Bbc

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

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

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

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

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

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,

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

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

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.

I’ve lost patience with podcasts and their presenters

‘To be recognised and accepted by a peregrine,’ wrote J.A. Baker in 1967, ‘you must wear the same clothes, travel by the same way, perform actions in the same order. Like all birds, it fears the unpredictable.’ Sitting around in the same old clothes, performing chores in the same order, travelling by no way at all, I’ve found comfort in Baker’s assurance that I may at least prove attractive to birds in my slovenly purdah. Sir David Attenborough read The Peregrine beautifully on Radio 4 just before Christmas, but if you were too busy steaming puddings to listen, you may find this a good time for enjoying the series online.

Why do Radio 3 presenters adopt the tone stupid adults use when addressing children?

Anyone who has listened regularly to Radio 3 over the decades — not to mention the Third Programme, which Radio 3 replaced in 1967, and which provided an incomparable musical education for many of us — can’t have failed to notice the change in style and standard of presentation. Listening to any radio announcer from 50 years ago is bound to cause hilarity: carefully read scripts, un-emotional delivery; all told, quite like the Queen’s Christmas broadcast. It would be ridiculous to expect no change in the way that the music, and the occasional talks, not to mention the regular poetry programme — a northern camp Thursday-night regular — are presented.

Riveting documentary about a remarkable man: Harry Birrell Presents Films of Love and War reviewed

First shown on BBC Scotland, Harry Birrell Presents Films of Love and War (BBC4, Wednesday) was the documentary equivalent of a William Boyd novel, showing us a 20th-century life shaped by 20th-century history. The programme was made by Harry’s granddaughter Carina, who’d been eight when he died, and known him only as ‘a lovable, frail, blind old man’. But then she came across 400 carefully labelled reels of film in the family shed, together with an equally well-organised collection of diaries. Exactly — or even vaguely — when this discovery took place was one of many details that Carina tantalisingly failed to disclose. (Now and again, we did see her

Letters: The BBC licence fee is an anachronism

Coronavirus predictions Sir: While precautionary advice regarding the coronavirus should be followed, Ross Clark is right (‘Feverish imaginations’, 29 February) to urge an open mind on the doomsday predictions which are edging us towards panic. In 1996 the then government’s chief scientific adviser, Professor Kenneth Calman, predicted that 500,000 people could die within a few years from the human form of BSE. Another official adviser, Professor Richard Lacey, described the disease as ‘the time bomb of the 20th century, equivalent to the bubonic plague’. In the event, the reported death toll was 177, while the scare cost the UK an estimated £7 billion. In 2005 the then government’s chief medical

How I fell out of love with the BBC

One of the many technological things I don’t understand is, how come I’m paying to watch television? I know why I used to pay. I used to switch on a box in the corner of the room and marvel at the choice of three quite interesting programmes and something slightly racy on Channel 4. It was all reassuringly underwhelming, with everyone doing as well as could be expected given the circumstances. The cardboard sets on a lot of the shows wobbled and we were happier for it, one could argue. There was an obvious balance of earnestly attempted light entertainment and archly presented informative content and I for one didn’t

Rory Sutherland

Why the BBC licence fee makes sense

A consensus seems to be forming that the BBC licence fee is for the chop. In a digital age, the reasoning goes, we should not be forced to subscribe to huge bundles of content, with no choice over what we pay for and what we don’t. This argument, intriguingly, is both true and false at the same time. It is worth remarking that Netflix and Spotify succeeded by adopting a very similar model to, er, the BBC What’s true is that technology has removed two constraints which made the licence fee necessary in the first place. At the BBC’s outset, the airwaves were limited, creating a monopoly. Moreover it was

Could coronavirus change British politics?

Even if the Covid-19 coronavirus does not become a mass killer on the scale of, say, the Spanish Flu in 1918, the mere possibility of such severity still carries huge weight. Just the potential for a disastrous pandemic demands a response whose seriousness and nature will have political and social implications. Even in this first week of the full UK response, some of those implications are clearly visible. And some of the inferences and lessons that can be drawn from this week are, to my mind, quite positive – small points of light in a dark and threatening sky, if you like. 1. The State matters Small-state libertarians have always

Letters: How to really revitalise the North

Devolved or decentralised? Sir: Paul Collier (‘Northern lights’, 22 February) conflates what devolution has come to mean, in UK terms, with decentralisation of authority. Thus it is adrift to imply that Edinburgh has benefited from a conscious decentralising of powers from central government. It was simply that Scotland as a whole got devolution and Edinburgh is its capital city, whereby it administers the devolved responsibilities. Until such time as commentators and politicians distinguish properly between devolution and decentralisation, they will continue to prompt fears that England could be balkanised rather than treated as a national entity on a par with Scotland. Situate its devolved English parliament and government in a

Why are BBC dramas so obsessed with rewriting history?

If there was a Bafta award for Most Woke Television Drama, a BBC production would win every year hands down. Consider some of 2020’s highlights alone: Noughts and Crosses, set in an alternate world where the ruling class is black and in which white people are the victims of racism; My Name is Leon, about a mixed-race boy growing up in care; and A Suitable Boy, a drama about arranged marriages with an entirely Indian cast. And of course, there’s always the female lead in Doctor Who, a series that now features storylines about civil rights, the environment and even allusions to Brexit. That’s fine really, and nothing new by

How low can the BBC go?

Last weekend’s papers claimed that the government desires a ‘massively pruned back’ BBC. Former Conservative cabinet minister Damian Green and someone called Huw Merriman spoke out against this, which allowed the BBC to put the headline ‘BBC licence fee: Tory MPs warn No. 10 against fight’ atop its characteristically impartial coverage. I suppose there are various reactions one can have to this, ranging from outrage at supposed ‘cultural vandalism’, via a vague shrug, all the way through to the full Charles Moore. In recent years I have moved through all these stages. The discovery that mattered most was the realisation that the less BBC I had in my life, the

Rod Liddle

The blindness of cultural Marxism

Words we are not allowed to use any more now include ‘cultural Marxism’. Suella Braverman, now the Attorney General, used them last year and was immediately upbraided by the organisation Hope Not Hate. Very right-wing people sometimes use it too, you see, so it must never be uttered by anyone else. Banning the use of the phrase ‘cultural Marxism’ is about as culturally Marxist as it is possible to get, but I don’t suppose the cultural Marxists at Hope Not Hate appreciated the irony. Cultural Marxism is a largely 1960s excrescence in which everything must be seen through the prism of unequal power relations, other than which nothing else matters