Replacing Deayton
14 People That Have Presented 'Have I Got News For You'
1. Tom Baker
2. Fern Britton
3. Charlotte Church
4. Jeremy Clarkson
5. Joan Collins
6. Ronnie Corbett
7. Bruce Forsyth
8. Boris Johnson
9. Des Lynam
10. Sir Trevor McDonald
11. Paul Merton
12. Moira Stuart
13. Chris Tarrant
14. Ann Widdecombe MP
(PHOTO: BBC)
Once upon a time (back in the late 1970's to be precise) there was a popular sitcom called The Fall and Rise of Reginald Perrin. It featured Leonard Rossiter as a man gradually approaching a mid-life crisis fuelled by the ever-mounting irritations and frustrations of life. Running to three series, it was a huge hit with British TV audiences and now it's back, refreshed and recreated for 2009.
The first episode of the new series - simply titled Reggie Perrin - was shown last week and starred Martin Clunes in the title role. From what I've seen so far, it's a reasonable attempt to breathe some new life into an old comedy show, and that's not at all easy to do.
On occasions such as this when a classic show is practically re-written from scratch, the final product is often met with derision and negativity. That's because all the while you're watching the new version, your mind is picking up on the similarities to the old one instead of enjoying the programme itself.
It's only natural, after all it's the duty of the programme makers to give at least a slight nod in the direction of the original through visual or audible cues. That's certainly the case with Reggie Perrin right from the moment the remixed, reorchestrated version of the old theme tune is heard.
There's some subtle and not-so-subtle references to the old show (the 2009 version sees Reggie working for the company next door to Sunshine Desserts and his boss is 'Chris Jackson' rather than 'CJ') but Reggie Perrin never comes across as a direct like-for-like updating of the original scripts.
Those original scripts were written by David Nobbs and this time he's joined forces with Simon Nye (Men Behaving Badly) to rework the stories seen back in the 1970's complete with modern-day references and an altogether different actor playing Perrin himself.
So far, it seems the choice of Martin Clunes as counterpoint to Rossiter is an inspired one. He appears more than competent at conveying the annoyance which prompts Perrin to react so irrationally. While Rossiter played the role as an at times frantic and neurotic man, Clunes' character is calmer and more likable while being considerably more sarcastic, which is just as valid.
Having not yet seen the latter programmes in this new six-part series, one cannot comment on how Perrin's complete nervous breakdown is dealt with by Clunes but the signs so far suggest he'll make a very good job of it. What may not be as enjoyable to witness is the overreaction of the audience (presumably due to a laughter track) heard during Episode 1 last week. We can only hope the BBC adopt a more subtle approach to conveying the comedic qualities of the show in subsequent episodes.
All in all, then, this experiment in repackaging a once greatly admired programme may well prove to be a success itself, albeit not on the scale seen thirty years ago. There is, however, much to like and the relevance of Perrin's irritation with the world around him continues to this day. If you're looking for office chairs that make flatulent noises and stock footage of waddling hippopotami though, you're probably best off sticking with the original.
Reggie Perrin can be seen every Friday on BBC1 at 9.30 pm.
PHOTOS: BBC
In a world where the TV sitcom had become all 'sit' and no 'com', it was gratifying to see that someone (the BBC, naturally) could still unearth a truly great exception. In Not Going Out, the Great British public were treated to a hilarious and brilliantly written show that packed more laughs into a half-hour than some comedies can muster in an entire series.
But Not Going Out will soon be no more. The BBC have, in their wisdom, decided to axe the programme claiming that the 'show had run its course of late' but myself and many others disagree. Such is the following of Not Going Out that an online petition has been created which has so far been signed by nearly 1,600 people.
So what is it that sets Not Going Out apart from other sitcoms? Well to a considerable extent, it's written by an exemplary stand-up comedian who happens to be the show's main star, Lee Mack. What he brings to the scripts is an eagerness to pack in as many jokes and funny lines as possible within the framework of the plot during every half hour story. That he actually achieves this so successfully while slowly building up your familiarity with each of the characters is nothing short of a minor miracle.
But Mack is not the only writer on the show. Andrew Collins and Peter Tilbury are also major contributors to the programme, helping to provide extra punch to some brilliantly funny dialogue. The humour can be found in many a snappy one-liner, in double entendres and in a raft of clever set pieces involving wonderful word play. Here's one example featuring two kids playing Trick or Treat at the flat of lead character Lee:
KID #2: Trick or treat!
LEE: Get off me doorstep - we're not in America.
KID #2: There's nothing wrong with adopting a bit of American culture.
LEE: Alright... get off me doorstep or I'll shoot ya.
...or another featuring a downright silly but nonetheless clever bit of schtik:
LEE: What are you doing looking in my wardrobe?
LUCY: That's none of your business
LEE: No no, that's NARNIA business...
...and they're just two of the funny snippets of dialogue that come at you machine-gun style during every episode. Looking around at the comments written by members of the public on TV forum sites, it's amazing to see how some people initially bemoaned the fact that there were too many jokes in each episode. Having now seen three superb series on BBC1, those same fans of the show must surely be relishing this all-too-rare attribute as something to behold.
For my money, Not Going Out looked like it may reach an early end when Mack's American co-star from series 1, Megan Dodds, was replaced by English actress Sally Bretton in series 2. Somehow Bretton's abrupt character Lucy didn't seem as endearing or cutesy as Dodds' Kate, yet by the end of series 3 my discontent had been mollified as the comedy continued to meet the high standards it had set previously.
All of which makes it such a shame to think Not Going Out won't be back for a fourth series. Though the BBC are yet to broadcast one last episode this Christmas, the apparent ease with which it's seen fit to pull the plug on the programme has left a bitter taste in the mouth of all those who enjoyed it.
And as many fans have already said on the web, there's still the hope that another channel will take up the baton and produce the show instead, but whether that happens remains a mystery. For the time being, I, along with millions of others will be keeping my fingers crossed that it does. Not Going Out is an absolute gem and deserves the chance to thrill audiences for many years to come.
The tradition of movies made from UK TV sitcoms is long and inglorious. Off the top of the head, Dad's Army, Are You Being Served, Bless This House and the On The Buses never really successfully crossed the bridge from cathode to celluloid.
The Thick Of It however, is more than your average half hour sitcom. It is a much more intense, thoughtful and I'm bound to say intelligent proposition altogether. The story line in Armando Ianucci's political satire has matured over its two series and when a cinematic release of the project was announce, there were very few doubts that it would be able to adapt to the big screen. It has the scope, the depth of story and lest we forget, it has Peter Capaldi as Malcolm Tucker, the magnificent, fearsome, Machiavellian spin doctor from the deepest most fettered bowels of Satan's imaginings.
In The Loop represents the next stage of Ianucci's adventure in political satire. The story centres around the machinations of the hawks in the US state department who are trying to instigate a war in the middle east while fending off the doves within their own ranks who are trying to stop them. In the middle of it all is the diminutive, in both stature and presence, Simon Foster (Tom Hollander), Minister of International Development for Her Majesty's Government who unwittingly turns both hawk and dove thanks to a succession of poorly managed meetings and press briefings.
Foster and his new advisor Toby played by Chris Addison (who played Ollie in the TV series) is sent to Washington at the request of the State Department and finds himself the poster boy for both camps. James Gandolfini plays, General Miller who thinks war is something that the US military can barely afford. Opposite him is Linton played by David Rache. A psychotic Rumsfeld type figure who is prepared to break any rule and plunge any depths to start a fight.
Eventually, Tucker joins the fray as all parties squabble, scheme, deal and no-deal around a single report that undermines the case for war and the evidence supporting conflict from the mysterious and possibly fabricated Iceman.
In places the film tends to suffer from its grander ambition. Most of the action takes place in true Whitehall farce fashion with people running in and out of offices and buildings. However, at times, you felt the film was restricted by this format and there was a bigger movie trying to break out. With some Hollywood funding, this film could have been a modern day Dr Strangelove.
However, these are only minor issues against what is a triumph for British comedy and political satire. The film features performances of immense stature and gravitas: Gandolfini as the lapsed Patton figure, devoted to his country but baffled by the way it does business; Tucker as the foul mouthed agent of Number 10. A cocaine charged genetically engineered ferret rampaging through the corridors of power on both sides of the Pond causing mayhem wherever he goes. Rache, is superb as the evangelical warmongering nutcase (fans of the 80's Dirty Harry spoof Sledge Hammer will particularly enjoy his performance). The exchanges between the him and Capaldi represent the highlight of a raft of magnificent set pieces in the film which are toe curling, foul mouthed, politically incorrect, appallingly cynical and very very funny.
The film also features a glorious cameo by Steve Coogan who plays a constituency member who's complaint about a collapsing brick wall threatens to not only bring down his mother's greenhouse but an entire Government department. It's Ianucci's instinctive understanding of the political process and how anything can be linked to everything if you are skilled, clever and devious enough that allow him to construct a story that is both unexpected yet inevitable.
In The Loop is released in cinemas April 17th.
I always thought that buried deep inside ITV4, beneath the endless repeats of The Professionals and CCTV porn, was a decent channel trying to get out. If Good Arrows is a measure of their commissioning policy then I might just be proved right.
Irvine Welsh's directorial debut is a one-off satirical mockumentary set in Merthyr about a former Darts world champion and self-styled 'Beckham of Darts,' Andy 'The Arrows' Sampson.
After winning the title, Andy (Jonathan Owen) naive, ignorant, inarticulate but probably good-hearted, is tempted away from his manager and wife by the buxom 'Big Sheila' (Katy Brand). The story is told from the standpoint of Sebastian (Joe McKinney), a documentary maker who follows them around with a camera crew. Sampson has literally grown fat off his reputation and makes a living playing exhibition tournaments in empty working men's clubs while his spiteful, shell suited, racist wife spends money he doesn't have and goes off with other guys. Inevitably, disaster strikes and with echoes of real life former champion Andy Fordham, Sampson suffers a heart attack.
As the story unfolds however, it becomes less about the darts and more about social decay, drugs, exploitation and poverty. These are the sort of themes you'd associate with Welsh's work. Merthyr Tydfil provides an excellent backdrop for this and the film-makers do a reasonably good job of conveying the urban bleakness.
At first, you could be forgiven for thinking you were watching That Peter Kay Thing. The characters have the same toe-curling ignorance that leaves you guffawing at their stupidity or watching them through a pillow depending on what you find funny. At other times you could be watching Shameless.
The performances of McKinney as the Louis Theroux wannabe Sebastian and Owen as Sampson are decent enough. Brian Hibbard's turn as Alwyn, the one-eyed stoner and Sampson's jilted ex-manager who deals in human effluence is superb.
It's Brand, however, who excels. She seems to revel in the role of the vile temptress 'Big Sheila'. This really is her vehicle and while not a great fan of her work she is clearly a very good comic actress who is capable of greatness.
While Good Arrows is perhaps a shade too derivative, the satirical dimension makes it a worthy piece, however at 90 minutes it doesn't have enough depth to justify its duration. Saying that, Welsh and co-writer Dean Cavanagh use the time to create an array of deliciously filthy characters and the dialogue measures up to the standard set by the writers. One word of warning though - the flashback to Sampson's world championship winning moment is atrocious, a measure no doubt of the film's meagre budget.
Good Arrows will be screened on Saturday 31st January at 11:00pm on ITV 4
The world is your lobster...
31 Episode Names From The Sitcom 'Minder' That Spoofed Well-Known Movies
1. Gunfight at the O.K. Laundrette
2. Monday Night Fever
3. National Pelmet
4. The Beer Hunter
5. The Birdman of Wormwood Scrubs
6. Rocky Eight and a Half
7. Senior Citizen Caine
8. High Drains Pilferer
9. A Star is Gorn
10. Hypnotising Rita
11. From Fulham With Love
12. Minder on the Orient Express
13. An Officer and a Car Salesman
14. Day of Fines and Closures
15. Fiddler on the Hoof
16. The Wrong Goodbye
17. The Loneliness of the Long Distance Entrepreneur
18. Guess Who's Coming to Pinner?
19. The Last Temptation of Daley
20. The Greatest Show in Willesden
21. The Odds Couple
22. The Coach That Came in from the Cold
23. Uneasy Rider
24. Gone with the Winchester
25. A Taste of Money
26. A Fridge Too Far
27. One Flew over the Parents' Nest
28. All Quiet on the West End Front
29. On the Autofront
30. Bring Me the Head of Arthur Daley
31. The Long Good Thursday
There is a moderate amount of interest in Five's new series of Minder which starts next month. No doubt there will be a degree of speculation surrounding the theme tune.
For the uninitiated, or for the sake of indulgence delete where applicable, the following is a clip of the original theme lavishly reproduced by some geezer off Youtube (presumably its a geezer).
From the moment Five announced their intentions to bring this venerable broadcasting institution back to our screens, the question of what to do about the theme tune has been a vexed one, with us at least. They decided to commission an updated version performed by Attic Lights. Which we have embedded below.
As for the show itself, SPAOTT has yet to see it and will wait with trepidation as we see Shane Richie follow in the prodigiously gregarious footsteps of the legend that is George Cole. All we can say is, we hope they know what they're doing...
Minder starts on Wednesday 4th February at 9pm.
There was a time when presenters on children's television were all demonstrably adults. Nowadays, children are plucked straight from truanting down Shepherds Bush market, given an even worse haircut and some achingly trendy t-shirt, and stuck in front of TV cameras. The programmes they present treat children like idiots because the people who present them are idiots, and the overall effect is of one great morass.
It was not always thus, which brings us on to Tony Hart. In the glorious days before society in general and TV companies in particular decided to make a virtue of being stupid and useless, Tony Hart presented a series of long-running art shows for children on the BBC. In fact, his career spanned much further back than I thought it did, a testament to the fact that he never came across as being "that old bloke on the telly". Enthusiastic and encouraging without being patronising, adroit and authoritative without ever being patrician or preachy, Hart bestrode arts programming for children for thirty years.
Eventually, of course, he began to look like an anachronism as the schedules around him filled up with identikit presenters a quarter of his age, whose entire personality was contained within their wardrobe. His last programme - Hart Beat - was cancelled to make way for SMart, a programme with no ostensible differences in format to its forbear - and, indeed, that Hart himself contributed to in part until 2001 - other than the fact the presenters now boasted the combined artistic talent of a shoe. But this was the brave new world of the 1990s, where being more or less incapable of the thing you were supposed to be able to do was the new trend, and no-one noticed. Meanwhile, on ITV, Art Attack was breezy, colourful and full of invention, but it was never able to strike the same blend of enthusiasm and ability as any of Hart's groundbreaking shows.
Tony Hart made the news last autumn, revealing that after a series of strokes, he had lost the necessary control in his hands to draw any more. In an article in The Times, however, he refused to gripe on in oh-woe-is-me fashion, choosing to use the forum to get people excited and enthused about giving art a try. Such greatness of spirit was very much the mark of the man. Most children of my generation - and several before - grew up watching Tony Hart's programmes. Many of them owe people like him and his great contemporary, Rolf Harris, a huge debt of gratitude for opening doors to them. People like me, who still plug on with drawing despite the fact our short trousers barely fit any more, probably more so than anybody.
Thank you, Tony Hart.
Type the phrase 'Jack of all trades' into Google, and the chances are you'll see the name David Vine in your first page of results. If you don't, complain to Google.
David Vine's 34-year career with the BBC saw him take on a wide and diverse range of projects, most of them sport-orientated. He was the first person to present the Wimbledon tennis championships in colour in 1967, the front man for Ski Sunday between 1978 and 1996 and the man named 'The Voice of Snooker' by BBC viewers of the sport during a 22-year spell in front of the cameras that ended in 2000.
A friendly, jocular character, he was easily identifiable by his glasses and either a chunky tie and gaudy shirt or cosy jumper depending on which era you were watching him in. Composed, well-informed and seemingly unflappable, he was the perfect choice to front all manner of programmes from A Question of Sport (which he helped to launch in 1970) and It's A Knockout to Miss World and the Eurovision Song Contest (which he hosted only once in 1974 when Abba, of all people, won for Sweden).
But for me he will always be remembered as the face of Superstars, a show he was involved with on the BBC for twelve years from 1973. He managed to give the programme a real sense of purpose and authority, injecting enthusiasm into every show without appearing desperate to gain the audience's respect. Together with Ron Pickering, he guided us, the viewers, through every event ensuring we knew what was going on, who was doing well and who was struggling. He made the job of presenting Superstars and countless other programmes effortless - a real indication of just how good he was at his job.
Vine had to step down from his BBC duties in 2000 following a heart complaint but continued to act as consultant for the corporation thereafter. He was also on hand to provide a wonderful narrative on a BBC Superstars DVD that was launched to coincide with the revival of the programme in 2003.
His death from a heart attack yesterday at the age of 73 yesterday comes as incredibly sad news to the many millions of people that enjoyed hearing that wonderful West Country voice on their TVs. As the anchor man for so many programmes that were made better just by him being there, he'll be sorely missed.
Oz And James Drink To Britain
James May stands on the white cliffs of Dover to introduce the third series of what has become an annual booze-up starring himself and self confessed 'wine ponce' Oz Clarke. The past two series have been all about the wine. First they went to France, then to America. For this series however, the pair keep the home fires burning with a tour of Blighty and this time... its all about beer.
Television loves good partnerships and Clarke and May make a fine pair. They both have affable on screen personalities but their individual characteristics creates enough tension to provide just a frisson of tension without making the viewer think that they would rather be doing something else. Clarke's unbound puppy dog enthusiasm for the grape and the hop is complimented beautifully by May's delicious languidity.
Having made their introductions the pair set off in a green Rolls Royce Corniche convertible with a cheap caravan hooked on the back. They head for Yorkshire and there they discover the genesis of beer making while consuming volumous quantities of the local brew. Happily, the narrative does more than enough to stop the whole shebang from becoming a televised piss-up This is thanks to Clarke's instance on exploring the roots of the subject matter while celebrating each pint as though it were a rare vintage against May's insistence that its just beer. If you've watched previous series you'll get the idea of the philosophical divide twixt the two.
Clarke takes May to a barley field in Yorkshire to explain the basis of how the hardiness and versatility of that grain allowed us to make beer. He stands there grasping a single husk and posited the theory that people gathered, settled and built entire societies around barley fields for the single purpose of making and consuming beer. It is beer, he declared, that gave birth to civilisation. May stares at him with understated admiration and says "The was genuinely interesting... fancy a pint?"
Other excursions include a couple of trips to some Yorkshire breweries, one of which is run by an Italian and a Kiwi. There is also an unexpected trip to a vineyard by way as a revista to series past. I wasn't aware that they produced wine in Yorkshire but according to the governor of this vineyard, some variety of grape based falling down water has been in the county for thousands of years. Once it was decided that the plonk would go down well with a curry, they dropped off the Rolls and headed for Dewsbury Railway Station. In West Riding there's a train line with a pub at every station selling a wide variety of local ales. A train related pub crawl ensued which started as an attempt to discern the distinctive qualities of each particular ale and finished as a couple of bumbling middle aged men who had lost their tickets.
The first episode suffered with an introduction to the programme which was too lengthy. Naturally, there has to be a degree of contextualising before getting down to business. However, for a 30 minute programme, surly a simple "Hello its us again, we're off to explore beer in a big Rolls Royce" would have sufficed. It certainly worked for Paul Merton In India. However, such trifling matters aside it was a good watch.
Clarke's pursuit of knowledge made you feel as though you'd watched something improving. While May's unending thirst for unlikely similes and juvenile teasing of Clarke's extravagant bookishness gave the programme a lightness of touch. At no time did I feel as though I was learning anything. even if part of me suspected I was. They even managed to chuck in some sheep in a pub. Anyone fancy a pint?
Oz And James Drink To Britain is on BBC2 every Tuesday at 8pm. Episode 1 is still on the iPlayer.
Some might say the festive season just ended didn't throw up much in the way of televisual treats, but we beg to differ. There were plenty of programmes to please the eye, and to prove it, here's a selection of some of our favourites...
The Peter Serafinowicz Christmas Show
Sketch shows like these tend to divide public opinion in that oft-mentioned way that Marmite does, but we're big fans of Serra and his first series for the BBC in 2007 was on the whole excellent. This festive edition carried on where that series left off with one or two returning characters like Brian 'Bon-bon-bon-bonbon' Butterfield and some new but nonetheless brilliantly executed recurring themes like the ads for 'iToilet' and the 'Mactini'. Like all the best sketch shows, not everything hits the spot outright, but Serafinowicz has a pretty good average and is highly deserving of another series. Can't be long now, can it BBC?
Blackadder Rides Again
At long last, Rowan Atkinson finally agreed to be interviewed about the classic comedy programme he really made his own, and this documentary was all the better for it. UKTV Gold recently did a similar thing for the 25th anniversary of BlackAdder's first appearance on British telly, but this had an edge of credibility to it. Atkinson featured heavily (as well he should) along with the likes of John Lloyd, Ben Elton, Richard Curtis and all the cast, and the feeling you were left with was one of great effort they all put in to maximise the comedy in the show. Locations were visited, costumes were hauled out of the archives and behind the scenes footage was shown to complete a worthy celebration of one of Britain's best loved comedy series. Will it come back? Probably not, and nor should it. As was proved with Only Fools And Horses, some things are best ended while people still have respect for them.
Top Gear Vietnam Special
Messrs. Clarkson, May and Hammond gave us the latest in their international set-pieces, and though the programme had a strange atmosphere to it (largely due to their Asian surroundings), it didn't disappoint. Clarkson trying to ride a motorbike for the first time on severely pot-holed roads, May wearing a wok and a colander on his head as a makeshift crash helmet and Hammond phut-phut-phutting around with a large scale model of a Spanish galleon strapped to the back of his bike were just some of the things that amused throughout. It's just a shame the programme may be affected by budget restraints next year, thereby limiting the amount of times we might see this kind of thing. Let's hope it doesn't come to that, though.
Stanley Baxter: Now & Then
Once upon a time, Stanley Baxter was always on our screens, particularly around Christmas. His lavish shows would parody the great Hollywood movies in the most part and his impersonations of anyone from Greta Garbo to Jimmy Durante were every bit as good anything you'd see from Rory Bremner or Alistair McGowan today. It's somewhat ironic, then, that the expense of creating shows with such high production values proved to be his undoing in the end, but this programme rightly gave us all a chance to look again at those wonderful shows and to hear from the great man himself. Coming out of retirement for this one-off occasion, Baxter gave us an interesting insight into the way his LWT programmes were made and he even recorded some fresh material in the persona of Her Majesty The Queen. Quite impressive he was too, especially for a man aged 82. At a time of the year when everyone's thoughts turn to Morecambe and Wise, ITV should be proud of reminding us that Christmas was also once the terrain of people like Stanley Baxter who were equally as adept at making us laugh.
Shooting Stars: The Inside Story
Another retrospective took Vic and Bob's wonderfully silly panel game as its subject, and it too was celebrating an anniversary - 15 years since it was first broadcast. This documentary didn't take itself quite as seriously as those others we've mentioned, but it did at least give the likes of Paul Whitehouse, Lenny Henry and Johnny Vegas the chance to convey how much they enjoyed taking part in the programme. Not only that, but we also had ample opportunity to look once again at many of the best bits from the show's past including The Dove From Above, George Dawes on drums and Vic Reeves' jokes that always sent the tumbleweed rolling. Good fun and a great laugh throughout.
The Krypton Factor
Yes, the return of what's been billed as 'an old favourite' although we take issue with that a little bit. Though it undeniably had big audiences on ITV once upon a time, we don't remember this being a programme that people would watch avidly and talk about down the pub the next night. They probably watched it in large numbers because the alternative on the BBC was too poor to contemplate. Anyway, back on our screens it most certainly is and injected with 21st Century pizzazz too, but to our mind, that's part of its problem. For a start, the backdrop of the studio is now a ceiling-to-floor video wall displaying a psychedelic array of patterns and imagery that distract throughout, plus there's a new assault course which seems to be twice as complicated as the old one (like it needed to be...) New host Ben Shephard, it can be said, is distinctly lacking in sufficient personality to carry off the 'Gordon Burns' role, there's no sight of the studio audience like there used to be which gives the show a cold feel, and all in all this new Krypton Factor's seems a bit soulless, really. We could be wrong, but we don't think this will run much beyond a second series - or even this series perhaps.
Morecambe & Wise: The Show What Paul Merton Did
Finally, a fine tribute to the aforementioned Eric and Ern. There have been countless previous attempts to show the best bits of their work, to discuss the pros and cons of their routines and private lives, but this found just the right balance while bringing something new to the table. Hosted by Paul Merton, various guests were brought on to have a brief chat about 'Britain's Best Loved Comedy Duo' in-between various pieces of archive footage, but this is where the show excelled. Remarkably, someone had bothered to try and find some rarely seen material which made such a refreshing change as to set it apart from all previous efforts at this kind of programme. With Merton being an obvious fan too, it was a great way to reflect on the joy that Morecambe and Wise brought to many of our lives, and deserves almost as many re-runs as the original shows had themselves.
Small screen on the big screen
9 British Sitcoms That Were Remade For The Cinema
1. Man About The House (1974)
2. Are You Being Served? (1977)
3. George and Mildred (1980)
4. Bless This House (1973)
5. On The Buses (1971)
6. The Likely Lads (1976)
7. Porridge (1979)
8. Dad's Army (1971)
9. Steptoe and Son (1972)
Some People Are On The Telly's second Themologist has become synonymous with sixties popular culture. His ability to compose a catchy melody coupled with his rich arrangements has created some truly unforgettable theme tunes.
Laurie Johnson (right) was born in Hampstead England in 1927. His army career was spent in the Coldstream Guards. During the fifties he spent most of he time in composing for big band (including the Ted Heath Band). After that he moved into film and TV.
Notable film credits include Dr Strangelove, East Of Sudan, It Shouldn't Happen To A Vet and Hot Millions.
His TV credits are a cavalcade of classic themes guaranteed to alert the entire household that their favorite show was about to start. For cult value, probably the most recognised and fondly remembered is the theme to The Avengers (left).
This long running iconic sixties adventure series starred Patrick Macnee with Honour Blackman followed by Diana Rigg then Linda Thorson as his dashing female sidekick. All three of women were probably responsible
for the sexual awakening of many a young boy (and God I know I'm one).
Other classic themes include Las Vegas (the theme to Animal Magic), Jason King, World In Action and Wicker's World.
As memorable as the aforementioned are, probably the most famous is his signature tune for a programme that, while lacking the cult status of some of his other programmes was at its peak, watched by millions upon millions over half a century. This was a show that ran from 1955 and has been broadcast on both BBC and ITV up until 2007. For years, a measure of achievement in life and recognition of success by your peers was either a visit to Buckingham Palace or a visit by Eamon Andrews (right) with his big red book speaking those immortal words: This Is Your Life.
Into the seventies then and honorable mentions should go to Johnson's action packed themes for The New Avengers which was an ill conceived contemporary version of The Avengers. Starring an aging and weary Macnee, the series lacked the zing of its predecessor. Even the fruitsome Joanna Lumley couldn't make up for the presence of Gareth Hunt. Also from the same production company (of which Johnson part owned) was The Professionals, the repeats of which are still a mainstay of the ITV4's daytime schedules. Warning: this tune contains high levels of wah-wah that some listeners may find disturbing.
We'll end our whistle-stop tour with a return to The Avengers and my favourite piece of music by Johnson, the Avengers Tag Scene which was used in the last sequence of pretty much every episode of the final series. This usually involved Tara King (Thorson left) turning up at Steed's flat asking what's so urgent that she should have to be called away from a Saturday evening reading Checkov. At that point the great man would emerge from behind his Swiss Cheese plant with a tray of Boluga caviar and a bottle of Dom Perignon. The languid lounge-core strains of this tune make it abundantly clear what's on the old perve's mind and that is to follow should exist in the imagination only. Take it away Maestro:
It was my complete intention to write a balanced view about the BBC programme Top Gear highlighting its many good and bad points in equal measure. Having given it some thought, I now know I cannot. I like the programme too much.
Yes, both my feet are firmly in the camp of those who can't get enough of the programme which will undoubtedly come as some relief to many of you. For a fair while now, Top Gear seems to have been the target of journalists, TV viewers and ordinary members of the public who like nothing more than to badmouth the show. Well I'm not happy about that, so I feel it's time to stand up and be counted.
The present-day incarnation of Top Gear (and let's not forget it was once a very ordinary magazine programme about motoring) is a most appealing thing indeed. In trying to quantify why, one inevitably finds that it's all things to all men (and women). Not only does Top Gear retain a notable portion of its original remit (i.e. to pass judgement on different models of car), but it's also part comedy show, part chat show and part documentary.
There's also a part which one cannot describe easily. It's the part that features the three presenters - Richard Hammond, James May and Jeremy Clarkson - getting up to all manner of entertaining shenanigans from racing a car against a light aircraft across Europe to playing darts with cars that are shot off the end of a high-powered cannon. So far as I'm aware, there's yet to be a genre created for this kind of material, so far ahead of the game is the programme and its inventiveness.
The programme undoubtedly has a huge following not only in Britain but around the world where the format has already been adjusted for specific national audiences. Yet to think that the only people who watch Top Gear are men aged between 25 and 45 is well wide of the mark. The show is enjoyed by both men and women, be they young, old or somewhere in-between.
But what is it that gets them tuning in week after week? Why is it that even the repeat showings on satellite channel 'Dave' and online via the BBC's iPlayer get such large audience figures?
Undoubtedly it's the humour of the show which is such a big draw for so many. Without that, the show would be nothing more than a gentle walk through the world of motor cars which, though informative in places, would barely register in people's consciences. A motoring equivalent of Antiques Roadshow, if you will.
Yes, the three presenters each have a pleasant and somewhat quirky personality which takes the show so far, but it's their ability to banter with each other and about the cars that are featured that really gives it a special quality. They all have a different style - Clarkson: raucous and surly, May: reserved and dignified, Hammond: enthusiastic and dynamic - yet they can all convert an average piece of dialogue into a funny and memorable one.
To add some ammunition to their comedy, Top Gear relies heavily on a constant flow of new ideas that ensure the car theme is never lost in what many think is just an hour's worth of laddish high-jinks. As well as the regular races between a car and numerous other supposedly superior modes of transport, there have been comparisons between cars and their equivalents in computer games, cars used as players in an outsized game of moto-football and caravans used as conkers in a game of... well, conkers.
Some years back, I wondered how long the programme would last given the likelihood of so many great ideas eventually drying up. One might say the repetition of some of those self same ideas shows we're already at that point, but to be honest even that doesn't seem to impact much on the show's popularity.
That's because Top Gear has such phenomenally high production values - another reason why people love it so much. Even a humble car review is transformed by the beautiful photography, the amazing worldwide locations and the floorless editing. No other programme can match it for sheer professionalism when it's really firing on all cylinders, and that's most of the time in reality.
So how come some people resolutely fail to like it? As anyone capable of picking up a newspaper will know by now, Top Gear can be controversial at times. Whether it's Jeremy Clarkson suggesting that truck drivers murder prostitutes or Clarkson again tearing up the Scottish highlands by driving a 4x4 up a mountain, the programme can be relied upon to hit the headlines on a regular basis.
But let's be honest here - it's not the programme that causes a fuss, it's Jeremy Clarkson himself, and if you haven't worked out what he's like by now, more fool you. He's been on the TV for twenty years and his reputation does now go before him, if you haven't already noticed.
At the risk of over-generalising, Clarkson is merely acting out an exaggerated caricature of himself on Top Gear. His comments and his actions - in fact his whole persona - are that of a television character akin to the likes of Alf Garnett. To be that way is to elevate himself to a higher level of recognition: he's more noticeable, more marketable and as a result is more interesting to watch on TV. Whether or not he needs to be so controversial we must leave for another day.
For now I must sum up the merits of this, one of my most favourite TV programmes. Some say this giant of a show in the BBC2 TV schedules is ill-judged and ill-conceived. Some say it offends more than it educates or entertains. Some even say that it's puerile and immature. All I know is it's called Top Gear, and quite frankly I wouldn't want it any other way.
John Sergeant: Political correspondent, one-time comedian but not ballroom dancer. That much we can discern from the judges of the BBC's Strictly Come Dancing who, along with many other fans of the show, have claimed he no longer deserves to take part in it.
Today, John Sergeant himself agreed and pulled out of the current series, fully aware of the fact that despite his popularity with much of the British public, other more capable celebrity contestants were being denied the chance to progress.
In many ways, Sergeant appears to have done the decent thing. As many of the other celebrities were voted off following high scores from the judges and low votes from the public, Sergeant remained a part of the programme by achieving the exact opposite.
Last Saturday, actress Cherie Lunghi - who has proven to be a more than capable dancer in recent weeks - became the latest contestant to leave the show via a dance-off. Sergeant and his dancing partner Kristina Rihanoff had no such worries - the general public had voted in large enough numbers to ensure he'd take part for at least one more week.
But the mutterings among those who want the dancers to be judged purely on their dancing have become all the more louder in recent weeks. All four of Strictly Come Dancing's judges, Bruno Tonioli, Len Goodman, Craig Revel Horwood and Arlene Philips, have gone on record recently as saying how unfair Sergeant's ongoing participation is, yet for all that they remained powerless to do anything about it. Now Sergeant has walked, thereby resolving the problem at a stroke.
A very noble act on his part and one that will come as some relief to the programme's makers, but the argument remains - should he have walked at all?
Many of his fans think not. Though this is strictly a dancing competition, it's not enough to suggest that only the dancing should be judged. Strictly Come Dancing is a light entertainment programme aired at 6.20 on a Saturday night, and for all the skills of the celebrity dancers, the public tune in fundamentally to be entertained. Judging the celebs' dancing is something the public do not (in the vast majority of cases) have any qualification to do whatsoever.
And that's what gives one the impression that the BBC have shot themselves in the foot again. If it had wanted Strictly Come Dancing to be a dancing competition in the truest sense of the term, they would leave the judging to the judges. They, after all, are the experts and can tell who's dancing like the next Wayne Sleep and who's dancing like... well... John Sergeant.
The BBC could relieve themselves of any need to involve the public at all, but of course there is a reason to do this: to generate income via the phone voting that takes place every week.
It goes without saying that much of the money raised from the phone votes goes towards the Children In Need charity and very welcome they must be for it, but the BBC are no mugs. By charging Joe Public to interact with one of its more popular programmes, they can also pocket a few quid for themselves. Except now that money has been spent on a contestant who, it turns out, will no longer play a part in the show, contrary to what the quantity of votes suggested.
It hurts to say it, but these are no longer innocent times, and yet perhaps a show such as Strictly Come Dancing would have worked much better had it existed in more innocent times. By allowing the judges to have complete control over the way the scores are awarded, no-one could ever complain about the outcome.
And maybe that's the whole point of this. John Sergeant's reputation as a loveable and affable personality will remain intact and the show's future will no doubt be as assured as ever too. But through failing to lay down the exact remit of the program and executing it in a haphazard way, the BBC will surely end up with egg on its own faces.
And would you pay good money to an organisation that's failing to live up to its purpose like that? Too late - in the form of the TV License fee, you already are.
If George Takei sticks around long enough on I'm A Celebrity Get Me Out Of Here he stands to be a household name in the UK. In fact he may end up becoming better known than the character he played for so many years in Star Trek. On the basis of that flimsy premise Some People Are On The Telly dons its ill-fitting Captain Kirk t-shirt and Spock ears to look back on the life and times of a Trek stalwart, Lieutenant Sulu.
Hikaru Sulu first appeared on Star Trek in the second pilot episode Where No Man Has Gone Before. As Physicist Sulu he made his debut at the same time as Scotty and Captain Kirk. Only Spock has been in Star Trek longer, appearing in the first pilot episode with and entirely different crew which was rejected by the commissioning network.
When Star Trek was finally commissioned at the second time of asking, Sulu went from scientist to Helmsman of the Starship Enterprise. Sulu was one of a number of supporting crew members who were regulars throughout the series but didn't do much more than take orders and say "Aye Captain". The Star Trek hierarchy went something like this:
Kirk, Spock and McCoy did most of the talking and all the interesting stuff.
Scotty, Sulu, Uhura and later Chekov plus an assortment of guest stars did some of the talking and most of the work.
The security guards in red shirts did none of the talking and pretty much all of the dying.
So, while Sulu is fondly remembered, this is mostly for what is said to him rather than for what he said. The phrase "Mr Sulu, ahead Warp Factor One" is almost as familiar as Beam Me Up Scotty and enjoys the benefit of actually having been said on the programme unlike the latter expression which, contrary to common belief, never was. Still and all, it's not much of a legacy is it - being famous for taking orders and doing a lot of sitting around? However, the character endured throughout the run of the franchise and beyond. In that time there were some highlights:
In the first season episode The Naked Time, the Enterprise is infected with a virus and the entire crew get drunk with hilarious and deadly consequences. Sulu spends much of the episode charging around the ship's corridors topless with a fencing blade acting like a musketeer. His shining moment is on the Enterprise Bridge as he grabs the buxom Lieutenant Uhura around the waist promising to "protect" her (well you would wouldn't you?) Tragically he is cut short thanks to a Vulcan nerve pinch and a rare one liner from Spock: "Take D'artagnan here to Sickbay."
In The Enemy Within, Sulu is stranded on a planet which is about to get too cold for human life to survive. While Kirk struggles with his mysterious doppleganger while trying to fix the transporter, Sulu is progressively covered in fake ice spray until he is barely visible.
Perhaps his finest 50 minutes was in the classic second season episode Mirror Mirror. Kirk, McCoy, Scotty and Uhura beam aboard the Enterprise from another dimension. The crew are the same but in this universe they are not part of a peaceful benevolent democracy similar to the United States but an evil and brutal imperialist regime similar to the United States. Spock has a beard and is cruel and Sulu is the Machiavellian Head Of Security. Complete with scar across his face, Sulu leches over Uhura and contrives to depose both Spock and Kirk as the two struggle for control of the ship. Takei clearly relishes his chance to be truly evil and delivers with aplomb one of the best lines from the series as he reveals his nefarious plans to Kirk:
Perhaps because of these rare moments, Sulu's character endured through the three seasons of Star Trek and his services were recalled for the follow up series Star Trek Phase II which was ditched in favour of Star Trek: The Motion Picture. The movies allowed the character to develop. In Star Trek IV: The Voyage Home we learned that he was both in San Francisco and the Star Trek VI: The Undiscovered Country he finally took command of his own ship, the USS Excelsior. It was in that film as Captain Sulu, he dressed down a young ensign played by Christian Slater (then at the peak of his powers) who'd dropped in for a quick cameo. Years later, Takei would reprise his role in the Star Trek: Voyager episode Flashback which retold some of the events in Star Trek VI.
For a while, there was talk of a whole series chronicling Sulu's adventures on the Excelsior. A few audio plays were released but it never really amounted to anything. However, Mr Sulu is steeped in Star Trek lore and his inclusion on I'm A Celebrity is a smart move for both Takei and ITV. Star Trek remains hugely popular as evidenced by its constant repeats here in the UK. By all accounts he is a smashing bloke and his infectious laugh is legendary. More importantly, his presence will probably have his many followers rushing to the phones when it comes to the public vote.
Some People Are On The Telly doesn't usually do reality TV that much but is prepared to make an exception in this instance. We'll be tweeting matters IACGMOOH on our Twitter stream @spaott. The show is on Twitter too so why not join us there?
Some People Are On The Telly watched Argumental on Dave last night. This is what it thought.
At a time where commercial television is getting crunched by Colonel Credit's mighty jack-boot its encouraging to see UKTV commissioning their own programmes. The network which has made a business out of repeating other channels TV shows is now making its way into the murky and treacherous waters of original TV.
The network's recent rebrand begun with Dave. The cross-channel makeover is nearly finished with only the factual and documentary stations awaiting the inevitable name change to or Plants or Trainspotting or something equally cerebral.
Dave was originally UKTV G2, a comedy repeat channel. Since adopting a blokes name it has continued to moved more into lifestyle and panel game-shows plus sport. Latterly its has become bolder with its commissioning. The channels' relaunch has been a success and has seen its audience share increase while some of their rival's is shrinking. Furthermore, as a Freeview channel its profile will grow as Digital Switchover continues. Consequently, Dave is UKTV's flagship free to air channel and it appears, has been given the programming budget to match.
The World Rally Championship's home in the UK is now on Dave with an hour long highlights programme (they even have their own mics with Dave written on them and everything). Other commissions include Batteries Not Included, a gadget programme hosted by John Cleese (apparently). Most interestingly (for us at least) however has been the launched of the comedy panel game show Argumental.
The programme essentially mixes stand-up, with game show with topical debate. Its a kind of Live at The Apollo marries Mock The Week with Have I Got News For You as its bit on the side. Its very Dave.
Former political correspondent and dancing judge botherer John Sergeant is your host. The two team captains stand up comics, Rufus Hound and Marcus Brigstocke, are joined by esteemed contemporaries as guests. Sergeant sets the debate going with a topical statement and the comics take turn in amusing the studio audience by arguing for or against the position. At the end of each round, the audience decide which team was the funnier and vote accordingly. The winner at the end of the show is... well you get the idea.
The result is funny. This Monday, the guests were Johnny Vegas and Robin Ince. The audience were treated to improvised routines from experienced comics based on such topics as Binge Drinking Is Not A Bad Thing, You Can't Beat A British Beach Holiday and Boris Johnson Is As Daft As He Looks. The comics got into the spirit of things, worked well off of each other and the little side argumants while, at times, a bit laboured yielded some decent gags. You even got to learn what the expression Daft As A Brush meant.
On the downside Argumental is not at all groundbreaking. Its produced by Tiger Aspect who are old hands at this sort of thing. The format looks more like a single round of Mock The Week stretched out to a twenty minute show and Sergeant's links are a bit ho-hum (although there is nothing wrong with the delivery). Basically its nothing new but then again, its on Dave and lets face it, there is not supposed to be anything new on Dave. Thats the point of the channel.
Argumental's strength is its familiarity, both to the audience and the participants. Everyone seems comfortable with the format and knows what they are doing. Consequently, its hit the ground running and will not need a whole series to find its feet. This is just as well since it will be expected to deliver a high audience share right from the off. Multichannel commissions are rare enough in today's climate and its doubtful that the show won't be given a second chance. Fingers crossed it won't need one.
Argumental is on Dave every Monday. More details are available the official website.
Countdown is such a curious televisual beast, isn't it? The longest running show on Channel 4, nay - the first show on Channel 4, it remains an incredibly popular programme among a sizeable cross-section of the British public.
Unsurprisingly for a show that's been on air for 26 years, Countdown is now woven into the fabric of popular culture, lauded, derided, lampooned and respected as it is. For such an innocent and unassuming programme, how on earth has it managed to live so long?
Maybe it's the show's undeniable simplicity. A series of rounds where two contestants have to make the longest word they can with nine randomly drawn letters is about as straight-forward as it gets. There is of course a 'number round' every once in a while to break up the monotony, plus the conundrum at the end (essentially an anagram that has to be deciphered) but that's really it as far as the quiz element is concerned.
All well and good, but that alone can't be the sole reason for Countdown's popularity. Perhaps it can also be attributed to the resident personnel who provide a cosy sense of continuity to every show.
First of all, there's Des O'Connor - variety performer, singer, comic and butt of Eric Morecambe's jokes. With all the showbiz experience you'd expect of a 76-year-old, he very capably provides smooth and polished linkage throughout the programme and brings an infectious sense of contentment to proceedings.
Then there's Carol Vorderman. Once part of the team of five that featured on Countdown during its infancy, she now shares the presenting duties with Des and has become a TV personality in her own right. As everyone knows by now, she's not just a brainless dolly bird (see 'The Price Is Right', 'Play Your Cards Right' and others for evidence of the genre) - far from it. Carol's main function on the programme is to provide speedy solutions to the show's often difficult mathematical puzzles which, if nothing else, has enabled her to launch a whole range of books, DVDs and computer games.
Finally, there's Susie Dent, resident lexicographer and Queen of Dictionary Corner. Her job is to excel with words in much the same way as Vorderman does with numbers. Though more timid and demure in character than the others, Dent nevertheless carries out her duties with a similarly admirable sense of competency.
Between the three of them, O'Connor, Vorderman and Dent form a tenacious triumvirate, but to add a further element of spice, there's always a guest celebrity to keep Dent company in Dictionary Corner over the course of any given week. With a single opportunity to regale the audience with a well-chosen anecdote half-way through every programme, the choice of celebrity can be key to adding to the show's appeal.
From comedians to politicians, from actors to sports stars, few of the guests in Dictionary Corner fail to disappoint with their stories that provide a happy contrast to the serious business of puzzle-solving. Even Susie Dent herself now has a five-minute slot in which she discusses the origins of words or phrases in the English language that inform and educate in equal measures.
As for the contestants, you'll find people of all ages and backgrounds from 8-year-old children to clergymen in their 70's. Many of them go on to become champions in their own right and one never ceases to be amazed by their tenacity and intelligence.
So the concept is simple, the presenters are professional, the celebrities are entertaining and the contestants are inspiring. What's not to like?
Some may criticise the cheapness of the show - that is to say there's little in the way of glitz or glamour to please the eye. Certainly there are no round-the-world holidays or vast fortunes to be won, but they'd be surplus to requirements anyway. This is a daytime quiz show appealing to people who like to stimulate their brain cells, not be sent into a zen-like trance by the latest talent show or reality TV epic.
Put simply, Countdown is a valuable stalwart of British television that deserves to exist because of its charm and humility. How long it continues to exist beyond the end of the year, however, is open to some debate. As has been well publicised, Des O'Connor is leaving the show to pursue further musical and performing projects while Carol Vorderman is leaving out of protest at the 90% pay cut she was asked to take.
This latter point has created much furore among many of the celebrities to have appeared on Countdown in the past. Esther Rantzen and Rick Wakeman were just two of the personalities to leap to Vorderman's defence by suggesting that Channel 4 have made a mistake in dismissing the presenter.
Putting aside the subject of whether she deserves to be paid an estimated salary of £900,000, one has to wonder how enjoyable the show will be without Vorderman along with O'Connor and many of its regular guest celebrities when it appears on our screens in 2009.
Some will be quick to point out that Countdown's popularity remained largely intact after the death of Richard Whiteley (the show's original host) three years ago, but this is potentially much more damaging. I suspect Countdown will survive for a lot longer yet, but there's no doubt it will lose many of its fans as a result.
Weakened as it may be, this long-running and much-loved programme is sure to go on for one good reason. In a world going ever so slightly mad, it offers that most precious of things - refuge for the weary viewer thanks to the good, clean, harmless fun it provides. Unfashionable as it may be, there's still a place for it on British TV which is exactly why it should be treasured and loved for as long as is humanly possible.
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