - Land Girls is being repeated soon on BBC One - so keep a look out for that.

Liam Keelan is the controller of BBC Daytime.

Comments made by writers on the BBC TV blog are their own opinions and not necessarily those of the BBC.

While some headlines are bound to focus on the criticism, it's worth having a look at how far BBC Daytime has changed in recent times, where this overlaps with the Trust's argument for greater distinctiveness and how this all compares to our commercial competitors.

Going back to February 2008, BBC Daytime no longer continued to broadcast the Australian soap Neighbours. At the time this felt like a major loss to the schedule -after all it was the highest rating show in Daytime and had been part of the schedule for more than 20 years!

Although it didn't feel like it at the time, it was probably the best thing that could have happened to BBC Daytime as it freed up schedule space and, more importantly, money to invest in making daytime feel much more distinctive than our rivals.

So what's been done in the intervening period and what more is being done to address the Trust's particular emphasis on thinking there are too many property and collectibles programmes.

It's fair to say the three genres we've focused upon more than any other since 2008 are current/social affairs, consumer and UK-originated drama. In fact, we have increased consumer, social and current affairs programmes in Daytime by 140% - a rise from around 80 hours to almost 200 planned for 2010.

Among the many examples we're rightly proud of are Rip-Off Britain, a consumer series fronted seasoned journalists Angela Rippon, Gloria Hunniford and Jennie Bond, Missing Live, a campaigning series to reunite missing people with their families and which was commended in the House of Commons, and the award-winning The Estate We're In, which is on air at 09.15 at the time of writing, and which Philip Johnston in yesterday's Daily Telegraph called "a programme for our time... it touches on Broken Britain and the Big Society".

Another big push has come in the area of UK-originated drama. For some years we've been the only broadcaster to produce drama in Daytime and Doctors has a long history of covering a broad range of social issues, winning several awards along the way. Have a read of Diane Keen's post on this blog about the show's 10th anniversary on this blog.

Over the last year this has been joined by event drama which I really believe has changed perceptions of what we do in Daytime.

Missing, starring Pauline Quirke, undoubtedly raised the issue of missing people to a wider audience and drew greater attention to the campaign overall. Jimmy McGovern's single plays Moving On touched on many issues our audience really care about and is back this autumn with double the number of episodes.

Finally, Land Girls was a first for BBC Daytime in that we'd never before produced a period drama in that part of the schedule - this too was paired with a factual series (The Week We Went to War) and was recognised with a Broadcast award earlier this year.

Several of the programmes I've mentioned, including Land Girls and Moving On, have received such acclaim that they've been repeated in peak-time. Factual programmes such as Fake Britain, Real Rescues and Dom's on the Case: NHS have also been promoted to peak time and have performed very well for the channel.

The Trust rightly gives us credit for the range of programmes in Daytime: we launched more than 50 different shows last year compared with fewer than 10 on each of our commercial rivals.

A large influx of new programmes, such as those mentioned above, does of course mean we have to lose others from the schedule to make space. Most recently Car Booty has been decommissioned alongside property series such as The Unsellables.

The Trust has also acknowledged that Daytime has already started the process of changing its mix of programmes - the challenge remains to continue to provide the broadest range of programming of any broadcaster.

Despite challenging budgets (a daytime series budget is roughly a quarter of a peak time series) the aim in daytime will always be to produce the highest quality programming other broadcasters wouldn't go near.

Sanjeev Bhaskar's new drama The Indian Doctor, set in Wales in 1963 and part of a wider season of programming on 60s, is one example in the autumn.

The next series of Moving On kicks off with John Fay's Sauce For The Goose, a powerful study of senile dementia with a stunning performance from Anna Massey.

It's followed by Shaun Duggan's Losing My Religion, a riveting film about Catholic hypocrisy and it concludes with Esther Wilson's I Am Darleen Fyles, the two stars of which are actors with serious learning difficulties.

And, as Jimmy McGovern said, "This series just wouldn't have been possible without BBC Daytime's commitment to commissioning drama that takes risks. Drama with something to say. Drama that is inexpensive. Drama that is excellent value for money."

Expect many more to follow.

Liam Keelan is the controller of BBC Daytime.

Overall, we have around £80 million across both channels, which runs from 9.15am all the way up to early peak slots such as the The One Show on BBC One and Eggheads over on BBC Two, with both channels covering almost every genre you can imagine.

To give you an example of the variety of output in BBC Daytime, last week we had a current affairs series Fake Britain, gaining more than 1.6m viewers at 9.15 in the morning, a tremendous achievement against Jeremy Kyle on ITV1.

This week-long event series saw Dominic Littlewood follow the law enforcement agencies as they confront the gangs responsible for bringing counterfeit goods into the country with often tragic consequences. One of the main aims of the series was to show viewers how to avoid the being duped by bogus products and salesmen, so it's great to see the reaction it has had.

Another example would be Missing Live which starts this week at 9.15am and is paired with a two-week run of the Missing drama, starring Pauline Quirke, at 2.15pm.

The previous series was great to have on BBC Daytime, successfully reuniting many missing people with their families and even being commended in the House of Commons for being exactly the kind of programming only the BBC can provide.

This pattern of pairing afternoon dramas with factual programmes in the morning has been hugely successful for us. When you look at the feedback and audiences to Missing or Land Girls and The Week We Went to War, I'm convinced this is due in no small part to the fact that we've given these events so much space in the schedule, showing how much we believe in them.

BBC Two daytime also has its fair share of events. Great British Menu is about to return at 6.30pm and this year the professional chefs are competing to cook at a banquet celebrating the wealth of produce grown, reared and fished across the UK. Earlier this year, Michael Portillo followed the Victorian guidebook of George Bradshaw in Great British Railway Journeys, which received great plaudits and will return early next year.

I'm pleased that BBC Daytime has been identified in the strategic review as an important part of the BBC's future and if it is decided to increase our level of funding for in daytime, I'd hope you'd see a lot more of this kind of programming across BBC One and Two.

While we might not always get it right, and it would be interesting to hear what you think, I've always thought BBC Daytime's strength is based in the range of what we do and this is ultimately why programmes such as Missing and Rip Off Britain can sit happily alongside Bargain Hunt, Doctors and Eggheads.

Liam Keelan is the controller of BBC Daytime