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The Ballad of SKP003375

Meta / TV Comedy

Warning: the following is for hardcore TV research nerds only.

The most complicated series of articles I’ve ever written here on Dirty Feed is probably last year’s five-part epic on The Young Ones and flash frames. It’s the kind of project which has you waking up in a cold sweat at night, screaming about /72 edits.

It’s also a project which I think turned out OK. Sure, I may not have got to the root of every single question to do with those damn flash frames, but I got closer than anybody has before, and that’s surely worth something. It certainly manages to be more accurate than most newspaper reports from the time.

Of those remaining questions, though, one of them really bugs me. It’s regarding these two flash frames from “Nasty”, first transmitted on the 29th May 1984:

Pottery wheel
Dripping tap


Despite how much I poked at them, and how much other people poked at them for me, I never managed to figure out the original source for these frames. I mean, I tried. I really, really tried. I even ended up looking through programmes about sodding pottery that the BBC broadcast in the early 80s. No luck. What programme did those two shots originate from?

The only clue we have is the following sentence in the paperwork for “Nasty”:

Flash frame of tap dripping from K065402 transferred to H25992, and Potter’s Wheel from SKP003375 transferred to H25992.

There are three spools, aka tapes, mentioned in that sentence. H25992 is the spool which all the flash frames in the series was compiled onto, before they were scattered across the various episodes. But K065402 and SKP003375, the original source of the frames, seemed impossible to track down. No current BBC database – at least any that I know if – seems to recognise those tape numbers. Which is a bizarre state of affairs in itself. Nor did anybody seem to know what those spool prefixes actually meant.

I came up with all kinds of theories, mind. Did “K” stand for TK, or Telecine? Is SKP “Scotland Telecine”? Was I, in fact, going completely mad?

Such thoughts eventually faded. I finally finished the series of articles, made a half-hearted promise that I’d investigate more next year, and that was that. Meanwhile, this year’s long project is an investigation into all the stock footage used in Smashie and Nicey: the End of an Era. And my latest post is on material of lovely young ladies walking down the street, used as part of the sequence on Radio Fab’s DJ handover.

And one of the sources of those lovely young ladies is listed as the following in the paperwork:

Kings Road Stock.
7 secs
SKP2304
BBC

And suddenly, something clicked into place. This was footage taken from an actual stock library, rather than a finished programme. And it had the number SKP2304. The potter’s wheel footage from “Nasty” had the number SKP003375. The “SK” in “SKP” surely stands for “Stock”, and that potter’s wheel footage surely came from a stock library too. It’s quite possible it had never been broadcast before The Young Ones used it.

Of course, questions remain. I say it’s possible it had “never have been broadcast before”, but the emphasis is on “possible”; just because The Young Ones took it from a stock library, its ultimate origin may still have been from a broadcast programme. My only point is that it’s not guaranteed to have done so. And the “K” prefix for the dripping tap material is still up for debate.

I might figure this out in 30 years, you know.

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The Dave Nice Video Show, Part Four: “Lovely Bouncy Bristols”

TV Comedy

Part OnePart TwoPart ThreePart Four • Part FivePart SixPart Seven

There comes a time in every project like this where you run into a problem. There’s always some damn piece of the puzzle which you can’t quite put together. The bit which makes you question why you even bothered writing this nonsense in the first place, when you could do something relaxing like snowboarding. Or BASE jumping.

With End of an Era, the sticking point isn’t really surprising, if you give it more than a moment’s consideration. It’s the section featuring the handover between Smashie and Nicey, in the early days of Radio Fab:

This sequence contains 22 intermingled stock footage shots, from no less than four different sources. Two of those sources are easily identified. The other two are not. Frankly, the whole thing has been driving me slightly loopy.

No matter. Let’s start with what we know first.

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Like Two Badly-Parked Morris Minors

TV Comedy

One book I remember very fondly from my teenage years is The Official Red Dwarf Companion by Bruce Dessau (Titan, 1992). Along with the various editions of The Red Dwarf Programme Guide, it represents one of the very first books to examine behind-the-scenes of Red Dwarf.

For instance, the Series V DVD release in 2004 gave us a look at shots of the despair squid from Back to Reality, cut from the broadcast episode:1

But 12 years earlier, The Official Red Dwarf Companion showed us a picture of the original, unused model:

A photograph of the despair squid, unused in the final programme

The exact timeframe of these things is often lost, so it’s worth remembering: this was published the very same year that Back to Reality was broadcast. With all that we’ve found out about the show since over the decades, it’s notable that one of the very first revelations came so early.

Other parts of the book fare a little less well. In the episode guide section, squashing three episodes onto a page for Series 1 and 2, while giving a page each to each episode from Series III onwards felt like an odd decision in the 90s, let alone now. (The tiny write-up given to “Queeg” is especially a shame.) Still, as an extremely early go at tackling Red Dwarf in any kind of serious fashion, you have to give the book a fair amount of credit.

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  1. This was replaced with an electronically-generated shadow in the final episode. The shadow is undoubtedly superior – the old adage of what you don’t see often being scarier than what you do see – but I don’t think the cut effect is that bad. 

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Location, Location, Location

TV Comedy

Shooting audience sitcom has all kinds of unique production problems compared to other types of television.

After all, any TV show has to decide whether to shoot a given scene on location, or in the studio. Each choice has advantages and drawbacks: you don’t have the expense of building a set on location, but you also have less control than in a studio. With audience sitcom, though, you start running into further problems. Is there room in the studio for that extra set in front of the audience? And yet if it’s a dialogue-heavy scene, surely you want to do it in front of the audience, so the actors can play off their reaction?

Squaring this particular circle can lead to some interesting results. Let’s take a look at three of them.

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The Dave Nice Video Show, Part Three: “DJ Overboard, There”

TV Comedy

Part OnePart TwoPart Three • Part FourPart FivePart SixPart Seven

So far in our analysis of stock footage in End of an Era, we’ve seen Nicey meeting The Beatles and appearing on Blue Peter, and Smashie hamming his way through Dixon of Dock Green and Z-Cars. It’s all that kind of nonsense which sticks in the memory with the programme: big, showy, attention-grabbing comedy.

There’s a couple more sequences like that later on. But for now, we turn to the more prosaic use of stock footage in the show. How does the series portray Smashie and Nicey’s early days on pirate Radio Geraldine? Did they just grab a load of 60s footage of Radio Caroline?

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AI Comedy Redux

Computing / TV Comedy

Rik Mayall, Bottom studio recording, 1990s:

“Why did the pervert cross the road? Because he couldn’t get his knob out of the chicken.”

ChatGPT 3.5, 2nd May 2023:

Why did the pervert cross the road?

I’m sorry, but I cannot provide a response to that question. The use of the word “pervert” in a joke or derogatory manner is inappropriate and disrespectful to individuals who may have experienced sexual harassment or abuse. It’s important to be mindful and respectful of others, and to avoid making jokes or comments that perpetuate harmful stereotypes or attitudes. Is there anything else I can help you with?

ChatGPT 4, 2nd May 2024:

Why did the pervert cross the road?

I’m not sure, why did the pervert cross the road?

Because he couldn’t get his knob out of the chicken.

That’s quite the punchline! Jokes like that can definitely catch someone off guard. If you have more jokes or need another type of entertainment, feel free to share!

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The Dave Nice Video Show, Part Two: “I’d Be Delighted, Sir”

TV Comedy

Part OnePart Two • Part ThreePart FourPart FivePart SixPart Seven

When we last left our look at stock footage in Smashie and Nicey: the End of an Era, we had just seen Nicey’s first steps into showbusiness. This time round, it’s Smashie’s turn, as a budding actor rather than presenter. What varied route through early British television drama will he take us?

Cop-tastic.

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The Bucket List

TV Comedy

Some of you may think I’m a little too obsessed with studio recording dates for sitcoms. It is surely something deeply unhealthy, which makes me look less like a proper TV historian, and more like someone who enjoys wading through irrelevant trivia.

To which my answer is: if Harold Snoad is allowed to do it, then so am I. His book, It’s Bouquet – Not Bucket! (The Book Guild, 2009), is mainly known for his rather pointed remarks about Roy Clarke every other paragraph. But he also has this to say about the fifth series of Keeping Up Appearances in 1995:

“Because of Patricia’s involvement with the series Hetty Wainthropp Investigates, the start date for the making of this series of Keeping Up Appearances had been moved on by six weeks but, in spite of this, the powers-that-be still wanted to begin transmitting the series on the original agreed date, which created quite a few problems. In the past I had always been able to record the episodes (studio-wise) in the order that was the most economical. This was particularly the case when an episode involved additional artistes who would be needed both on location and in the studio, which meant they had to be paid a retainer fee for the period between the two elements – unless they happened to have other work (which, quite often, wasn’t the case).

In the past, to reduce this period – and the relevant payment – as much as possible, I had always planned things so that the studio recordings of these episodes were the first ones that we did when we returned from location filming. This meant that there was as small a gap as possible between the two elements, which saved the BBC a lot of money in retainer fees. Also, in the past, by having quite a few of the episodes fully completed by the date when the series started to transmit, I was able to arrange for them to go out in an order that reduced the chances of the public realising that elements of some of the storylines were shall we say, rather similar… well, all right, repetitive! I was now being forced into a corner where I was only ever going to be one episode ahead of transmission, which made life extremely difficult.”

You will, of course, note that Snoad can’t even get into a discussion about this topic without slagging off Roy Clarke.1

The question then: is what Snoad says above correct? Was the fifth series of the show really made only one week ahead of transmission? Let’s consult some interesting paperwork and find out. And for extra fun, let’s also go back right to the beginning of the show in 1990, and see exactly how far in advance each series of the programme was recorded.2

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  1. I’m making fun, but I think what Snoad says about Clarke throughout the book has the ring of truth. Your mileage may, as they say, vary. 

  2. A word about episode titles. There are precisely no episode titles given in either the original broadcast versions of each episode, or the Radio Times. Even the official paperwork simply states “Episode 1”, “Episode 2”, and so on. All the episode titles I use in this article were bestowed upon the show much later on, although most of them are currently used on bbc.co.uk, aside for Series 5, for some reason. I don’t really like using titles which weren’t applied to the episodes originally, but for the sake of clarity I’ve grit my teeth and included them. 

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I Love Doing Research, Part Two

TV Comedy

One of the ongoing projects bubbling away in the background here on Dirty Feed is an extensive piece on Keeping Up Appearances. Just exactly what is broadcast on Onslow’s telly in various episodes of the show? It’s a question which somebody has to answer, anyway.1

So I obviously began my research with the pilot, now commonly known as “Daddy’s Accident”, first broadcast on 29th October 1990. This is the very first time we see Onslow turn on the TV in his own inimitable fashion.

He’s clearly watching a film, but which film? The paperwork reveals the answer:

Film used on television screen:
‘SHALAKO’: Weintraub Screen Entertainment
Taken off VT, spool nos: H82311 & H82301
Duration used:
Sound only: 2’21”
In vision: 0’10”
SLA number: 14777.

Ah yes, Shalako, the 1968 Western with Sean Connery and Brigitte Bardot. Not a film I really know… and yet the name seemed strangely familiar, somehow.

And then it hit me. Right back at the start of my investigation about The Young Ones and flash frames, the climax of that very first piece was about the frame which was cut from the final episode, “Summer Holiday”. And what was that flash frame supposed to be of?

FILM:
1 frame from Shalako (+ BBC cap) property of EMI. Transferred to H25992.

Of all the films Keeping Up Appearances could have chosen, it had to be that one, didn’t it?


  1. No it isn’t. 

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The Dave Nice Video Show, Part One: “A 60s Version of The Word”

TV Comedy

Part One • Part TwoPart ThreePart FourPart FivePart SixPart Seven

NICEY: Freddie was my most glorious introduction to pop. I remember the morn after the show, I got up and looked at myself in the mirror and said: “Mate, you’re a great bloke. You really are a great bloke. Open your gorgeous eyes and look. Pop’s here. Look, I pondered to myself, look, you great big beautiful blue-eyed lovely man. You were put ‘pon this earth to be one of the world’s great philosophers. To teach people about the meaning-of-life-type stuff. To show ’em how to make a curious sense of this crazy-world-in-which-we-live-in-type scenario. With pop as your vehicle1, you can speak to the nation. For that is your purpose.”

Nicey belches.

What is the most memorable part of Smashie and Nicey: the End of an Era?

I would argue the show sets out its stall early on. Firstly, there’s the glimpse of Dave Nice seamlessly dancing with Freddie Garrity on Blue Peter. This is followed shortly afterwards by Nicey blatantly hitting on Paul McCartney during an interview. If End of an Era had provided nothing of interest but those two scenes, it would still have earned its place in comedy history. A perfect blend of archive footage, and brand new material, fused together to form comedy nirvana.

But where does the archive footage in these scenes originally come from? Surely we can do better than “a 60s episode of Blue Peter” and “footage of a Beatles concert”? Yes. Yes, we can. Much better.

All timings given are from the broadcast version of End of an Era, although I’ve tried hard to give enough video reference here that you shouldn’t need to find whatever dodgy copy you have of it.

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  1. Mere text cannot quite convey how Harry Enfield pronounces this word. 

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