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A Short Note About Old G&T Articles

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Least promising headline on Dirty Feed ever, amongst some stiff competition, I know. Dirty Feed editorial policy is an even more niche subject than Hale & Pace fan fiction. But I do know there will be a few people wondering about it. Consider this a boring publishing note that most people can skip, and read something more interesting instead.

So: recently, I’ve started publishing a few posts on here which I originally wrote for Red Dwarf fansite Ganymede & Titan, which I departed from back in January. I thought I’d give a little explanation as to my choices, because republishing my old shit has never been this site’s modus operandi before. (It’s always been about publishing my new shit.) But as I said at the start of the year, I do like the idea of some of my work from G&T having a home here too, especially given that it’s the perfect chance to revise and improve a few things.

Still, some of the stuff I’ve chosen to republish over here so far isn’t exactly the obvious stuff you’d think I might pick. So here’s my thinking behind it all, for those who care.

Obviously, plenty of stuff I wrote over on G&T just isn’t Dirty Feed material. For a start, I published literally hundreds of news articles over the years, which actually consisted of the bulk of my writing – precisely none of which are worth reviving here. Pieces on the imminent transmission of The Crouches aren’t something which need to pop up on Dirty Feed in 2020.1

Then there’s the longer, but still time-sensitive articles, such as my review of The Bodysnatcher Collection DVD back in 2007. I love that they are still available online, and hope they always will be, but I don’t see any point in throwing them across to here. They capture a particular point in time, that a 2020 date attached would entirely destroy.

Finally in terms of stuff that won’t come over here, there’s the old jointly-written articles, like this piece on the climax to Red Dwarf VI. I honestly can’t remember who wrote what in those pieces – in the early days, it was often a Lennon/McCartney situation2 – but that’s all the more reason not to publish them on Dirty Feed.

So, what of stuff that is likely to find its way over here? Currently, it’s the shorter material being revised and republished, especially stuff written over the past couple of years that I still actually like. Pieces about the early satellite repeats of Red Dwarf fit neatly into the kind of thing I already publish over here, for instance.3

Then there’s the bigger pieces. Stuff like my old Hancock’s Half Hour article are thoroughly Dirty Feed material, and you’d think they would be the first things to make their way across over to here. The reason they haven’t so far is simple: I want to do a proper job at revising them to make a little more sense outside a fandom context, and that takes time. Then there’s my analysis of the sets in Series 1 and 2 of Red Dwarf, which I abandoned after three posts. That needs finishing off, but it’s a big project that really needs proper time setting aside for. It’ll happen eventually.

And finally, there are the old articles which are revised so much that I haven’t even bothered acknowledging their roots in old G&T pieces. For instance, the piece I wrote on here last month about a character-defining joke in Red Dwarf was initially inspired by a G&T piece from 2017, on an old Grant Naylor radio sitcom. But there are so many additions and changes in the Dirty Feed article – the first two-thirds are brand new, for instance – that it’s not really a rewrite of an old piece any more, and so doesn’t get labelled as such.

So there you go. Boring, but if you were confused as to the slightly-strange-from-the-outside republishing policy, then there’s your explanation. I’m not interested in porting over every single piece of writing I’ve ever done about Red Dwarf to here – anything I publish I want to reflect what I think about things today. After all, there are plenty of old articles which aren’t time-sensitive, and you’d think would make a decent post on here… but after ten years, I have decided are actually complete and utter bollocks. No point dragging out my ill-thought-through pieces about how whatever the faults of a piece of comedy, “it doesn’t matter as long as its funny”.4

Now, let’s forget about Red Dwarf for a bit. Who fancies something about Doctor on the Go instead?


  1. I do like the headline, though. 

  2. Yes, I’m afraid I actually did just make that comparison. 

  3. The revising takes two forms, incidentally. The first is to mainly strip the pieces of fandom in-jokes which wouldn’t really work over here. The second is proper improvements to the material. This piece on an old Night Network show adds some research involving TV listings which really should have been part of the original G&T version, but I was lazy. 

  4. This is one trap I fell into time and time again in old pieces of writing about comedy: segregating off “comedy” and “everything else”. Which is nonsense. Everything feeds into whether something is funny or not. A lot of my early writing about comedy is me splashing around, desperately trying to come up with something worth putting on the page… and failing. 

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Pillow Talk on Night Network

TV Comedy

This year on Dirty Feed, I’ve talked about identifying the dates of some of my early TV memories.

Here’s a little tale about identifying the date of somebody else’s.

*   *   *

Long before Paula Yates invited people On the Bed, Emma Freud was doing the same on Pillow Talk, part of ITV’s late night programming Night Network.1 And who did she have on the bed in 1987? None other than a certain Chris Barrie, who spends much of the interview looking fairly uncomfortable. They should have just had sex in multiple different positions and had done with it.

A few things to ponder, then, before I reveal the real MEAT of what has turned out to be a rather remarkable little time capsule.

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  1. For a far more detailed discussion of ITV’s late night efforts, you should listen to this podcast by Jaffa Cakes for Proust, which is truly excellent. 

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The Young Ones Music Guide: Series Two

Music / TV Comedy

Madness and Mike

Previously on Dirty Feed, I took an in-depth look at the music used in Series 1 of The Young Ones. This turned out to be a surprisingly popular move. So, how about Series 2?

No preamble, let’s get on with it. Only pop music can save us now…

As before, there are some tracks that I just haven’t been able to identify yet. If you have any ideas, let me know in the comments or elsewhere.

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Gold Digging

TV Comedy

It’s odd, the things you assume, with absolutely zero evidence whatsoever.

Take Red Dwarf repeats, for example. Over the years I’ve written countless stupid articles about the show. But one thing I never got round to is a full list of repeats Dwarf has had over the years. So if you want that, you should read Christopher Wickham’s excellent The Red Dwarf BBC Broadcasts Guide.1

Still, one self-confessed omission from that article is anything to do with cable/satellite repeats and the like. I don’t intend to provide a full list of these, because while I might be a moron, I am not an absolute fucking moron. It seems worth asking one question, however: when was the first repeat of Red Dwarf in the UK which was not on the BBC?

Before researching this post, my massively naive guess was: around 1992. UK Gold launched on the 1st November of that year; I’d just assumed that repeats of Red Dwarf had been part of the channel from the very beginning. But then, I never had access to the channel back when it started; the first time I ever experienced the wonders of multichannel television was in the late 90s, when we got NTL analogue cable, and even then we couldn’t afford any of the extra pay channels. Instead, I whiled away my days cheating the receiver into giving me 10 minutes of free Television X. Believe me, when you’re 18, 10 minutes is all you need.

Anyway, there is a very easy way of telling when Red Dwarf was first shown on UK Gold, and it doesn’t involve doing any hard research. Just ask people on Twitter, and get them to do that hard work for you. And here is the answer from Jonathan Dent, cross-referencing the Guardian’s TV listings and this Usenet post. The repeats of Dwarf on UK Gold started with a double-bill of “The End” and “Future Echoes”, and premiered on the Sunday 5th October 1997 at 11:05pm.

UK Gold schedule for first showing of Red Dwarf

That’s a bloody great day of telly, isn’t it? But I digress.

What I find especially interesting about all this is that it coincides with the 1997 resurgence of Red Dwarf, which started with the first broadcast of Series VII 10 months previously, along with the programme’s first Radio Times cover. A resurgence which I look back on with mixed feelings, to say the least – but very much part of the second wave of the show and its fandom. Being someone who got into Red Dwarf during the 1994 BBC2 repeat season, I had no idea that I was already watching the show before it got its very first non-terrestrial UK showing. These repeats are all so much later than the history I had made up entirely by myself in my own head.

Now, would it be too much to hope for that this first broadcast on UK Gold was captured by someone on video? Maybe even with the accompanying – and presumably quite excitable – continuity announcement?

A version of this post was first published on Ganymede & Titan in September 2019.


  1. In fact, you should read his blog Ludicrously Niche regardless. TV edits, gamebook analysis, and Radio Times capsules, who could want anything more from the internet? 

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Temporal Signatures

TV Drama

I often wish I’d kept a diary. I never have.

Well, not a proper one. I did write one for a week when I was at secondary school, which went into deeply unfortunate detail about a girl I fancied in my class. This would have been fine, if it was just for my own personal use. Unfortunately it was for homework, and I had to give it in to my English teacher at the end of the week. The details of this incident are far too embarrassing to discuss voluntarily, but let’s just say that when I got the work back, my teacher said that while the diaries were “too personal”, they were very entertaining in an “Adrian Mole” kind of fashion. I took this as a compliment at the time. It was only years later that I realised that when applied to somebody’s real life, rather than a satirical work of fiction, it… really was not a compliment in any way whatsoever.

Regardless, the fact that I’ve never managed to keep a proper diary has really annoyed me over the years. As somebody obsessed with when things actually happened, not being able to pin down key events in my own life is troubling. I’ve just never managed to fit the actual writing of a diary into my day. Finding the energy to do a half-decent write-up of the past 24 hours just before bed has never been something I’ve been able to do.

Instead, to identify the exact date of things that happened years ago, I have to piece things together in other ways. Like, for instance, what was on the telly.

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Five Nice Things

Internet / Meta / TV Comedy / TV Presentation

I’ve had it up to here with Twitter. This is not an in-depth article about the perils of social media. It’s just a simple statement of fact. I’ve had it up to here with Twitter.

I could list the many reasons why I’m bored with it right now. People coming into your mentions and explaining your own jokes back to you is a big one. People piping up with the ludicrously obvious take, when you’ve tried your hardest to tweet something more interesting, is another.1 The constant stream of unpleasant news is a third. I know the world’s going to shit, I am literally paid to put news bulletins on air, and monitor them closely. I don’t need to be told all this stuff in my free time as well. It’s just too much to cope with.

Then there’s the thing which pushed me entirely over the edge yesterday: making a crap joke about “nations and regions” in terms of television playout, only for someone who doesn’t even follow me to pipe up with some nebulous political point against me. And when I tried to politely explain I’m talking about something technical rather than anything wider, they block me. I got enough of this kind of aggressive, bad faith shit in the playground when I was 12. Right now, I don’t feel like willingly putting myself through it as an adult. I am bored of other people making their neuroses my business.

So for now, I’m deactivated.

Of course, it won’t last. I’ve not stormed off for good. Lots of people who I really like talking to, I only actually know on Twitter. And speaking entirely selfishly, Twitter is where I get the vast majority of hits for Dirty Feed from.2 At some point I’ll be back, like a dog eating its own fetid puke. But the longer I can take a break from it, the better for my mental health. So if you wondered where I’d got to, there’s your answer. I’m just trying to do something more useful for a bit.

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  1. If you worry you’ve done that to me… you probably haven’t. The people who come up with these obvious takes are entirely oblivious. 

  2. This article will be read by virtually nobody. That’s fine. You’re special

Emohawk: Covington Cross II

TV Comedy

“The Red Dwarf sets have been built on Stage G at Shepperton Studios, home of countless films and television projects, including The Third Man, Oliver!, Robin Hood: Prince of Thieves and Mel Gibson’s Hamlet, for the past three seasons. Scattered amongst the workshops and sound stages at Shepperton are a number of disused backlots, which have proved to be a bonanza for the Red Dwarf production team. This year, they’ve already returned to the wooded glade used in last season’s ‘Terrorform’ to shoot exteriors for episode four, ‘Rimmerworld’, and next week they’ll be shooting segments of episode five, ‘Emohawk’, in a village of wooden huts – a set left behind by the short-lived American series Covington Cross.”

The Making of Red Dwarf, Joe Nazzaro, p. 17 (published 1994)

“The GELF settlement was a re-dressed medieval village set which had been created for the aborted British/American television series Covington Cross.”

“Emohawk: Polymorph II” Wikipedia entry (retrieved October 2020)

Any self-respecting Red Dwarf fan has a few standard facts at their disposal. The first recording dates for Series 1 were cancelled due to an electrician’s strike. Robert Llewellyn was electrocuted on his first day at work. “Meltdown” was put back in the episode order due to worries about the Gulf War.

Slotting in among these standard set of facts is that the village scenes in the episode “Emohawk: Polymorph II” were shot on an abandoned set for a series called Covington Cross. And that’s… kinda it. That is The Fact, done, ticked, off we go.

I don’t think that’s good enough. Let’s take a proper look.

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Arnold J. Rimmer, BSc, SSc

TV Comedy

Sometimes a joke in a sitcom isn’t just funny, and doesn’t just reveal character. Sometimes, a joke is so good it literally seems to define your character. When Father Ted protests “that money was just resting in my account”, or Lieutenant Gruber sheepishly admits that “it was very lonely on the Russian front”, it somehow seems to be everything you need to know about them. A whole life, in a few short words.

For instance, take this joke in Series 1 of Red Dwarf (1988). As Lister prepares to watch Rimmer’s auto-obituary in “Me²”, he notices the following caption at the start.

Caption at start of Rimmers death video
Rimmer in his death video


HOLLY: “BSc, SSc?” What’s that?
LISTER: Bronze Swimming certificate and Silver Swimming certificate. He’s a total lunatic.

In that moment, you feel like you know everything there is to know about Arnold J. Rimmer. His abject failure to achieve anything, and his desperation to hide that by any means possible.

The thing is with these kind of jokes: they stick. When a joke means that much in terms of defining a character, the writers often can’t quite let go of it.

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(Probably) A Brand New Fact about Father Ted

TV Comedy

Of all the scriptbooks that I own, Father Ted: The Complete Scripts is my favourite. Not only is it the actual scripts, rather than Blackadder: The Whole Damn Dynasty‘s lame transcripts, but soon as you open the book, its magic is revealed on the inside cover.

Father Ted: The Complete Scripts is, uniquely, a collection of late, but not final drafts – jokes, characters and scenes that didn’t make it into the series are here, along with an introduction to each episode by the authors, which explains how the insane plotlines arose. So whether you’re a fan of the show, or simply interested in how a comedy programme makes the final leap from page to screen, this book is all you’ll need.”

Seeing as no deleted scenes ever showed up on any of the DVDs, or indeed any documentaries about the show1 , this scriptbook is the closest we’ll get to them. And there is indeed a fairly large chunk of stuff that never made it into the show. This includes entire scenes from “Song for Europe” featuring Jeep Hebrides, Craggy Island’s chief recording engineer, who leaps off the page so clearly that you just wish we could have met him for real.

But in some ways, it’s the smaller changes which are the most interesting. Take “Tentacles of Doom”, where three bishops come to Craggy Island to upgrade a holy relic, only to be destroyed by our heroes. Arthur Mathews tells us a delightful tale of an over-egged joke:

“Jack being taught to say ‘That would be an ecumenical matter’ was the inspired suggestion of (by now ex) producer Geoffrey Perkins. We were just going to have him saying ‘Yes’ and ‘No’, but that phrase really lifted it. There was a third line, ‘Temptation comes in many guises’, but it didn’t add anything so we dumped it in the end.”

– Arthur Mathews, Father Ted: The Complete Scripts, p. 120

You can already feel how the comic rhythm of the joke would be destroyed by the extra line. “That would be an ecumenical matter” is funny partly because it’s the only longer answer Jack gives. Learning what a show gets rid of is just as instructive as what a show keeps. Sometimes more so.

There is one thing that the scriptbook doesn’t reveal about this missing idea, though. Because a vestige of it actually appears in the final, broadcast episode. And I didn’t notice it for over two decades.

So let’s join Father Jack, shortly before he inserts the Holy Stone of Clonrichert up Bishop Facks’ rectum:

FATHER JACK: Temptation, ecumenical, yes!

Clearly, the “Temptation comes in many guises” lines were still in the script when the location shoot was taking place. The word does appear in the scriptbook in this scene, but nowhere else in the script – a script described as a “late, but not final draft”. So presumably the rest of the lines were deleted between the location shoot and the audience recording night.2

I confess that vestigial remnants of this kind utterly delight me. The glimmer of a road not taken, going unnoticed for decades. And it’s a sign of what you can get away with, if your show is firing on all cylinders. The above word should stand out like a sore thumb – the entire joke, as revised in the final version, is that Jack only has three answers. The mumbling of a fourth deleted one should ruin things, by rights. But it passes by without even being noticed, let alone feeling awkward.

The merest ghost of an alternate path, that never gets spotted… unless you’re on a deleted scenes orienteering course.


  1. To my knowledge, anyway. Let me know if I’m wrong. 

  2. Other parts of the book are more explicit that rewrites happened during this time; in the scriptbook’s introduction to “Hell”, Linehan talks about how the small/far away gag was thought up while shooting the episode’s location inserts. Not that that’s much of a surprise. I was at IT Crowd recordings where Linehan did rewrites between the first and second take in front of the audience. 

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Now He’s Gone

Internet / Music

Last year, I wrote about some odd little snippets of The Shangri-Las which had been uploaded to YouTube. They included an unreleased song, rehearsals for “Remember”, studio chatter, and an excerpt of a whole different version of “Leader of the Pack”. As I’m sure you’ll agree, this is one of the most exciting things which has ever happened in the entire history of recorded music.

Recently, I decided to go and listen to it again. And… hang on, what’s all this? Surely the video isn’t shorter? Am I imagining things?

Luckily, I had downloaded the original version of the video at the time. (My spidey-sense was tingling enough on my original listen that I thought that would be a sensible thing to do.) The version of the video I downloaded last year was 3:38 in duration. The version currently on YouTube is 2:35. Hang on, a whole minute missing? I can’t hide the tears, but I don’t care.

So, for those of you who want to hear that minute which mysteriously went missing from the upload, here you go. An alternate take of the start of “Leader of the Pack”, which according to the video description has Betty on lead vocals1:

As for why that minute was silently removed… who knows. The account where this bootleg audio was uploaded is arcane to say the least. For instance, they also uploaded this amazing stereo version of the Shangs magnum opus “Out in the Streets”, which has never been officially released anywhere:

So, a minute of Shangri-Las history: we don’t know where it came from, and we don’t know why it disappeared. But hey, I said last year that the Shangs were “fuelled by myth and mystery”. Even in 2020, mysterious things keep happening. It’s all highly appropriate.

That doesn’t mean we shouldn’t grab an extra minute of fun if we can get it.


  1. Health warning on this claim: a noted Shangri-Las expert who I’ve had the odd email exchange with doesn’t think it actually sounds like Betty. This is precisely the kind of stuff I’m terrible at figuring out, so at this I just throw my hands up and say “Whatever it actually is, it’s interesting, innit?” 

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