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A Piece of PIAS

Published 15th March 2026

Computing / Internet / Videogames

I don’t let the old Acorn/RISC OS fanboy in me out very much any more. At least, not in polite company. But I have to admit, when reading a blog post recently from somebody around my age1, which was complaining about how unsafe they felt buying computers from the US due to the Trump administration, a little voice popped into my head, unbidden.

“YOU HAD THE CHANCE TO BUY BRITISH IN THE 90S AND YOU DIDN’T, IT’S TOO LATE NOW!”

Ahem. Slightly unfair, of course – Acorn’s machines had plenty of US involvement, not least with partners like VLSI – but I still think there’s a reasonable point there when it comes to the software stack. And anyway, being slightly unfair is the whole point of being a fanboy.

Still, I should dial this rather unpleasant part of me back to something useful. So let’s travel a little further back in time to my BBC Master days. Specifically the release Play It Again Sam 6.

Play It Again Sam 6 advert

Play It Again Sam 6 advert, from the January 1989 issue of Acorn User

Play It Again Sam was that magic thing: a win for both company and consumer. Take four old games Superior Software had the rights to, package them up with minimal effort, charge the same amount as a single game would, and watch the money flow in. Crucially, if you already had two of the games, the releases were still a bargain. The 8-bit incarnation ended up running for 18 installments between and 1987 and 19932, and sometimes there was even a brand new game included.

So given that value for money, along with loving my BBC Master more than life itself, I owned every single release, yes? In fact, no. I think Play It Again Sam 6 was the only one I owned. And while I had a “healthy” collection of pirate games – including some games which appeared on various Play It Again Sam releases – I certainly didn’t own every game featured on them, legally or otherwise. Nowhere near.

I think maybe this is something that’s easy for us to forget as adults. (Or at least, the kind of adults who read this site.) Recently, I’ve been on a bit of a Jayne Mansfield kick, and have been tracking down as many films of hers as I can reasonably watch. This means obvious fare like The Girl Can’t Help It, through to less obvious films like The Challenge, and onto true obscurities like The Fat Spy.3 This has involved ordering some truly odd DVD releases. As my friend Darrell said: “When you’re onto the Spanish bootleg DVDs you know you’re in deep.”

But as a kid, I didn’t have the resources to do this kind of collecting. And no matter how much I might love any given thing, the very idea of owning every single release of something was just incomprehensible.4 Not only would I never own every single Play It Again Sam compilation, but of course I would never own every single Play It Again Sam compilation.

After all, I was never going to own every single Donald Duck VHS release either. I’d just wear out the single one I had.

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  1. Deliberately left unlinked, I ain’t interested in a fight. ↩

  2. Plenty of websites claim that Play It Again Sam 18 was released in 1992, but I don’t believe this is the case. The issue is blurred by the fact that Superior essentially stopped advertising its 8-bit range in the Acorn magazines the start of 1993; but until then, the latest compliation they were pushing was 17. Given that, the 1993 date feels most likely.

    There was also a Play It Again Sam 19 released in 1997, released by ProAction, but this is distinct from the original Superior Software compilations, in my opinion. ↩

  3. The Fat Spy currently holds the record for the worst film I have ever seen. ↩

  4. The closest I ever came was Blue Peter annuals, and a) you could get them cheaply at boot sales, and b) that was as much pushed by my parents as much as anything else. ↩

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Here’s the Thing:

Published 27th February 2026

Computing / Internet

Seth Godin, “Freelancer empathy”:

“When phone cameras got good enough, portrait photographers scolded people who took their own headshots.

And when the Mac got pretty good at typesetting, professional designers pointed out that people who can’t tell a font from a typeface and don’t care about kerning should avoid it.

Professional translators bring humanity and insight to transforming writing from one language to another, but many people continue to use Google Translate…

Here’s the thing: the translators take their own headshots. Web designers often use translation software. And life coaches build their own websites with Squarespace and put their own selfies on Linkedin. We all make our own decisions, and most of the time, we use tech to do it ourselves.”

Greg Storey has an issue with the above – not the message, but the writing itself:

“What happens when a prolific author integrates AI into their work so much that it turns up wholesale in their writing? Seth Godin – said prolific author – recently posted an argument for hiring freelancers instead of using technology on his blog. While I agree with his message I paused when I began the fourth paragraph which starts with a telltale sign of AI writing.

Here’s the thing: nobody writes like this, only the robots. Now, I’m sure there are folks out there who do but it is now so prevalent that it stands out like a statement on a back of a consumer product: Made by AI.”

In other words: using the phrase “Here’s the thing:” makes your product look like the output of AI.

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“A Failed Dancer”

Published 18th February 2026

TV Comedy

MARY RICHARDS: I think you had a dream. You dreamed that you started from nowhere, and you made it all the way to the top. Became rich, successful in every way, loved… and recently, you’ve begun to become aware that time is slipping away, and your life has turned out a little differently from the dream. In fact, compared to the dream, you think your life isn’t all that terrific. And it’s begun to bother you.

TED BAXTER: That’s amazing, Mary. How did you know that was my problem?

MARY RICHARDS: Ted, that’s everybody’s problem. I had a dream once. I dreamed of becoming a ballerina. Took so many classes, I practiced so hard. In the hopes one day I’d dance with the finest ballet company, and I’d win the cheers of audiences all over the world.

TED BAXTER: So you wanted to be a real famous dancer. And you wound up as the producer of a local news show.

MARY RICHARDS: That’s right.

TED BAXTER: Boy, you really blew it.

– The Mary Tyler Moore Show, “Hail the Conquering Gordy”,
CBS TX: 5th February 1977

“I think I’ll always consider myself a failed dancer, not a successful actress.”

– Mary Tyler Moore, The Los Angeles Times, 20th December 1981

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An Utterly Worthless Experience

Published 13th February 2026

TV Comedy

I have to be honest: I’ve been feeling a little guilty over the past couple of weeks. When I fell in love with The Dick Van Dyke Show, I wrote something which tried to explain at least some of what I loved about it. With The Mary Tyler Moore Show, I leapt straight into stupid production minutiae. I feel like I’ve given poor Mary a bit of a bad rap.

So let’s try to redress things a little. I want to talk about one of my very favourite scenes in the show. No, it’s not from “Chuckles Bites the Dust”, which is clearly an amazing episode, but has been talked about far too much by this point. Instead, it’s the closing scene from “Mary and the Sexagenarian”, first broadcast by CBS on the 12th February 1977, and written by Glen and Les Charles.

The whole episode up to this point has been about the trials and tribulations of Mary dating a man 30 years older than her, a topic which could have been potentially queasy, but is dealt with in the show’s typical sensitive fashion. And then we get the final scene of the show. What have we learnt today?

And instead of answering that question, Mary Tyler Moore expertly skewers TV’s propensity for giving life lessons and issuing moral guidance.

LOU GRANT: You take two very different people. Different backgrounds.
MARY RICHARDS: Different outlooks.
LOU GRANT: Right, right. One more than 30 years older than the other. You bring them together. With all the odds against it. Even though the whole world ridicules it. It can still turn out to be… an utterly worthless experience.
MARY RICHARDS: Thank you.

There are so many reasons why I love this. Firstly, it was slightly surprising even to me to find a US sitcom from 1977 be quite so relentlessly cynical. This feels more like a gag from The Simpsons than anything else. Sorry Simpsons, Mary Tyler Moore already did it.1

Secondly, I adore Mary Tyler Moore’s performance in this scene. True, it’s a scene which is more about selling an abstract idea than an emotional beat. But the actors have to make that idea work within an emotional context, and they do a magnificent job. Mary looks so revolted and defeated as she leaves the office, and she never gets enough credit for just how good she is at those kind of scenes. The very opposite of “turning the world on with her smile”.

We dumb down Mary Tyler Moore into being merely a bright, smiling, all-American gal at our peril. When needed, she brought as much edge to that show as anyone.

But thirdly, and perhaps most importantly: the scene is a reminder to me that I truly love comedy with what I like to call “an evil, beating heart”. I sometimes worry that people misinterpret what I mean by this; that I’m specifically referring to, say, racist or homophobic gags, or at least material which goes into those kinds of areas. But that’s not what I mean at all.

Instead, it’s something a little more subtle: that I enjoy comedy which does not always have a pleasant meaning behind it. Here, it’s the idea that we can all go through painful experiences, and there truly is no real lesson we can learn from them. The pain has been for nothing.

It reminds me very much of one of my favourite jokes from Some Mothers Do ‘Ave ‘Em:

FRANK SPENCER: As my mother used to say – a trouble shared, is a trouble doubled.

A joke which, as friend of the site Mike Scott pointed out, is amusing because of the rhyming trouble/double; it just sounds funny. But what I love most about it is that it talks about a real truth which we would all prefer to ignore. Of course we should talk about our problems… and of course that has a bad side too. By sharing a problem, you literally are giving a piece of it to someone else.

And that’s life. Some troubles just have to be doubled. And sometimes, a relationship you had was an entire waste of time, and there’s nothing positive you can take from it. Sucks to be you.

But maybe comedy like this does have a message after all. It sucks to be all of us.

With thanks to Tanya Jones.

  1. The James L. Brooks connection is not lost on me. ↩

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A Programming Note

Published 1st February 2026

Film / Meta

It may not have escaped your attention that this year, Dirty Feed is taking a slightly different tack to normal. Yes, I’m currently on a Mary Tyler Moore kick. And if you think writing about programmes which were never that successful in the UK is a bad idea, just wait until I get onto Mary’s variety shows, which as far as I can tell were never even broadcast in the UK.

I’m doing this for a few reasons. Firstly, yes, I’ve completely fallen in love with Mary’s work. (Seriously, get a Region 1 player, the complete boxset of The Mary Tyler Moore Show, and knock yourself out.) Secondly, I’ve been getting a bit itchy about writing about the same things over and over again. Fawlty Towers and The Young Ones are amazing, but there is a limit to how much I can write about those shows without them becoming tedious. I’ve already ruined Red Dwarf for myself. I don’t want to ruin any of my other favourite things.

Oh, and thirdly, I need to make sure this site isn’t purely writing about BBC shows. I got a new job in December last year which makes this a really good idea. You can join the dots there for yourself.

Anyway, while I fool around with things like this, there’s something else I’ve started recently which I’ve found thoroughly enjoyable. I’ve finally got myself a Letterboxd account, and have been logging – and mostly reviewing – every film I’ve watched so far this year. That’s a total of eighteen films in January, and represents a side of my viewing habits which I don’t really talk about very much on here.

I have to say – years late – I really have fallen in love with Letterboxd. As someone who has mainly grown to despise social media, I’m having a ludicrous amount of fun with it. Most social media is filled with people who will punish you for not covering every single possible thing in any given post. And while I love writing Dirty Feed, my pieces on here these days have grown so complex, that it really can feel like work.

Letterboxd allows me to write random thoughts on what I’ve just watched, without feeling like any given review of a film has to be “complete”. The result is something where I can just take five minutes to write up some vague ideas, without it being in any way stressful. It’s the kind of thing which makes you fall in love with writing all over again.

Perhaps my favourite little piece I’ve written over there so far this year has been on Frank Tashlin’s brilliant The Girl Can’t Help It:

“Of COURSE the thing everyone talks about with Tashlin is how is animation background is obvious in his live action films. This is true. But it goes well beyond sight gags like melting ice, cracked glasses, and overflowing milk bottles. Note how the actors here not only strike very obvious, fixed poses, reminiscent of Warners animation, but how *quickly* those actors move from one pose to another. Jayne Mansfield putting her head in her hands is this film at its most animated.

The lesson everyone should learn from films like this is that to make great comedy doesn’t mean dialling everything down to nothing. You can do your big gestures, your stupid jokes, your heightened acting. You just need to make sure all of those things are hanging off real people in situations which mean something. It’s a lesson which is obvious with every frame of The Girl Can’t Help It, and yet so many simply don’t get it. It’s just a shame that too many of those people keep making comedies.”

And yes, I’m currently on a Jayne Mansfield binge. Which is a difficult thing to do these days, with most of her films being slightly less available than you’d think, especially in the UK. It’s things like this which make me fantasise about setting up a boutique Blu-ray label. And losing hundreds of thousands of pounds doing so.

So there we have it. Less nonsense about The Young Ones, more nonsense on The Mary Tyler Moore Hour and The Las Vegas Hillbillys. That may not feel like a win to many of you. But it will probably stop me going slightly mad, at least.

We’ve Put It All Together

Published 30th January 2026

TV Comedy

The great thing about YouTube is that it’s full of unusual clips of TV programmes which used to be difficult or impossible to see any other way. The less great thing about YouTube: often, these clips are given little or no context.

With that in mind: what exactly is the following, ostensibly from The Mary Tyler Moore Show?

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The Mary Tyler Moore Show: Prod. #7001

Published 21st January 2026

TV Comedy

The problem with coming of age as an archive TV nerd through Red Dwarf DVDs is that you get thoroughly spoilt. You expect every single sitcom release to feature a copious selection of deleted scenes. Sometimes you hit lucky; the Seinfeld releases are absolutely incredible. But for older shows, you’re pretty much always going to be disappointed.

Luckily, we know how to make our own fun around here. Last time, we saw how the script for the first episode of The Mary Tyler Moore Show pointed towards a reshoot of a key scene. And in that script, there’s a fair amount of material from other scenes which was removed before the show was broadcast.

Audience ticket for the first episode of the Mary Tyler Moore Show

Let’s investigate. I haven’t noted every single minor change in dialogue phrasing, as that would be immensely tedious, but all significant differences are noted. Times given are from the Region 1 DVD release of the show.1

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  1. The DVDs of The Mary Tyler Moore Show contain the original broadcast versions of the programme – albeit with the odd edit – not the cut syndicated versions. So this article is definitely about material which was never broadcast. ↩

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“Aunt Rhoda’s Really a Lot of Fun”

Published 18th January 2026

TV Comedy

In 2025, I watched all of The Dick Van Dyke Show (1961-65) and its spiritual successor The Mary Tyler Moore Show (1970-77), with a chaser of Rhoda (1974-78). That’s such a concentrated burst of greatness that I feel like anything I watch this year will be a disappointment.

So while I scrabble around for something to replace the giant hole in my life – and no, spin-off Phyllis (1975-77) doesn’t quite cut it – I can at least throw myself into the usual behind-the-scenes books and documentaries. Very quickly, you learn all the standard tales which have come up over the years. And with The Mary Tyler Moore Show, one tale looms above all: the disastrous preliminary filming of the opening episode, three days before the real one.

This is probably most succinctly expressed in the book Mary and Lou and Rhoda and Ted (Simon & Schuster, 2013):

“The day of The Mary Tyler Moore Show’s first chance to perform in front of a studio audience began with news of a bomb threat on the lot… The threat was determined to be unfounded, and audience members were herded in. But the folks in the stands couldn’t see the actors over the cameras, which were twice as bulky as the standard kind, so they were forced to try to catch the action on small monitors instead. The air-conditioning broke down, so the two-hundred-member audience and the actors were left to swelter in 90-degree July temperatures while watching a practice run of a series already being promoted to viewers as if it were a done deal. The microphones didn’t work properly.”

The problems continue from there. At times, the stories about this recording take on an almost absurd tinge; everything that could have gone wrong, seemingly did. Showrunners James L. Brooks and Allan Burns did a dreadful job with the warm-up; the actors weren’t quite ready; the director hadn’t had enough time with the camera crew… the excuses just keep piling up. The dodgy aircon and sound system would surely be enough to kill a recording, let alone anything else.

And then there was Rhoda, a character which seemingly made a few people nervous. To be fair, she is set up initially as an antagonist to Mary, and spends the entire episode trying to nab her apartment. But also: never underestimate some people’s unpleasant reactions to a gobby Jewish woman.

Either way, she certainly didn’t test well with the studio audience that particular night. What to do? Back to Mary and Lou and Rhoda and Ted:

“Script supervisor Marge Mullen, who’d held the same job at The Dick Van Dyke Show, stopped by the producers’ office. She had an idea – maybe not the biggest one, but it was something. “People don’t seem to like Rhoda,” they remember her saying. “There’s this little girl who’s Phyllis’s daughter, and if the little girl likes Rhoda, it’ll give the audience the opportunity to love her, too.”

It was the only substantive idea for an improvement Brooks and Burns had heard all evening. They decided to take Mullen’s suggestion, cut a few other lines, and call it a night, putting their faith in what they’d written and the cast they’d hired. Many things had gone wrong with that first taping, but the words and the talent, they believed, were there.”

Come the second recording, three days later?

“The only major change to the script was pigtailed twelve-year-old Lisa Gerritsen as Phyllis’s daughter, Bess, saying, “Aunt Rhoda’s really a lot of fun,” as Mary opened the curtains in her new apartment to see a harried Rhoda on her balcony in the opening scene. Gerritsen was the granddaughter of child actor and later screenwriter True Eames Boardman, as well as the great-granddaughter of silent film actors, but she had now made her own showbiz history.

This time, the audience roared. Gerritsen’s new line seemed to indeed be the magic bullet.”

Unlike all the other problems with the first recording, which was a smorgasbord of failure, this at least is a nice, neat anecdote. One single line changed how the audience felt about Rhoda, Marge Mullen and Lisa Gerritsen save the day, job done.

The problem is, it’s not quite the full story.

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Everything That You Need to Know

Published 1st January 2026

TV Comedy

Something unexpected has happened with The Peter Serafinowicz Show over the years.

For a programme which had just eight episodes, one of which was a Best Of, and which has never been repeated by the BBC1, the show has become a fixed reference point for certain strata of comedy fans. When I first watched it back in 2007, I rather liked it, with a few reservations. In 2025, it lives rent free in my head. If you think people endlessly quoting Python are annoying, just wait until I do my Ringo Remembers. “I just thought it was inappropriate. Especially at Christmastime.“

But of all the characters in the show, the one with the longest life has turned out to be inept businessman Brian Butterfield. A character inspired by this ludicrous advert, but which became something stranger and wilder almost immediately. A character which ended up going on tour fifteen years after the series was first broadcast, with all the associated paraphernalia. Who would have predicted that back in 2007?

All of which means it’s high time I wrote something interesting about it. So let’s take the second episode of the show, broadcast on the 11th October 2007, and one of the most well-remembered sketches of the lot: the Butterfield Detective Agency.

Of all the incredible moments in that sketch, my favourite might be Peter’s eye-flick upwards on “Australian”, as though Brian has just begun to realise he might have got it wrong.

But if you know this site well enough, you can probably guess where I’m about to go. What about the fabulously inappropriate music for the sketch, trying desperately to give a sense of showbiz that Brian Butterfield is incapable of providing? Well, it probably won’t surprise you to learn that it’s a library track: “Theatre Land”, credited to David Arnold2 and Paul Hart, and first released in 1991 by Carlin on the album TV/Radio/Showbiz/Logos (CAR 188).

Specifically, it’s three different versions of “Theatre Land” bunged together. All three are included below.3 I shall leave where the edit points between them are in the original sketch as an exercise for the reader.

So, job done, yes?

Not quite.

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  1. Aside from the Christmas Special, which had a repeat a couple of days later in a different edit. I’ll write about that one day. ↩

  2. Ah, the everlasting confusion with there being two British composers called David Arnold. One scored multiple James Bond films. The other did the themes for The Big Breakfast and Live & Kicking. We are dealing with the latter. ↩

  3. There are nine versions of “Theatre Land” in total on the album. ↩

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