Bbc

Thursday

James Kirkup

Don’t forget about BTECs during the A-level circus

The summer ritual of A-level results day is so well known it’s easy to forget the thousands of students receiving their BTec National results. That’s the intro to a BBC News item on vocational qualification results issued today. It’s also the story of British culture and economics, told in a single, unwittingly revealing, sentence. Around 250,000 kids will get BTEC results today – that’s almost as many as the 300,000 or so who get A-level results. But of course, media and political attention paid to the latter group is vastly greater than the former. Why? Because BTECs are for other people: people who are poorer and whose parents didn’t do A-levels

Rod Liddle Rod Liddle

My pronouncement on the BBC

Radio 4 recently ran an adaptation of Albert Camus’s The Plague in which the protagonist, Dr Bernard Rieux, was transformed into a woman. A woman who was enjoying a lesbian ‘marriage’. Of course they did, you will be muttering to yourself. If the BBC can transgender a rabbit in Watership Down they can certainly put a lesbian in The Plague. The boss of BBC audio drama, Alison Hindell, explained that the masterpiece had been altered to provide ‘contemporary resonance’. Does it resonate with you? Drama invites us to suspend our sense of disbelief for a while but needs to have at least a slender connection to reality. The original story

Charles Moore Charles Moore

Is Chris Packham finally facing facts on shooting?

Chris Packham is widely seen as the most extreme of well-known animal rights activists. His obsessions against hunting and shooting forfeit the impartiality required of a television nature presenter. So it is bold of the excellent new magazine, Fieldsports Journal, to give Mr Packham lots of space in its issue designed for the start of the grouse season this week. Photographed in a butt, Mr Packham not only grants an interview, but also contributes his own article, which begins with his almost lyrical description of holding a rifle (‘I lift the fore-end and feel its weight on the bulb of my left thumb…’). Not strictly relevant, since grouse are dispatched

Roger Alton Roger Alton

The absurd self-pity of Stuart Broad

You are, shall we say, a famous commentator, one of a tiny elite in the British media. You are paid hundreds of thousands of pounds, and are hugely admired. Then at a time of some crisis for others, one of your employers suggests you do 50 columns rather than 52. For exactly the same money, status and prominence. How do you react? Do you start shaking with grief? Do your legs turn to jelly and do you consider immediate retirement? No? Well you’re clearly not following the Stuart Broad guide to working practice. After being ‘rested’ for the first Test against the West Indies, he gave an extraordinary interview to

Thursday

Lloyd Evans

From riveting Hitchockian melodrama to bigoted drivel: BBC’s Unprecedented reviewed

Back to the West End at last. After a four- month lay-off, I grabbed the first available chance to catch a show in central London. I joined 20 enthusiasts at the ‘West End Musical — Silent Disco Walking Tour’, which convened outside a Fitzrovia pub. We were given a pink bracelet and a set of headphones that pumped musical hits into our ears. Our cheerleader, Sean, introduced us to his helpers, Tiny Tom and Sticky Vicky, who taught us a quick dance move. It transpired that we were the performers as well as the audience. We set off across the West End like a military convoy of unemployed choristers. At

James Delingpole James Delingpole

The only things left worth watching on the BBC are foreign buy-ins like The Last Wave

Soon, very soon now — even sooner than I imagined, if A Suitable Boy turns out to be as lacklustre as some critics are saying — the only things left worth watching on the BBC will be old repeats and foreign buy-ins like The Last Wave. A bit like The Returned (Les Revenants), The Last Wave concerns the effect of a supernatural event on a small community, not in the Alps this time but in a seaside resort on the Atlantic coast famed for its surf. During a competition, ten surfers are enveloped by a mysterious sausage-shaped cloud and disappear in the sea for five hours. They re-emerge, apparently unharmed

Thursday

Kelvin MacKenzie

The real Rupert Murdoch, by Kelvin MacKenzie

For more than four decades I have been around Rupert Murdoch. In that time he employed me in both London and New York, invested in my business ideas and ultimately fired me. It was always rock ’n’ roll around Rupert and that’s the way I liked it. So you would have thought that when the BBC made its current three-part documentary on him, it might have come to me for my views. Oh no. I presume it didn’t want to take the risk I might say something warm and supportive. It did, however, film Trevor Kavanagh, the Sun’s political columnist, for hours on end. He was warm and supportive. But

Thursday

Charles Moore

The politics of email sign-offs

I think Anne Applebaum is a friend of mine. I certainly hope so, since I have always admired her writing, her dignified charm and her un-English readiness to be serious. Her new book Twilight of Democracy is subtitled ‘The Failure of Politics and the Parting of Friends’. Quite a large number of friends, several associated (as was she) with this paper, she now names as ex-friends, so I feel relieved not to have been so identified. As a matter of historical fact, Anne is right: lots of friends have fallen out about issues relating to globalisation, identity, ‘Somewheres’ and ‘Anywheres’, Brexit, Trump etc. Anne seems to see this as inevitable, once

Rod Liddle Rod Liddle

Young people have never paid attention to the BBC

In January, the director-general of the BBC, Lord Hall of Birkenhead, announced that the corporation intended to shift away from making programmes enjoyed by older members of the public to concentrate on the ‘lives and passions’ of young people, in particular 16- to 30-year-olds. Of course Hall was not the first BBC employee to take an obsessive interest in young people, and nor was his mantra anything other than the norm in a country where older people, who are comparatively well off, pay their taxes, commit little crime, consume like crazy and indeed pay the licence fee, are held in a certain contempt. A month before Hall made his statement,

Friday

James Kirkup

The BBC’s failure to report gender identity accurately

‘Blackpool woman accessed child abuse images in hospital bed’. It’s a good headline, in that it catches your attention. But there are two things making it an effective headline, at least in the sense that it gets attention. One is the notion of someone looking at child porn in a hospital – that’s a shocking thing, and as they sometimes say in American journalism schools, ‘news is a surprise.’ The other important part of the headline is the word ‘woman’. We don’t often associate women with crimes like viewing images of child abuse; the idea of a woman doing so has a bit of ‘man bites dog’ news surprise to

Thursday

Michael Hann

Dysfunctional music for dysfunctional people: The Public Image is Rotten reviewed

A star is born, but instead of emerging into the world beaming for the cameras, he spits and snarls and announces his intention to destroy the establishment via the medium of rock records. But who is it? Is it Bob Geldof or John Lydon? Citizens of Boomtown: The Story of the Boomtown Rats — another in the ongoing trend of the BBC screening films that are fundamentally ads for a band’s new album — made the case for Geldof, suggesting he and his bandmates singlehandedly dragged Ireland into the modern age (the Daily Telegraph’s chief rock critic popped up to say they were the first roar of the Celtic Tiger).

Robert Jackman

Why haven’t podcasts cracked the recipe for audio drama?

In Beeb-dominated Britain, the commercial triumph of podcasting — epitomised by Spotify’s recent £100 million deals with Joe Rogan and Kim Kardashian — is held up as proof of the complacency of the radio establishment. Freed from the constraints of box-ticking commissioners, wily podcasters have been able to steal a march on Broadcasting House by giving audiences what they actually want. Or so runs the theory. But I can’t help thinking there’s one large slice of legacy radio territory the podcasters haven’t taken yet. And that’s the good old-fashioned audio drama. Not the most fashionable genre right now admittedly, but an important one nonetheless. Few 20th-century broadcasts, after all, are

Thursday

Graeme Thomson

The festivalisation of TV

The Glastonbury festival has undergone a series of metamorphoses in the 31 years since I first attended as a 15-year-old fence hopper (as, indeed, have I, thank heavens). One of the most significant changes, to pillage Gil Scott-Heron’s famous prophecy, is that the evolution has been televised. Back in 1989, if your boots weren’t on the ground — often a quagmire, though not that year — you missed out on all the fun. This has not been the case for aeons. Television coverage of Glastonbury began on Channel 4 in 1994, switching to the BBC three years later. In recent times, the Beeb has sent its staff in numbers comparable

Toby Young Toby Young

Who watches the broadcast watchdog?

At the beginning of April, I became so frustrated by the supine coverage of the government’s response to the coronavirus crisis, particularly on radio and television, that I decided to start a blog called Lockdown Sceptics. The idea was to create a platform for people who wanted to challenge the official narrative. In addition to publishing original material by Covid dissidents, many of them eminent scientists, I include links to critical papers and articles, and write daily updates commenting on the news. One of the things that puzzles the contributors is why the coverage on broadcast media has been so hopelessly one-sided. The BBC, in particular, seems to have become

John Phipps

Why is Robert Burton’s masterpiece Anatomy of Melancholy being sold as self-help?

The BBC has been having a good pandemic. Stuck at home, a generation raised on podcasts and YouTube has discovered the comfort of a radio that babbles quietly in the corner. The concerts from the empty Wigmore Hall, streamed live on YouTube once a day, have been the first classical concerts of my life that could honestly be described as cultural events. And in the initial terror of the disease’s spread, everyone reverted to watching the BBC simply to find out what would happen next. Perhaps our vaunted passion for fake news was only a fad of convenience given that, when our lives depended on it, we really listened to

Thursday

Richard Bratby

The musical event of the year: Wigmore Hall BBC Radio 3 Special Broadcasts reviewed

Remember when 2020 was going to be Beethoven year? There were going to be cycles and festivals, recordings and reappraisals; and if you weren’t actively promoting old Ludwig Van there was money to be made whinging about overkill. So was Stephen Hough’s decision to end his Wigmore Hall recital last Monday with Schumann’s Fantasie in C — a work conceived at least partly in homage to Beethoven, which opens with a fragmented musical landscape that Schumann at one point called ‘Ruins’ — a conscious reflection of the musical world’s changed circumstances? Or would that be reading too much into a situation in which a once-routine lunchtime concert suddenly feels like

Thursday

Rod Liddle

The real problem with Newsnight

The Twitter feed of BBC Newsnight editor Esme Wren (remember, I read this stuff so you don’t have to) is full of plaintive whining that no cabinet minister will agree to appear on her benighted programme. The Twitter feed of her chief presenter, Emily Maitlis, is largely a screed of bile and petulance directed at the government, some of which is usefully later recycled into her opening programme monologue. Unless Esme has had her brain scooped out with a soup spoon you might expect her to have found a connection between these two facts. Not a bit of it. ‘Cabinet minister, what is it about Newsnight, with its left-wing presenters,

Thursday

Charles Moore

The ferocious bias against Dominic Cummings

At Dominic Cummings’s press conference on Monday, reporters tried two lines of attack. One was to behave like local detectives, fixating on exact details of the Cummings family journey to Barnard Castle, such as why the car had stopped en route (answer: so that the Cummingses’ son, aged four, could have a pee). The other was to invoke viewers, readers, members of the public blind with fury that there was ‘one law’ for government bigwigs, and ‘another’ for everyone else. Yet Mr Cummings’s statement and answers made a good case that there had not been ‘one law’ for him, but that he had the ‘reasonable excuse’ that the law permits

Thursday

Lloyd Evans

The best Macbeths to watch online

The world’s greatest playwright ought to be dynamite at the movies. But it’s notoriously hard to turn a profit from a Shakespearean adaptation because film-goers want to be entertained, not anointed with the chrism of high art. Macbeth is one of the texts that frequently attracts directors. Justin Kurzel’s 2015 version (Amazon Prime) didn’t triumph at the box office despite two fetching performances from Bamburgh Castle in Northumberland and the snow-wreathed mountains of Skye. The trailer is a marvel. Two exhilarating minutes of virile swordplay, ravishing scenery and dramatic cathedral interiors. The film itself is a cold, muddy slog. Michael Fassbender plays the thane as a gruff Celtic robo-hunk married

Thursday

Lloyd Evans

How Tom Stoppard foretold what we’re living through

A TV play by Tom Stoppard, A Separate Peace, was broadcast live on Zoom last Saturday. I watched as my screen divided itself into four cubes in which appeared the actors, performing from home. The play was written in 1964 and it’s well suited to the split-split screen format because no physical contact occurs between the characters. Director Sam Yates added some rudimentary music and a bit of wobbly background scenery. Mr Brown (David Morrissey) is a mysterious Englishman who asks to be admitted to a private hospital in the middle of the night. Though he has no symptoms he’s given a bed, and he pays his bills in cash.