Issue 2 mar2014

ISSUE

02 Mar 2014

Teletronic

THE ONLINE MAGAZINE OF TELEVISION HEAVEN

This issue Luther P.1

Welcome to the

Call the Midwife P.3

second issue of Teletronic - The

Jack Rosenthal P.5

magazine of T e l e vi s i o n H e a v e n

Mr. Selfridge P.7 Big Brother P.9

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Plus: Why Breaking Bad is better than The Wire

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This second issue continues to takes a look at up-to-date modern television and the programmes we think are destined to become future classics, as well as some established TV shows.

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Luther’s Legacy Has Been Laid by Onome Okwuosa 2010 saw the world and its brother eagerly pause on baited breath for Idris Elba to deliver his portrayal of the dark, dramatic Detective Chief Inspector John Luther. After his hugely popular stint as Russell ‘Stringer’ Bell on The Wire, Stone in the blockbuster 28 Weeks Later and Beyoncé’s husband in the dark thriller Obsessed; Elba was entertainment hot property. When the gruff yet loveable crime fighter finally burst onto our screens, if you blinked you might find you’d missed it. BBC’s love for petite programming saw the first season indulge us with six episodes while seasons two and three were a mere four episodes long. Writer Neil Cross rose comfortably to the challenge, offering a show that will undoubtedly be remembered for all the right reasons.

Cross spins wild and weird stories of gruesome killers against a less than lush London backdrop. Estates with graffiti tags, and hallways no doubt authentically smelling of pee; Luther’s London feels more like Gotham City. It’s dank, shadowy and foreboding.

Desperately in need of a protector that’s capable of taking control, no blushing or shying away. Thankfully the city has Luther. Like Batman he operates in the grey areas of the law, ready and willing to tackle the capital’s underbelly.

A sly smile comes before a shadow of shame casts itself across his features. Was he alone in thinking good riddance?

And that’s why he’s so loved. He’s grey, he knows it and he’s ashamed to show it. Unless of course we’re talking about his wardrobe or his car. Luther should not be as content as he is to ride around in that beaten up Volvo of his.

Or should he? Like Poirot’s tache or monocle, the car is an extension of his persona. Reliable and uncomplicated, you know it’ll get the job done. Without any frills or fancies there’s no fussing when an 80s Volvo takes a knock, it handles it with nonchalance. Try to imagine Luther in a Lexus or Mercedes S-class and you’ll no doubt cringe. He’s made of sterner stuff, cut from a much coarser cloth.

He’s a tweed meets office reception carpeting kinda guy. That signature jacket seems to cover a multitude of Luther’s sins. The fashion savvy in the audience, muttered uh-uh throughout the series; wishing there was something, anything to cover the sin that was the jacket.

All shades of grey Opening the first series with a serial killer All can be forgiven because of his ability to plummeting to his death while in Luther’s crescendo an episode and series like a boss. His custody you’d expect remorse right? Not this emotional complexity and pure genius going a guy, when an interrogation goes that tragically long way, compensating for the purposeful, (albeit painful) fifty layers of grey he chooses to wrong, ethics apparently plummet with the wear. unrepentant murderer.

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Teletronic - Mar 2014

C l a s si c S h o w re vi e w : Car 54, Where Are You?

Warning: This review contains “spoilers” Another comedy gem from Nat Hiken, the man who bought us 'The Phil Silvers Show' (aka 'Bilko'), arguably the best US sitcom of all time.

Here Hiken switched the focus from army officers to police officers as they cruised the streets of the 53rd precinct, the Bronx, in their patrol car, with similar hilarious results.

The lead characters were played by Fred Gwynne as the tall and sombre Francis Muldoon, and his hopelessly dim-witted partner, Gunther Toody, was played by Joe E. Ross who had previously been seen as Bilko's regular foil, Rupert Ritzik. Hiken even retained some of the old 'Bilko' chemistry by employing actress Beatrice Pons to appear as Ross's wife, as she had done back at Fort Baxter.

Fred Gwynne had been cast in a single first season episode of 'Bilko'.

Other 'Bilko' regulars would appear in guest roles in 'Car 54' and the sharp eyed viewer could pick up on a number of 'Bilko' references. One first season episode, 'The Paint Job' starred Al Lewis and Billy Sands who had starred in 'The Phil Silvers Show' as Pvt. Dino Paparelli. In this story the two guest stars play a couple of crooked garage hands who do quick repaint jobs on stolen vehicles. The garage is called 'Fender' - a part of a car, but also conveniently the name of a regular character form 'Bilko'.

As a producer, Nat Hiken had a wonderful eye for new talent.

As well as discovering his lead stars on Car 54, Where Are You? he is also credited with discovering and advancing the TV careers of Alan Alda and Dick Van Dyke. Hiken worked with such major figures as Mel Brooks and Woody Allen throughout the 1950s and early 1960s.

The final episode of the second season saw another fantastical tale from Cross play out in wonderfully dramatic Lutheran fashion. Russian Roulette was played at its most captivating.

The slow motion L’oreal moments as he emptied the petrol over his face, were perfectly executed. For a brief spell, we forgot that he was about to get his ass set on fire by a crackpot criminal; relishing in the way he shook his lashes like a Baywatch babe shakes her tresses.

Like all well written shows, Cross teases his audience with just the right amount of tension and then delivers just as the pressure peaks. It’s a little disconcerting that with a series like this and US show Dexter; for the writer to deliver, someone has to die. Unlike the blood thirst of Dexter, Luther’s victims aren’t hunted, their deaths a mere by-product we’ve come to expect and dare I say desire?

Butter has to melt The success of the show isn’t just down to Luther and his moral ambiguity. He’s got the wonderful Michael Smiley, playing Benny silver, the department’s techie who although doesn’t get a lot of screen love, plays his poker-face part perfectly. Dermot Crowley as the Detective Superintendent who try as he may to keep the headstrong Luther grounded, ends up letting him get away with utter liberties. To love or hate DCI Erin Gray? Played by Nikki AmukaBird, how can you love anyone that dares say a word against the butter wouldn’t melt Luther?

At some point however, we have to accept that the Lutheran way is questionable; yet to hate Gray is to call into question the premise of the entire show. How long can you meander with ‘the ends justifying the means’ notion? Shoving the uncomfortable thought swiftly out of mind, we welcome the charming Warren Brown who plays his loyal junior partner Justin Ripley. Their relationship is tried and tested and when it

comes to the crunch, Ripley has got his back.

Hack a senior officers computer and erase records to stop a snooping Gray dead in her track? Yes he will.

It was a shock to everyone when the third and final series saw him killed off. Far from signifying an end, it took the show out of its uncomfortable corner. Finally the jacket comes off and it’s a given that Luther as we once knew him no longer exists. Sure he could simply go and buy another one but what’s a symbol if it’s so easily replaced? Killing Ripley laid the series to rest, drawing the show towards it’s intended destination- the silver screen.

Of course there are the naysayers who complain the show tried too hard; that there was too much story and not enough show. Perhaps the punchy pace was Neil Cross’ intentional layup for the movie to go deeper. The film is set to be a prequel to the series. For those that wanted the bone, the marrow and the flesh of Luther’s life to marinade in the story for longer, they’ll undoubtedly be satisfied. Luther’s an established cult classic that’ll be dusted off and pulled out whenever it’s time to reel off the list of top British dramas or detective shows.

Ripper Street Wins Reprieve Victorian crime drama Ripper Street is to return to screens via Amazon's video on demand service.

The BBC cancelled the show in December due to poor ratings, but Amazon has now commissioned a third season for its Prime Instant Video service formerly known as Lovefilm Instant. The show will premiere on Amazon and screen on the BBC a few months later. Amazon has also acquired the UK subscription streaming rights of the first two series of the show. The BBC will continue to make a contribution to production costs of the new season, while other broadcast partners - including BBC America and the Irish Film Board - will remain on board as part of the new arrangement.

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Teletronic - Mar 2014

C l a ss i c S h o w R e v i e w :

Criss Cross Quiz

P o p u la r q u iz s h o w b a s e d o n t h e s im p l e g a m e of n o u g h t s a n d c r o s s es . T h e f o rm a t w a s d e v i s e d f o r A m er i c a n t e l e v i s i o n w h er e it w a s k n ow n a s T i c T a c D o u g h . P l a ye d o n a g r i d of n in e s q u a r es , e a ch of t w o contestants had to answer a q u e s ti o n c or r e ct l y t o p u t a n o u g h t o r a c r os s i n a s q u a r e. T h e y t h e n h a d t o g et t h r e e n o u g h t s o r t h r e e c r os s e s i n a r ow e it h e r h o riz o n t a ll y, v e r tic a l l y o r d ia g o n a ll y t o w i n t h e g a m e.

Q u e s ti o n s w e re a s k e d f r om a l m os t 1 0 0 d iff e r e n t c a t eg o r i e s a s d i v e rs e a s fi lm s , q u ot a ti on s , n ic k n a m e s , A f r ic a , t h e 1 9 2 0 ' s , c u r r e n c y o r p ot l u c k , et c. E v e r y c o r r e ct a n s w e r w ou l d w i n a t e n n e r ( ex c e p t f o r t h e m i d d l e s q u a r e - £ 2 0 ) a n d if a game was drawn the p riz e m o n e y w a s d ou b l e d for the next game.

W i n n e rs s t a y e d o n s h o w a fte r s h o w u n ti l t h e y w e r e b ea t e n a n d s om e of t h e b ett e r p l a y e r s w e r e a b l e t o b u i ld u p a n i c e p ot of m o n e y. H o w ev e r, a s t r ict rule about how much a c o n t e s t a n t c o u ld w i n w a s i n t r o d u c ed a ft er o n e l u ck y p la y e r w a lk ed a w a y w it h £2,360. Produced by G ra n a d a T e l e v i s i o n , C r is s C r o s s Q u iz b eg a n in 1 9 5 7 a n d w a s p r e s en t e d b y J e r em y H a w k . A c h i l d r e n ' s v e rs i o n of t h e s h ow ca l l e d J u n io r C r is s C r o s s Q u iz w a s p r o d u c ed t h e s a m e y ea r t h e a d u lt v e r s i o n s t a rt e d .

Call The Midwife review by James Thomas As period shows go there is a fine line between where homage to the past becomes an idolized parody, where the view of history or a special period, that helped shaped the country’s identity, becomes too saccharin and too maudlin for the television screen. Fortunately, Call The Midwife is an engaging and charming a treat.

Call The Midwife features a troupe a midwives on bicycles, working in London, helping women with the most intimate, beautiful, and at times terrifying moments of their lives. With a light sensibility and a desire to show the relevance of the feminine experience in a world that is changing, Call The Midwife is an exemplification of excellent British television - pure drama that takes endearing characters through the trials and tribulations of being dedicated to a noble cause, bracketed by the contradictions of real world versus expectations and sometimes tragic subject matter.

The drama takes place in London’s impoverished Poplar District in the East End, a place where the birth rate is high and the quality of life quite low.

The show starts with freshly qualified midwives joining the nuns at Nonnatus House, an Anglican religious order and nursing convent, where they begin to work helping the underserved residents of the area. Because of the lack of funds midwives and nuns find themselves pulling triple work shifts, tending to their duties delivering children, caring for pregnant women, while at the same time providing medical attention to those who need the help.

The series is based on the memoirs of Jennifer Worth a real life midwife who wrote about the trials of those living in this particular area of East London and the struggles for mothers in particular.

By all accounts her character in the memories is accurately reflected in the persona of Nurse Jenny Lee (Jessica Raine), a sparkling personality who is taken aback when she finds herself in a convent rather than a private hospital and hit with a healthy dose of culture shock upon entering the East End. Jenny is cultured and well-travelled, having spent some time in Paris, where she had much of her training in the field of nursing. Only 22, her matured voice functions as the narrator and she present the role of the midwife with a reverence akin to the nuns she served with. Of course, even with such serious subject matter one of the first people that Jenny encounters is the whimsical nun Sister Monica Joan (Judy Parfitt) who sets the tone for charming levity that dominates the series. One of the more enigmatic and entertaining characters, a radical trailblazer being amongst the first women to qualify as a midwife in the country, Sister Monica Joan comes

from a well titled family that considered her going on to become a nun to be scandalous. At the beginning of the series the audience finds Sister Monica Joan at 90 years of age and retired, but still living in Nonnatus House, stealing cakes and imparting cryptic wisdom.

It’s this sense of mirth and endearment that we experience as Jenny learns to love the place where she works and how the nurses and sisters attempt so much with so little.

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Teletronic - Mar 2014 Animal House — Kicked Out of College b y Mi k e S p a d o n i In 1978, N a ti o n a l L a mp o o n ’ s A n i ma l H o u s e became the surprise m ov i e b l oc k b u s t e r of t h e year.

The c o mi c a d v e n t u r e s of a r e b e l c ol l e g e f r a t e r n i t y a n d i t s rivalry with a more u p s t a n d i n g or g a n i z a ti o n s t a r r e d Sa t u r d a y N i g h t L i ve c o - s t a r J o h n B e l u s h i a n d a m os t l y u n k n ow n c a s t . I t w a s ou t r a g e ou s , vulgar, tasteless and very f u n n y . A n i ma l H o u s e ’ s success did not go u n n oti c e d b y A m e r i c a ’ s Big Three t e l e v i s i on n e t w or k s , e a c h of w h o m e m b a r k e d o n a c o u r s e f or h on o u r s i n c ol l e g e s i t c o m s u c c e s s . B u t i n t h e c ol d winter months of 1979, a ll t h r e e r e c e i v e d a f a i li n g g r a d e f o r t a k i n g t h e b a s i c s of a r a u n c h y b u t h i l a r i ou s R - r a t e d fi l m and modifying the formula f or f a mi l y audiences.

Of the three entries, ABC’s Delta House received the m os t s c r u ti n y , f or t h e s i m p l e reason that it was the o ffi c i a l T V s p i n off of Animal House.

ABC si g n e d the fi l m ’ s producers, Ma tt y Si m m on s and Ivan R e i t ma n , t o d e v e l o p t h e T V v e r s i on , a n d s e v e r a l of t h e m ov i e ’ s c a s t members repeated their r ol e s f or D e l t a H o u s e – John Vernon (Dean V e r n on W or m e r ) ; Stephen Furst (Kent “ Fl o u n d e r ” D or f m a n ) ; Bruce Mc G i ll (Daniel Si mp s o n “ D - D a y ” D a y ) and James Widdoes ( R o b e r t H oo v e r ) .

Si n c e John Belushi’s p op u l a r c h a r a c t e r of J oh n “ Bl u t o” B l u t a r s k y w a s n ot a v a i l a b l e f or t h e s e r i e s

Nurse "Chummy" Browne (Miranda Hart) is another character who grew up in a world much different from the East End, but whose attitude towards the conditions of the place and the bittersweet nature of being a midwife in such an impoverished area, is one of perpetual positivity. Chummy is a definite fan favourite, with her quiet demeanour and humble wit, as well as her physical awkwardness all of which belies her substantial talents as a midwife.

Counter-balancing the Introverted Chummy is the vivacious and good hearted Nurse Beatrix “Trixie” Franklin (Helen George), a dedicated midwife whose abilities are matched by her sociable nature and fashionable graces. At work she wears fashionable nylons, vibrant lipstick, and spends the day gossiping with the other midwives, though her dedication to her duties is absolute. Still, she some times rubs the other midwives, especially the nuns, the wrong way and it can make for some entertaining if somewhat awkward moments.

The sisters of Nonnatus House are by no means a boring bunch. The holy nun in charge is Sister Julienne (Jenny Agutter), the sister-in-charge, who is the second most experienced midwife on the premises, and the woman who keeps the whole place running for the betterment of Poplar’s District, while at the same time being a deeply religious and also exceedingly pious woman. This mix allows her to be both dignified when assisting her patients, while at the same time approaching them with no sense of judgment. Inside the house her role is primarily one of the peace-maker and the person who

Obituary: Lisa Daniely Lisa Daniely made her debut in the 1950 film Lilli Marlene in the title role, which also featured Stanley Baker in one of his earliest film parts. She later appeared in several films but was more prolific on television, with her best

settles internal drama caused by the clashing personalities of each of the women. Sister Evangilina (Pam Ferris) is one of the only nuns in Nonnatus House who comes from the harsh world of the East End and that upbringing has given her a rapacious wonder for the world, and a rich sense of humour that is as infectious as her energy and the efficient way that she deals with the mothers in her care, and the other patients she has. Her intimate, blunt way of speaking, impatience with foolish people, and connection to the East End makes her able to form a rich rapport with the people of the area and they feel more than comfortable with her assistance, and candid with their problems.

The charm of the show is as much how these personalities complement each other as it is about the sense of nostalgia, and the view of a time when change was coming to a world that needed and resisted the shifting dynamic.

Through Jenny’s journey we see challenges of both women who serve and the women that they serve, as certain sensitive social questions, about love, sex, and the plight of the less fortunate collide with the reserved and dignified history of the sisters and nurses charitable work. At times the idyllic nature of the show’s tone can be a little off-putting to some, but there is a heartfelt authenticity to the dialogue and the plot devices that make it an engaging enough show to warrant everyone watching.

remembered role perhaps being Sherlock Holmes. She passed away Diane Brady, the sister of Peter on 24 January 2014 aged 84 years.

Brady, in the 1958 series version of H.G. Wells' The Invisible Man. Other appearances on various TV programmes include The Saint, Danger Man, Doctor Who, Strange Report, The Protectors, Van Der Valk and The Adventures of

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Teletronic - Mar 2014 (From Previous Page) (Belushi was still a Saturday Night Live cast member), the producers cast Josh Mostel (son of famed actor Zero Mostel) as his brother Jim “Blotto” Blutarsky.

(There were references to “Bluto”on the show, some in letters to “Blotto” from “Bluto.”)

All the action took place at the fictional Faber College in the early 1960's (the setting for Animal House) with Dean Wormer and the rich Omega House members constantly trying to get the Delta House boys kicked off campus for one fraction or another; naturally, the frat brothers emerged victorious at the end of every episode.

But missing were the outrageous antics of the film, including its more explicit references to sex, drugs, and drinking. And that proved to be the show’s downfall. After launching Delta House after the smash hit Mork & Mindy on January 18th, 1979, ABC moved the series to a Saturday night slot. Despite OK but not outstanding ratings, Simmons and Reitman continued to fight with ABC censors over content–and what was acceptable for “family hour” viewing between 8:00 and 9:00 PM. Both sides eventually decided enough was enough, and Delta House ended its run on April 28th, 1979.

Jack Rosenthal - Television’s Charles Dickens?

by Laurence Marcus Jack Rosenthal, one of Britain's greatest TV dramatists and the husband of actress Maureen Lipman, who died on 29th May 2004 after a long battle with cancer left behind a legacy of a vast catalogue of plays, films and television series, that include some of the finest dramas ever broadcast on television. He was at the peak of his profession for some 40 years. His credits included Coronation Street, Spend Spend Spend-the classic Play for Today about football pools winner Viv Nicholson, Bar Mitzvah Boy-about a Jewish boy coming of age, Yentl-which he co-wrote with the film's star Barbra Streisand, the comedy series The Lovers, starring Richard Beckinsale, P'Tang Yang Kipperbang, The Knowledge, London's Burning and a television adaptation of Kingsley Amis's Lucky Jim. Jack Morris Rosenthal was born on 8th September 1931 in Manchester. After attending Colne Grammar School he read English Language and Literature at the University of Sheffield, graduating with a B.A. in 1953. Following his National Service where he learned to translate Russian, he worked in the promotion department of the newly formed Granada Television, before leaving to work in advertising. He renewed his connection with Granada in 1961 when he was commissioned to write episode no. 30 for the popular soap opera Coronation Street. Up to 1969 Rosenthal contributed 129 episodes to the series, and went on to produce the series for a time. He said of his time on the show: "I'll always be proud of much of the work I did there. It's too easy to dismiss

Coronation Street. As a training ground for writers and directors its importance can't be overstated."

Also, in 1961 Rosenthal contributed scripts for the comedy series Bootsie and Snudge starring Bill Fraser and Alfie Bass and the following year wrote episode six of the single series sitcom The Bulldog Breed starring Donald Churchill, Peter Butterworth and future Coronation Street star Amanda Barrie who was starring in her first television role. In 1963, his growing reputation as a writer for television, and a widening interest in comedy were put to good use with contributions to the BBC satirical programme That Was The Week That Was and following credits on several other sitcoms he developed comedy series’ The Dustbinmen (1969-70), The Lovers (1970-71) and Sadie, It's Cold Outside (1975).

For The Dustbinmen he accompanied dustmen on their rounds. This was typical of Rosenthal who took a lot of care to research backgrounds where settings were unfamiliar to him. For The Knowledge (1979), about London taxi-drivers who must achieve an encyclopaedic knowledge of the city in order to qualify for a licence, Rosenthal spent time with cab-drivers (and was given an honorary 'taxi driver's licence' in his name), and spent time with removal men to write The Chain (1984), a feature film about seven very different households moving house on the same day, and Moving Story (1994), a television film about a wife apparently moving away from her husband both physically and emotionally.

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Teletronic - Mar 2014 Why Breaking Bad is Better Than The Wire

By Sandy Knight (Warning: Spoilers) For a long time Breaking Bad wasn’t considered worthy of comparison with the big show’s: Is the The Wire better than the Sopranos? Will Mad Men be better than both in the end? And what about Boardwalk Empire – it has Steve Buscemi after all? In 2010 Breaking Bad wasn’t even part of the conversation. Too of much a novelty, with its odd premise and unglamorous setting.

Bryan Cranston’s casting confused people with regard to the tone – is it a crime caper or a serious drama?

Netflix changed all that, and by the time the finale aired it was so popular and so adored that many people felt the need to comment wryly on their detachment from the rest of the world’s obsession with the show. Breaking Bad broke the mould massively by avoiding the degrading quality so many shows suffer. They cut it short enough that the finale wrapped up ends that were loosened in the very first episode.

There was no need for a new crime scene a la Twin Peaks, or a new setting every season like The Wire.

I get the impression the show’s comparative lack of narrative complexity has something to do with the widespread perceived superiority of The Wire. The Wire is about a lot of different people in a lot of different situations. The Sopranos is about one guy in a lot of situations. Breaking Bad is essentially only about one

situation and it’s mainly about the portion of that situation that takes place in Walt’s head. (continued next page…)

One of Rosenthal's best-known plays, Bar Mitzvah Boy (1976), illustrated a recurring theme in his work, experience of life from a Jewish standpoint, and The Evacuees (1975) dealt with his own personal experience during wartime, when many children from cities considered at risk from constant aerial bombing were evacuated to safer areas - as were the author and his brother - but where their experience of life with foster-parents was not always a happy one. Likewise, 'Bye, 'Bye, Baby' (1992) owes much to the author's National Service in the Royal Navy in the mid1950s where he trained as an eavesdropper on Russian naval radio transmissions, and in which he was conscious of being the object of not one but three different prejudices: as a Northerner, as a product of a working-class background, and as "about the only Jew in the navy".

exploits of a Whitby skipper determined to commemorate his heroes by voyaging to the Arctic Circle with a makeshift crew and without an official certificate of seaworthiness.

Music sometimes featured in his work. Our Gracie (1984) was a theatre play with music about the celebrated Lancashire singer Gracie Fields. In an unusual development for him, Rosenthal rewrote Bar Mitzvah Boy as a musical (1978), which despite appearing in both London and New York was not a success, and the problems engendered by this production inspired him to create Smash!, in the form of both a theatre play (1981) and a screenplay (1984).

Rosenthal's work won many awards and honours, amongst which have been: The Lovers (Writers' Guild Best Series Comedy Series Award, 1971), Another Sunday and Sweet F.A. (TV Critics' Circle Best Play of the Year Award, 1971), The Evacuees (International Emmy Best Play Award, British Academy Best Play Award and other awards, 1975), Bar Mitzvah Boy (British Academy Best Play Award and Broadcasting Press Guild Best Play Award, 1976), and Spend, Spend, Spend (British Academy Best Play Award and Royal Television Society's Writer's Award, 1977).

Yentl was awarded the New York Critics' Golden Globe (1984).

But Rosenthal was equally able to switch perspective as is evident in the screenplay Well, Thank You Thursday (1976), where intense personal dramas are played out in the lives of those who attend a Registry Office but where the Registrar herself seems more concerned with taking delivery of a new desk.

And the familiar world of television itself would also become a subject for drama: Ready When You Are, Mr McGill (1976) recalled the pitfalls of making a television film, while The Fools on the Hill (1986) took place against the background of the early In 1994 he was created Commander of the development of television at Alexandra British Empire. Academic honours included: M.A., University of Salford (1994), and D.Litt., Palace.

University of Manchester (1995) and Other themes are apparent in his work. The University of Sheffield (1998). He was Maisie pain of growing up, as in Bar Mitzvah Boy, is Glass Professor Associate in Theatre, also central to one of his best known University of Sheffield, 1997-1998. television films, Ptang, Yang, Kipperbang (1982), in which an adolescent schoolboy Dramatist Alan Bleasdale was among those dreams of kissing a girl in his class but feels who paid tribute to his abilities, saying: "He unable to approach her. Many of Rosenthal's had a remarkable gift for characterisation and dramas dealt with relationships between the dialogue. I've always been a huge fan. He had sexes: from the early stirrings of sexual a remarkable career and I don't think he was feelings explored in P'tang his focus moved to given the credit more fêted writers have been the other extreme in Wide-Eyed and Legless given." The BBC director of drama, Alan (1993), a portrayal of the effect on a long- Yentob, said: "As one of the great original standing married relationship when one of writers for television he is up there with Dennis Potter and Alan Bleasdale. His writing the partners falls seriously ill. was funny and humane and touched a chord The trauma of applying for a university place with millions of people." and leaving home, the widening social horizons which accompany the process and The Ripper Street article planned for this the effect on candidates and their families are issue can now be found on Television Heaven all explored in Eskimo Day (1996) and its sequel Cold Enough For Snow (1997). And as in Yentl, a sympathy with those seeking heroically to overcome unreasonable prejudice forms the plot of the feature film Captain Jack (1999), based on the true

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Teletronic - Mar 2014 (Continued from Previous Page) The Wire is considered a masterpiece in part for its realism.

Whether it’s realistic or not it certain feels real, more than any other show. It also sometimes gets flak for being a mouthpiece for David Simon’s politics. Nothing wrong with that to me, but I think central feature of The Wire is the cause of both of these points and it’s a philosophical one.

In The Wire every character is somehow at the mercy of the system – a system shown to be expansive by the scope of the show. Essentially good characters are seen doing bad things and fundamentally bad characters are seen doing good things. This makes it interesting. That’s all well good, but the whole appeal relies on the premise that people are essentially and unchangeably good or bad and are acted upon by their situation – their behaviour is a product of the two.

They are a product of a broken system which they exercise limited ability choose within.

In Breaking Bad character follows behaviour and behaviour is always a choice. Walt is a good guy at the start, and then he makes the decision to kill Krazy-8 in his basement. Walt is now someone who has killed someone. The character follows the behaviour: the behaviour comes from the complete free will Walt exercises in every moment of his life after diagnosis.

Mr Selfridge review by Suzanna Hayes Hayes--Goldfinch Based on the book Shopping, Seduction & Mr Selfridge by Lindy Woodhead, Mr Selfridge, the British period drama series set in London at the beginning of the 1900s, tells the story of the world famous department store, Selfridges & Co, and the flamboyant American entrepreneur behind it all.

have given up. When his investor pulls out, leaving Selfridge without the capital required to fund his new business, he remains optimistic and even seems to be in denial about the situation.

His ever suffering Accounts Manager, Mr Crabb (Ron Cook), seems to have little insight into the actual financial position of the business, as Selfridge continuously fobs him off. Luckily In the opening episode, Harry Gordon Selfridge Selfridge manages to make a few contacts, one of (Jeremy Piven) visits a shop to make a purchase which bankrolls him. and is so disappointed with the rules and regulations in place that it inspires him to open We get to see Selfridge with his family, seemingly his own store. When buying a pair of gloves, the completely besotted with his wife, Rose (Frances shop assistant shows him only exactly what he O'Connor) and devastated when, in later has asked for, but Selfridge argues that he episodes, he discovers her liaison with her wanted to see a range of gloves as he wasn’t portrait painter. His banter with his children entirely sure that what the assistant showed him seems very natural and he even brings his mother was what he wanted. His view for his shop is to over from America to live with them. have as much on show as possible so that consumers can choose between different variations of clothing. Hence, Selfridges was born -a department store dedicated to browsing. The store was considered innovative when it opened amongst massive hype in 1909, changing the way people shopped, particularly women.

The show also documents influential points in the store’s history. Selfridges was one of the first UK retail outlets to bring the perfume counter to the front of the store. Considered “a woman’s secret” some thought it was a risky move and that perfume should be hidden at the back of the store. Selfridges was also a leader in “off-thepeg” fashion. It was considered crazy that a woman should be able to walk into a shop, try on a ready-made dress and then leave with it on the same day. Yet Selfridges made that happen.

Although the programme documents the opening of Selfridges, the main focus is on Mr Selfridge and the staff he has hired to work in his department store. In the first episode, Selfridge comes across as a very likable character. He's enthusiastic and charming, excites most of the people he meets and remains cheerful and positive even in situations where others may

At first glance he seems like the perfect family man. So it comes as quite shock when Selfridge betrays Rose so early in the series, appearing to show no remorse over the affair and, even when challenged later in the series by her, showing no sign of remorse or apology. However, Selfridge’s addiction to women makes perfect sense seeing as how his department store is dedicated to making them happy. Indeed, the storylines surrounding the women are far more interesting than that of the main man.

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Teletronic - Mar 2014 (Continued from previous page) People were so heartbroken by Walt’s journey because they thought there would come a limit – they thought there would be a point were essentially who he is would stop him from doing the next, more awful thing. It made people angry with Walt because they are afraid that evil people weren’t always evil. That they themselves could, given a choice here and there, become what they would consider a bad person.

In parallel, Jesse refuses to exercise his free will. He’s lead on a journey he hates by Walt, Jane, Mike, Gus and finally by Hank.

Jesse is the most beloved character on the show (except maybe Marie I guess) and his suffering is profound and uncomfortable to watch.

While watching the finale I was worried about Jesse’s future right up until his last line of the show: “Do it yourself”, Jesse takes control, walks away, he makes the choice even though he was tempted by Walt. It’s finally his call. And he leaves in the driver’s seat.

The Wire maybe hard to watch because it shows terrible things happening, Wallace’s death was gut-wrenchingly sad and the downfall of Stringer Bell was probably the best three-episode arc in television history. But I submit that The Wire essentially comfortable to watch because it shows people trying their best in a world that makes their efforts futile, we are all tempted to see ourselves as products of the events that happen to us, not the events we impose on the world.

That level of freedom would terrify us - and it makes Breaking Bad the best TV show ever made.

It becomes clear that Mrs Selfridge is used to her husband’s infidelities. Yet she only makes him aware of her knowledge when he confronts her about her painter friend. Even then, though they argue, she tells him she may forgive him in the morning. Selfridge's need for control is obvious through his leadership of the shop and his family life. However, Rose Selfridge slipped, and although few would blame her, Harry Selfridge certainly does. Most of the time, Rose seems mysterious and aloof, which is part of Mr Selfridge’s control over her and part of the reason why he fell in love with her. Mrs Selfridge is in complete contrast to Ellen Love (Zoë Tapper), the show girl who turns Selfridge’s head in the early episodes. She is more like Selfridge. Confident, cocky and very unsubtle, she makes the mistake of trying to control him as she is used to men doing what she asks of them.

When he decides he no longer wants anything to do with her, she completely loses control and overdoses. At the same time, Selfridge loses control through drinking. Their personalities are very similar.

But the most interesting character is Ms Agnes Towler (Aisling Loftus). Her story unravelled after Selfridge employed her in his shop. The other members of staff disliked her due to her perceived favouritism with Mr Selfridge and her popularity with some of the male staff. However she was facing her own challenges at home which made her more than just another pretty face in Selfridge’s life.

The series is set in a time when women are starting to have a voice of their own. They are feeling liberated, although still slightly restrained, as proven when Miss Ravillious (Anna Madeley) starts to work at Selfridges wearing a skirt that rises above her ankles. Despite this, the women are certainly becoming more forward with their desires towards men and are enjoying working and having more freedom. Lady Mae Loxely (Katherine Kelly) is probably the best example of this, using her own fortune and her husband’s title to choose younger lovers as she wishes. There have so far been two series of Mr Selfridge each with ten episodes. It is a polished, lavish, very easy to watch period drama which provides some interesting insight into how the British used to shop.

Obituary: Stanley Rubin

Stanley Creamer Rubin won his place in the history of US television in 1949 by becoming the recipient of the Television Academy’s first ever Emmy for writing and producing (in collaboration) an adaptation of Guy Maupassant’s The Diamond Necklace for the NBC series Your Show Time. Rubin was born on 8 October 1917 in New York City and began writing in 1940. Ten years later he began producing both television and feature films. His television producing credits included the series The Ghost & Mrs. Muir (for which he received an Emmy nomination as the producer of the Best Comedy Series) and Bracken's World-whilst his movies included River of No Return (1954) starring Marilyn Monroe and the Clint Eastwood drama White Hunter Black Heart (1990). Rubin, the subject of the documentary film Stanley Rubin: A Work in Progress (2008), had been married to actress Kathleen Hughes since 1954. He died on 2 March 2014 from natural causes at the age of 96 at his Los Angeles home.

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Teletronic - Mar 2014 Click to Purchase these DVD’s

from Amazon UK

Paparazzi Made People Public Property - The Big Brother Story

by Onome Okwuosa It’s hard to forget the public shattering of Britney Spears, the pictures taken by famed paparazzi Francois Navarre of her head shaving debacle. Through every portal, the world rubber -necked to watch the car crash of her life unfold in graphic detail. Navarre’s cavalier approach to photo-journalism, grosses him a whopping annual turnover of some $10 million!

Taking the obsession people have with the rich, beautiful and famous; producers dangled the carrot before the applicants noses and let the game begin. You too can be part of this elite group if you sign here, act up here and of course only if you want to, flash a boob or winky there and there.

It’s not really fair then when people say the contestants are famous for nothing for they are tried and tested entertainers. Using nowt more than their personalities, they inspired jaw dropping moments. Brain-box Jade Goody believing East Anglia was in a whole other country, Brian Belo flopping his man-stick around the pool for the nation to see and Nasty Nick whisperispering his way to immunity from eviction. Their tom foolery was TV fodder at its When fame turns to shame we’re all too ready to best and worst. buy the magazines and read all about it in the papers. Big Brother waltzed in and invited us to Had it not been for an intervention from the shake up the game. Be part of a new reverse flow powers that be, Nick would’ve serenaded his way to fame and glory it asked, sure why not, we through to the final. Shows like Big Brother with replied. the always on camera revealed how subjective reality is. The lack of the situational structuring in Like many other reality TV shows, Big Brother favour of editing, led the viewer to believe they smells a little bit like a quasisocial experiment. A were watching relationships organically develop wonderfully simple format that promised nail between characters. biting tension. Of course with cameras rigged to every corner, the happy-to-pay public won’t be Sada Walkington from the first UK Big Brother, disappointed as they get to scrutinise every slated the show for their editing and broadcasted insidious and sordid going on. version of the supposed truth. She found they were a tad too effective with their footage Big Brother baits and hooks nipping and tucking. Their choice of what to air George Orwell’s dark look at an ever watching was so warped, she felt it was destructive to her audience in his film 1984 and Andrew Nicol’s The personality leaving her feeling betrayed and Truman show ominously inspired the Dutch having to pick up the pieces when she returned makers to create the hit programme. Thankfully, to the real world. unlike the films, all contestants were willing to participate. Happy to be watched over by a critical public.

Unapologetic, Navarre says he will go as far as he can “without breaking the laws” and why not?

The “global appetite for celebrity pictures…is insatiable says Kevin Smith, former News Chief of gossip rag Splash News. It’s papers such as these that rather than put the proverbial fat kid gorging on a diet of celeb gossip; puts a fully stocked vending machine in their bedroom.

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Teletronic - Mar 2014 Next Issue: April 2014 More Show Reviews Plus Features Disneyland: How Walt Disney Married The Enemy

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If you wish to advertise in future issues of Teletronic please contact televisionheaven@hotmail.co.uk Contributors this issue: Anome Okwuosa James Thomas Suzanna Hayes-Goldfinch Sandy Knight Mike Spadoni Laurence Marcus

Keep them in or cuss them out?

Big Brother 1 winner Craig is now a popular DIY presenter on daytime telly. Brian Dowling, Big Brother 2 and ultimate Big Brother winner went on to host the show, replacing long standing presenter Davina McCall. Big Brother 4 winner Cameron now writes and broadcasts for BBC in Aberdeen.

No matter how much vigorous testing and personality probing the contestants undergo, there’s only so much you can test theoretically.

Sitting in the comfort of our homes, a safe distance between us and the participants; it’s little wonder we don’t Yoda off our cushions. We were elevated to new heights as we were given Once you’ve charmed your way around the other the final say in who got booted out of the Big contestants, and remained in the bubble-cage for the entire series you’re clearly likeable enough to Brother bubble. be considered by the networks. Winners proved The public’s insatiable appetite was placated they have a skin thick enough to suffer the cattlewith having the final vote for only so long. Each prodding of producers whilst on the show. Add to series of the show shaped and formed characters that their willingness to shed personal privacy that were prime for the new age of television. and you’ve got a presenter perfect for modern Skins had to be thickened for the new era of day mass-marketing. public interaction. Delving ever deeper, the relationship between the players and the public The show hasn’t been so kind to its celebrity counterparts mind. Many of those that head in, now waxes and wanes over social networks. despite their established star status crumble Critiquing on Twitter and Facebook with friends, under the pressure. Vanessa Feltz, TV personality family and strangers knocked walls down, and radio host, had her marbles shaken up by the creating street long front rooms. Complements experience. Snapping and swearing at and callous cussing showed those on the outside contestants, scrawling in chalk on tables. Safe to had joined in with the blending of the public and say, she was a happy bunny when she was let private persona. No longer hushed water-cooler back out into the wild landscape of normality. conversation or coffee break banter, the digiverse became the home for heated opinion exchange. When politicians head into confined spaces with other large characters, you never know what’ll Fame or shame Academy, it’s your happen. With George Galloway, it was bitching with Jodie Marsh, damn near brawling with choice Barrymore and who can forget the hello kitty The format of the show is proving to be an moment with Rula Lenska? With those kind of optimum training ground for future fame, DJ and shenanigans how can you not feel better about presenter being the top career choice for yourself? Here’s to the next fishbowl full of crowned contestants. characters.

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