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John’ll Fix It

Other TV

You may wonder why I have spent some time recently watching videos of Jimmy Savile on YouTube. This is a very good question, and one that I am unable to fully answer. I guess this is what happens when I get fed up of new Star Trek and get desperate for something to watch.

Nonetheless, here is yer evil bastard himself, on BBC2’s Open to Question in the 80s, being interrogated by a bunch of high school kids. Warning: video contains Jimmy Savile.

If you don’t want to watch the above – which is perfectly understandable – the below hilarious video condenses it down to three minutes. And while it’s clearly made partially for comedy purposes, it does accurately represent much of the content and feeling of the full interview:

Anyway, our question for today: when exactly was this interview broadcast?

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“It doesn’t rain in TV studios!”

Other TV

It’s odd, how some shows fade from the common memory.

Take How Do They Do That?, a magazine show which aired on BBC1 between 1994-97. You do not require a long explanation of what the point of the show was: the format of the programme is contained entirely within its title. Just ask that question a few hundred times per episode, give some answers, and you have yourself a television programme.

These days, the show mainly known for two things. Among TV presentation fans, it’s known for this behind-the-scenes look at the making of the BBC2 idents. And among Red Dwarf fans, it’s known for this behind-the-scenes look at the model effects for Series VII. And that’s pretty much your lot.

But I have one very, very strong memory of the show. Something which stuck with me for 25 years. The other day, I decided to see if anybody had uploaded it anywhere, not expecting to be rewarded. And blow me down, somebody else had remembered it too.

Here’s the day – the 24th January 1996, although the explanation part of the clip comes from the following week – when the How Do They Do That? studio was flooded.

Usually, when writing about my TV memories, I make an effort to note down what I remember about a show before watching the resulting video. This time, however, I was caught off-guard. I never really expected it to be online, let alone to find it so easily. So my memories of watching this stunt in 1996 are now thoroughly blended with me watching the video in 2021, and they’re difficult to disentangle.

But there is one moment I 100%, absolutely do remember. And that’s the point 36 seconds in, where we cut from studio VT to film.1 It blew my mind when I first watched it, aged 14. It still fairly blows my mind now. Suddenly, with that one shot change, we see the barriers between different kinds of television breaking down. Magazine shows just aren’t supposed to turn into films on a whim. But this one had. I couldn’t quite believe what I was seeing.

I’ve always had a love for television which send genres crashing into each other. Red Dwarf is a sitcom crossed with science fiction. Ghostwatch is a drama, done as a live documentary. And here is a normal magazine show, crossed with a disaster movie. There’s nothing that is more designed to send my brain flying off in weird directions than that. It’s exactly the kind of TV that I adore. The fact they actually then went behind-the-scenes in order to tell us how it all worked was the icing on the cake, but that wasn’t the thing I truly loved about the sequence. I loved the initial genre-bending, legitimately odd piece of television.

Wide shot of studio
Flooded studio


And this is exactly the kind of thing which TV finds it difficult to do in 2021. No evening magazine show on BBC One is going to have the money to go off to Pinewood Studios and shoot a sequence like this in their water tank. With a few honourable exceptions such as The One Show, evening magazine shows are an endangered species full stop these days, let alone anything else. The budget for television to go out and do spectacular, stupid things like this just isn’t there any more, at least for this kind of show.

Which makes me sad. Because this is one reason why I loved the kind of TV that was around when I was 14. Not because I was 14. Not because of rose-tinted spectacles. But because truly odd, spectacular things like this could happen on a Wednesday evening on BBC1.

And I miss it.

With thanks to KillianM2 for the original YouTube upload. Their YouTube channel has loads of great stuff, that you could – and should – get lost for hours in.


  1. Sadly a little obscured by the upload, as the VT sequence has been folded down to half the temporal resolution it would have had on broadcast. But you still get some of the effect. 

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New York by Design

Film / Other TV

Khoi Vinh, “Movies Watched, 2017”, January 2018:

“That beats my 2016 total by five and averages out to just under sixteen a month, a pace I credit to my continued adherence to a largely television-free diet. I’m going into my third year doing this now and I don’t miss TV much at all, especially as eschewing it has afforded me the time to watch and re-watch so many great or obscure or fondly remembered movies that I’d never be able to otherwise. Television is a waste of time, people.”

Khoi Vinh, “New York Design and Me on Television”, December 2020:

“Two things that you don’t normally see on television very often are now on television: design and yours truly. The new series “New York by Design” (which follows last summer’s “California by Design“) is five episodes of stories about all kinds of design innovation: architecture, industrial design, consumer products, electronics, software and UX, and more. As it happens, I appear on the show as a presenter and a judge […]

The show airs Saturday evenings on CBS Channel 2 New York and the full season will stream on Amazon Prime next February.”

I don’t know, sounds like a waste of time to me.

The Spelling Machine

Other TV

Earlier this year, I wrote about how I traced down an early childhood TV memory. It seems to be quite the year for it, because blow me down, somebody’s helped me track down another one. And today’s story involves a certain Paul Daniels.

Not his famous Halloween stunt from 1987, which I have precisely zero memory of, and almost certainly never saw. (That’s the kind of thing which makes you feel cheated of a really good TV memory. Luckily, I fully remember Ghostwatch, five years later.) No, my memory of Paul Daniels is rather more low-key.

Although, like many of my early TV memories, it involves an explosion.

*   *   *

It’s around 1990, and I’m about nine years old. Could be a couple of years earlier or later. Paul Daniels is doing a card trick on the telly, as he is wont to do. But this is a slightly unusual card trick. Some kind of strange machine is spitting out cards at Paul. What is he doing – guessing which cards will come out? I can’t quite remember.

But something wrong. The machine keeps spitting out cards faster and faster. Paul is concerned, and tries to stop it. But it’s to no avail. The machine explodes, leaving Paul with a cartoon-like blackened face. He looks straight to camera, with a look of resignation, and throws the remaining cards away. End of routine.

I’m intrigued… and mildly disturbed. Electric things going wrong are already a slight fascination with me. I remember nothing of the rest of the show, but this one moment is seared into my memory. And I never saw it again.

*   *   *

Well, until now.

This is one of those memories where I made a few half-hearted searches over the years, but never made any serious effort. (There is a lot of Paul Daniels on YouTube.) I occasionally mentioned it, but had kind of resigned myself to never seeing it again.

Until I idly mentioned all this on Twitter… and hello, Timothy Roger Talbot came up with the goods. Here it is, from the very opening of the episode:

There are clearly many things I didn’t remember, or remembered wrongly – I’d even forgotten about the fundamental conceit of a “spelling machine”. But it came flooding back as soon as I watched it; this is definitely the programme in question. I got a Proustian rush when the cards came flying manically out of the machine, and when Daniels blows the flames out; images I couldn’t quite dredge from my head until now, but were clearly buried deep within my skull.

As for the routine itself, I’m the world’s worst person at figuring out magic tricks. From my exceedingly untrained eye, presumably the following is happening:

  • The cards Paul puts in the machine at the top are nothing to do with the rest of the trick, and are never seen again.
  • The dial at the front is pure misdirection, and also does nothing.
  • The pure power of suggestion gets the required words out of the audience member. The obvious rhyme for bow is “cow”, and the obvious rhyme for mouse is “house”.

It’s a fun piece of television, and certainly the kind of thing you don’t get much of on BBC One any more, unfortunately. Though let me extremely clear: the reason this particular routine stuck in my head is because it was something electrical which exploded, which I found faintly unnerving.

So, the final question: when exactly was this broadcast, and how old was I? The video says the show is from 1988, and luckily, BBC Genome made it very easy to track down the exact episode, as luckily it specifically mentions the spelling machine. Unfortunately, The Paul Daniels Show routinely got a repeat on BBC2 – which is, incidentally, where the video above comes from. So I either saw it on its original BBC1 showing on the 30th January 1988, or the BBC2 repeat on the 11th August 1988. Both these showings are earlier than I thought; I would have been aged 6 on the first showing, and 7 on the repeat. I’m slightly amazed that the memory still lingers.

I’m not going to end this post with “now that’s magic”, because I simply have too much respect for you.

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Soapy Tits

Other TV

I’ve written before about vivid TV memories of mine that nobody else seems to remember. Here’s another one.

It’s The Big Breakfast, during the Rick Adams era. So this must have been in ’96 or ’97, when I was aged 15 or 16. (This is important for reasons which will soon become apparent.) It’s coming up to the end of the news, and the silly “and finally” item. What will we get? A duck on a skateboard? A dog on a skateboard? Any kind of animal on a skateboard, in fact?

Erm, no. My eyes widen, as we cut to footage of… a topless car wash. The details escape me. But it’s a car wash, and the girls are topless. Soapy boobs and everything. If I recall, they were pressed up against the windows at one point, as we looked on from inside the car. But one thing was for sure: this really, really shouldn’t be being broadcast at this time of morning while kids are watching. This wasn’t the non-sexual nudity you occasionally got on Holiday. This was rude.

Rick Adams confirms my thoughts. As we cut back to the house, he’s standing in front of the television on which the newsreader appears, trying to block it from view. “It’s a family flippin’ show!”, he screeches. I blink, unable to quite comprehend what I’ve just seen. I’m 15 or so, and have just seen unexpected boobies. OK, so it’s not exactly how I’d choose to see unexpected boobies when I was 15, but I’d take what I could get.

And like that, it was over. I didn’t record it. And nobody I’ve ever mentioned it to remembers this thrilling piece of television. But I definitely, definitely didn’t imagine it. There were boobs. Definitely actual naked boobs. There were no bikinis, I promise.

Which leaves me wondering… just how did that item get approved for broadcast? Was it someone’s last day at ITN?

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Tales from a Dystopian Future

Other TV

Netflix headquarters, 15th September 2031. Despite people’s doom-laden predictions, the company is doing very nicely, thank you. But it’s doing nicely because they’ve finally started making smart financial decisions.

Across the road is where all those smart financial decisions are made. Right next to programme development, in fact. We’re not in the cool section of the place, though. We’re in a nondescript office block. Overspill, where all the boring projects go. It’s surprising it hasn’t been knocked down, and all these people just work from home. In a couple of years, exactly this will happen.

Until then, boring meetings take place here. And today’s boring meeting is about what to do with the latest selection of legacy content, where the rights are running out. David Smith presides over a room of greyness.

“Morning everyone. Let’s get this over with, we all have other things to do. What’s coming up next month, Mary?”

All eyes turn to Mary. She speaks, though it’s clearly an effort to give a flying fuck. “OK. We have Survivor, but the new rules kick in with this season – we only had the rights for this season for a year anyway, due to the new right-to-be-forgotten ruling….”

David rolls his eyes. That one had been a fucker for every company making programmes involving the general public.

Mary continued. “The Price is Right we won’t bother with – that hologram of Bob Barker was a disaster. And then there’s this thing called Black Mirror.”

David frowns. “What? Should I recognise that?”

“I wouldn’t blame you if you didn’t. It was a show we commissioned years back. Science fiction, all very dated now, of course. The main problem is the music rights – they run out next month.”

“Worth bothering with? How many views do we get on that show now, anyway?”

Mary consults her iPad Lisa. She looks up. “It actually gets a fair few streams a month, but the cost of those rights… take a look.”

She hands him the iPad. David glances at it. “Hell, no.”

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And Finally…

Other TV

So many of us have vivid TV memories than seemingly nobody else remembers.

Here’s mine.

*   *   *

Nottingham, in either the late 80s, or more probably the early 90s. The teatime edition of Central News East is on. I’m watching it, because not only am I fascinated by television, but I’m very specifically fascinated by television which is being transmitted live just up the road from where I live.

Anna Soubry is presenting, in the days when she was a journalist, long before she was an MP. I remember very little about the programme. I can’t even remember who she was presenting with. I just remember the very end of the programme. Anna and her co-presenter are sharing their usual banter. Her co-presenter said something. I can’t remember what. But as the lights dimmed and the closing credits appeared, I vividly remember Anna’s reply:

“You bastard.”

I actually remember that the sound was slightly dipped at the end of the word as we went to the wide… but it was very clear what she said. I also remember the general air of embarrassment in the studio on that final shot. It was bloody great.

*   *   *

I can’t imagine this particular gem ever being unearthed. Anna must have presented hundreds of editions of Central News East; I can’t even give you a year, or the name of her co-presenter, or any of the stories featured in that edition. My memory tells me I actually recorded it on VHS; my memory also tells me I recorded over it shortly afterwards, like a damn fool.

Nowadays, that clip would probably end up all over YouTube. Back then, unless it made it onto It’ll Be Alright on the Night – and I’m sure this didn’t, or else we’d all know the clip – it would often just disappear into the ether. I don’t think it even made it onto one of Central’s blooper-filled Christmas tapes. Unless someone who worked on the show remembers it and made a note of when it was, I can’t imagine it’ll ever be seen.

Which is a little unsatisfying. So instead, I can offer you the following Anna Soubry clip from Central’s 1985 Christmas tape1. At 11:42, dealing with people who look old enough to know better:

“You shites!”


  1. Found using this this detailed listing of various Christmas tapes. 

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Theatrical Sparkle

Other TV

Here’s a nice little find: a good quality version of the second title sequence to BBC political programme On The Record, from 1993:

The clip was uploaded by one of the creators, Stephanie Chappell:

“This was designed and directed by me and my fellow designer Dimitri Kevgas. It turned out to be one of the longest running titles on the BBC – running over 11 years until the programme was retired in 2004.1

We created a story for the UK political animal – the crocodile based on one of the gargoyles at Westminster. Because we were moving into the EU in the early 90s, we sent the crocodile on a journey, reflecting the interaction with his European allies. The whole project took 3 months to complete – with 1 month of solid single frame animation covering a second of the sequence each day.”

Here’s my question: could you ever imagine a political programme commissioning such a title sequence today? A piece of stop motion animation which took three months to create from beginning to end? I can’t. The money for such luxuries has long gone.

And this is the kind of thing I mean when I say: a lot of TV looks cheaper these days.

Oh, sure, there are endless newspaper columns and blog posts going on about the current golden age of television, and I’m not going to sneer at shows like Killing Eve. But they aren’t the only kinds of television there is. And over the years, imperceptibly at first, huge swathes of TV has been squeezed. Sometimes fundamentally: we’ve all read endless stories about the lack of rehearsal time on the soaps even compared to the 90s. And sometimes just with the fun stuff at the edges.

Because of course: On The Record didn’t need those opening titles, per se. But they did set a certain… tone. TV’s no fun if you cut everything to the bare bone. Television shouldn’t just be utilitarian, in the same way that your dinner shouldn’t just be about nutrition. Blockbusters didn’t need this glorious set of titles, but surely we can all agree it’s brilliant that they did… and also agree that there’s not a chance in hell they would ever be made now.

When I think back to my memories growing up with television, it’s often that fun stuff on the edges I remember the most. When TV just goes all-out on something beautiful, brilliant, and a bit mad, just because it can. Like, for instance, spending three months on a stop motion animation sequence of the Palace of Westminster acting like a crocodile and taking a short holiday around Europe. When budgets shrink, that stuff is the first thing to go. And I miss it like hell. 2

I’m not particularly pinning blame on programme-makers here. They do the best with the resources available. Nor is this really the place for my long, uninformed thesis on how to fix television. I’m just saying, for all the talk about the current golden age of TV… it’s worth remembering some of the fun stuff we’ve lost, just because it has the temerity not to be a “premium” drama.

A bit of theatrical sparkle shouldn’t be restricted to a narrow set of programming.


  1. This is incorrect, in fact: the last ever episode of On The Record was broadcast on the 15th December 2002

  2. I love this argument too, from Dave Jeffery: “To me, commissioning titles like that is the BBC supporting and promoting the arts in a way that is just as important as supporting an orchestra or composer. Similarly the BBC should do things like commission sculptures or murals for its buildings.” 

“A British Netflix”

Other TV

BBC News, ‘Netflix effect’ poses challenge to British TV’, 18th July 2018:

Video streaming services such as Netflix and Amazon Prime now have more subscribers than traditional pay TV services in the UK, new data from Ofcom has revealed.

The media regulator says British TV will have to change the way it operates if it wants to compete with the internet giants.

Sharon White, Ofcom’s chief executive, says: ‘We’d love to see broadcasters such as the BBC work collaboratively with ITV, Channel 4 and Channel 5 so that they have got that scale to compete globally, making shows together, co-producing great shows that all of us can watch.

“I think it would be great to see a British Netflix.”

*   *   *

BBC Media Centre, ‘BBC announces changes to political programming’, 12th July 2018:

The BBC has announced changes to its political and parliamentary output to improve its digital coverage, better serve its audiences, and provide more value for money.

The changes include:

[…]

A changed schedule for BBC Parliament: the channel will still broadcast live and replayed coverage of Parliament and the devolved parliaments and assemblies, but will no longer make bespoke programmes and will not air in the weeks when the UK Parliament or the devolved Parliaments and assemblies are not sitting.

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“Television is a waste of time, people”

Other TV

Khoi Vinh, “Movies Watched, 2017”, 5th January 2018:

“That beats my 2016 total by five and averages out to just under sixteen a month, a pace I credit to my continued adherence to a largely television-free diet. I’m going into my third year doing this now and I don’t miss TV much at all, especially as eschewing it has afforded me the time to watch and re-watch so many great or obscure or fondly remembered movies that I’d never be able to otherwise. Television is a waste of time, people.”

Khoi Vinh, “Movies Watched, February 2018”, 8th March 2018:

Alan Partridge’s Scissored Isle” Also hilarious.

Alan Partridge’s Scissored Isle is not a movie, but a television programme, originally made and broadcast by Sky in 2016. And not only is it a television programme, but it’s a parody which makes fun of the conventions of a certain kind of television documentary. It only fully works in the context of it being a television programme.

If you’re going to dismiss an entire artform, by all means do so. But it’s probably best to be consistent about it, rather than pretending the bits you like are actually movies instead.

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