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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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Carry On Exploding

Film

Hello there. Join me once more, for another of my TV memories… and another insight into my warped and generally unpleasant mind.

*   *   *

As usual, I can’t remember exactly how old I am. Around 10, maybe? I’m upstairs in bed, and I should be asleep; it’s past midnight. But for some reason, I am awake, and I hear my Dad laughing away downstairs. I rarely hear this. Not because Dad doesn’t laugh much, but because in general, I’m a very good sleeper.

I don’t know what made me get up. I rarely did that, either. But I distinctly remember creeping downstairs, and finding Dad chortling away in his chair. He’s watching a film. Unlike some of these memories, I need no help identifying what he’s watching. It’s etched clearly onto my memory: Carry On Again Doctor. Probably the first bit of Carry On I ever saw. It won’t exactly be the last.

For some reason, Dad doesn’t send me immediately back to bed. We end up talking. He tells me that the Carry On films were known for their low budget. Why haven’t I been sent upstairs back to bed at this point? He really must have been in a good mood. Maybe Kenneth Williams pulled a face.

And this is probably the point where I share a touching moment with my Dad, about a shared experience of comedy. Unfortunately, that is not the case. Because what appears on the screen disturbs me.

There’s something wrong with the electrics in the hospital. There’s a fusebox, with sparks pouring out of it. A lady is listening to earphones, which blow up in a shower of yet more sparks. I distinctly remember thinking: “How can this film be low budget? Surely it costs loads of money to do that and not hurt someone!”

And worst of all, there’s some kind of scary pump attached to a person. And that pump starts moving faster and faster. I really, really, really don’t like this. Something highly unpleasant is about to happen to that person in the bed. Will they explode in a shower of guts? I have no exact memory of what happens next, and I can’t say for sure that I ran screaming from the room. But no doubt I’m back upstairs safely in bed before too long.

Carry On films were clearly just too disturbing for me to deal with.

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Epiphanies.

Life

I remember. That visceral childhood sense of an adult being unfair.

Take a random primary school assembly, in what was surely near the beginning of 1991.1 Our headteacher – an unpleasant woman who even the other teachers whispered about – was holding court. At one point, she announced that as the school had already done something for charity this school year, we wouldn’t be engaging in any more charitable activities. This caused a bit of consternation. Clearly, some students had been planning. Someone meekly put up their hand, and asked about Comic Relief that year. Surely we could still do something for that?

No, we could not still do something for that. And our headteacher did not give a friendly, kind response. You know, “I’d love to, and I’m pleased you want to do something, but…” The response was rather harsher. Shouting, even. Did the pupil not listen to what she just said? Our headteacher was angry. Angry at someone who, erm, wanted to help out a charity.

And sitting there, on that bare floor in assembly, I just knew that… it was unfair.

*   *   *

Four years or so later, I’m on my paper round. An iron railing looms into view. Oh God. Time for that house again.

Sometimes, things happen in life which justify all the bad sitcoms in the world. And my nemesis on this paper round really is a dog . A nasty, vicious dog, who – unless you’re very fast – will race to the gate and start barking like it wants to eat you. The saving grace of the house is that I don’t have to go to the door – a letterbox is helpfully placed at the gate. It’s a sign of how violent this dog actually was that delivering the paper is still a challenge.

I distinctly remember complaining to my boss back at the post office. He was unsympathetic. People have the right to defend their own house, you know. “Maybe”, I thought bitterly. “But if they want to do that, they could at least walk 20 metres down the road to pick up their own newspaper.” But whatever. I continued to dread, deliver, and dash.

Until one day, as I gingerly approached the gate, the owner appeared. To be fair, she seemed a nice lady. I handed her the newspaper. She asked if I ever had any problems with the dog. I admitted that yes, I did.

Not to worry. She had a solution. All I had to do was bring some treats, and the dog would soon grow to love me.

Bring some treats. Buy some treats, unless I wanted to become another juvenile crime statistic. With, presumably, my own paper round money.

I did not earn a lot of money on this paper round. And now somebody I was delivering papers to expected me to spend some of it on their dog, just to avoid getting attacked.

At the time, I didn’t get that this was an allegory. I do now. But one thing I did know: it was damn well unfair.

*   *   *

Back to my primary school. It’s assembly time again, with my favourite headteacher. And at the end of most assemblies, we usually sing a song, with us all squinting at a blurry projector. We had a standard repertoire of songs, including a version of “I Can Sing A Rainbow”, rewritten to mention all the colours of the rainbow correctly, according to science.

And then there was another song we used to sing. A song full of hope for the future, for our future, the future of children. A rousing song, a beautiful song, a song to stir our emotions and lead us forward into the light.

That song was “Tomorrow Belongs to Me”. Yes, that one.

Stripped of the context of the film, and placed into a brand new, intensely worrying one, you have to wonder just what was going on in her mind.

After all, there’s being unfair, and then there’s thinking the holocaust was a grand idea.


  1. It could be ’89, but I would have been seven, and that just seems a little too early. 

The Journey

Life

It’s 11pm, as I leave a certain broadcasting centre in West London. Time to go home. I take the tube; partly for cost reasons, and partly because of a rather nasty case of claustrophobia. The larger tube trains don’t set that off, you see. Either way, taking a taxi home after every late shift isn’t an option.

I get on the tube, and sit down. To my right are three people. None of them are wearing a mask. But hey, I’ve been the person saying that lung issues can be invisible, and that we shouldn’t leap to conclusions about people. Maybe they’re all exempt. I sit back with my book, and try not to think about it.

I’m soon at my interchange, and I quickly change lines. Annoyingly, my next train is at a different platform to normal; I have to run up some stairs. My lungs protest – I have some nasty scarring from pneumonia back in 2016 – but I manage to make it with about half a minute to spare.

We move off. At the next station, somebody comes aboard and sits in front of me. They’re wearing a mask. Good. I concentrate on my book. Until I suddenly become aware of somebody else sitting to my right… without a mask. But, y’know. I have lung issues myself – I manage to wear a mask, but it can be uncomfortable at times – but you wouldn’t know it to look at me. Maybe they’re exempt.

My stop. Thankfully. I can relax a little. I walk briskly out of the station… and into a group of people playing football with a plastic pint glass, and yelling. Well, we’re outside, masks aren’t really required, are they? I pick myself through the group – a little too close for comfort when there’s a lot of them, but whatever – and head for home.

But as I get to the traffic lights, two people cut across me. They’re not wearing masks, either… and they’re heading directly for the pub opposite. “You got your mask?”, asks one to the other.

The other bursts out laughing. “No!” And off they trot.

And that was my journey home from work tonight. A journey made by a key worker, who has zero opportunity to work from home. A journey made just at the point where a second wave of Covid has frankly already started. A journey made by someone who already has lungs which are shot to hell and back.

*   *   *

By the way, they were all men.

# Now I Work for the BBC… #

TV Comedy / TV Presentation

Just how many quotes from “Elstree” by The Buggles can I use as headlines on Dirty Feed? (It’s two and counting, so far. There will be more.)

But in 2014, I did indeed used to work for the BBC, at BBC Elstree Centre on Clarendon Road.1 That stopped at the end of 2017 unfortunately, which means I don’t get to accidentally walk through a Holby City shoot and get yelled at. Oh well, it was fun while it lasted.

As for what I actually did at Elstree, that’s a tale for 30 years time. Still, while I wandered those corridors, I began to piece some things together in terms of the television shot there over the years. Which meant that I could take a look at this shot from Series 2 Episode 4 of Alexei Sayle’s Stuff (TX: 09/11/89):

A corridor in Elstree

And notice that the same corridor was used 27 years later in Eric Idle’s The Entire Universe (TX: 26/12/16):

The same corridor in Elstree

But that’s not really what I’m talking about today. This is a short story of a very specific prowl around the building. Although it is linked to the above corridor.2

What is now known as BBC Elstree Centre has a long and illustrious history, starting in 1914 as the site for the studios of Neptune Films. For the full version of that history, check out this section of Martin Kempton’s excellent ‘History of TV studios in London’; but here’s the short version. ATV used the site between 1958 and 1983, and then the BBC took it over in 1984. And being a TV geek of a certain flavour, I am rather interested in anything to do with ATV.

My challenge: could I find any obvious remnants of ATV at Clarendon Road, even though they had left the site 30 years before I got a chance to take a look around?

I can’t say I had a free run of the place. As much as I’d have loved to poke around in the galleries, plenty of doors were locked. And I was always wary of a burly security guard or two appearing behind me and giving me a good telling off. Still, I looked in the places I had access to. And for a while, it seemed like I wouldn’t find anything.

And then, I saw it. Tucked away in the same corridor pictured in the TV shows above – although little further down, just outside Studio C – I came across the following. With apologies for the terrible image quality…

Wide shot of ATV label

Close-up of ATV label

And if you actually got to the end of this post, I’m sure you got just as much of a kick out of that as I did.


  1. Well, more or less. I won’t bore you with the details of outsourcing, at least not today. 

  2. I seem to spend my entire life writing about corridors in some fashion or another. A trait I share with most Doctor Who fans. 

The Facts Speak for Themselves, My Friends

Music / TV Comedy

Before I knew what library music was, I used to get awfully confused, you know.

There was the time when I was watching Live & Kicking, and music used in Red Dwarf suddenly appeared. Then there was the time when I was at a show in Cadbury World, and, erm, music used in Red Dwarf suddenly appeared. (If you think I have a limited range of reference now, that’s nothing on me at 17.) More amusingly, there was the time when I was listening to Trent FM, and an advert came on… using the music from Central News East a few years previously. (Was that deliberate, to give the ad some already-bought legitimacy in the minds of the audience? Probably not, but it’s fun to ponder.)

These days, I know exactly what library music is, thank you very much, and the world seems a less puzzling place. And recently, a particularly pleasing strand was joined up in my head, as I was clicking around searching for library tracks used in The Young Ones.

That track was “Drama Heights” by John Scott. I first heard it on Spotify, on a 1976 library album called Drama – Tension, but the entire thing is available on Soundcloud for easy embedding::

One Way Static Records · Drama Heights (John Scott * Mark Of The Devil 2 * 1973 Soundtrack)

And it’s a track virtually anybody of a certain age who lived in the UK will recognise, as the main theme for Trev and Simon’s eternally amusing “World of the Strange” sketches:

So, let’s trace things back a little. Where did “Drama Heights” actually come from originally?

The Soundcloud embed above gives a clue as to at least one use: in the film Mark of the Devil Part II, a 1973 German horror/exploitation film that very few people seem to have anything positive to say about. (“Medieval torture and witch-hunting have never been so boring” seems to be the general gist.) The film is so well-loved by its rights owners that, erm, the whole thing has been uploaded to YouTube, and nobody seems to give a damn.

To be honest, the film is exactly the kind of film I don’t want to watch, so I hope you APPRECIATE the fact that I have gone through it, and found the section which uses the track:

Which means that hilariously, we now have a link between German exploitation flicks, and, erm, Fruitang:

At 29 seconds into that advert, Trevor Neal is this: funny.

So, was “Drama Heights” written for Mark of the Devil Part II? Certainly, the official soundtrack release seems to indicate that it was, without outright stating it:

“John Scott too contributed some music for the score, Scott who is now a seasoned film music composer respected by many, began his career in film scoring as a composer by writing the music for another horror movie A Study in Terror, which was released during the mid 60s. John also had another career as being the legendary sixties producer who recorded several artists like Tom Jones, The Hollies, The Beatles, etc. John is also known for his saxophone work on films like Goldfinger and several Henry Mancini projects. Mr. Scott won 3 Emmys throughout his career.”

You would be forgiven for thinking that John Scott wrote the track specifically for the film, from that paragraph. But “contributed” isn’t the same as “written”, and I was suspicious.

So, the obvious thing is to turn to Discogs. That turns up one very obvious-looking release – the album called Drama – Tension from Conroy in 1976. This is an album which has escaped out into the digital age – indeed, it’s the album I mention above which is on Spotify, which is where this whole little tale started. So, that’s the answer then, yes? That it actually was written for the film, and then became library music a few years afterwards?

No. We can trace it back further. To 1968, in fact – five years before Mark of the Devil Part II. It’s still a Conroy release, and it doesn’t appear to have a name, just a catalogue number. So hello to BMLP 056:

Cover of album
Side 2 of album


It’s worth noting that “The best of the backgrounds” isn’t the album title – it’s a slogan which was also used on other releases – so we can save ourselves a rabbit hole of thinking this was some kind of Best Of release. As far as I can tell, this was the very first release of “Drama Heights”. Not 1976, not 1973, but 1968.

And who would have guessed in 1968 that the same piece of music would be used in dodgy horror films featuring gratuitous torture scenes, and a Saturday morning kids TV show?

The joy of where library music ends up never seems to fade.

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“Pedestrian, camp fantobabble”

Children's TV / Meta / TV Gameshows

There are many pieces of terrible pop culture writing online. I’ve done plenty of it myself. But sometimes, a piece of work is so dreadful, that it lingers in your head for well over a decade. To the point where it actually falls offline, and you need to use the Wayback Machine to find it.

Such was the case with this piece on Knightmare from 2002. And it really is absolutely bloody awful.

The scene is set in the third paragraph, with possibly the least promising sentence ever written:

“Actually, as I write, I realise that I haven’t seen Knightmare for sodding years.”

An admission which leads to beautiful moments like this:

“It got rubbisher, as well: in a desperate attempt to fiddle with the formula, the producers ditched many of the more atmospheric locations and charismatic characters (notably Pickle, Treguard’s wonderful gay elf sidekick) in favour of comic hangers-on and tedious gimmicry. The eyeshield, anyone? Pah.”

Unfortunately, the facts are as follows: both the eyeshield and Pickle debuted in the same series. Series 4, to be exact.1

After that, deconstructing the article is like shooting fish in a barrel, to the point where it’s pretty much worthless. For instance, take this, on why Knightmare ended:

“It died because its niche fanbase eventually either a) got older, b) got computers or c) got sex – in any case, the market for its pedestrian, camp fantobabble was never going to last.”

This article was published in 2002. Three years earlier, creator Tim Child had already written a history of the show on Knightmare.com, which gave detailed reasons for why the show wasn’t recommissioned. But the writer of this piece isn’t interested in the actual facts; they’re interested in a pithy turn of phrase. Which also explains the bizarre line about “pedestrian, camp fantobabble”, which comes out of absolutely nowhere.

I could go on – what the hell is the bit about the “niche fanbase” all about, when it was an absurdly popular show, and a touchstone for a generation? – but you get the point. The main reason I bring all this up is because I realised the other day exactly how much this article influenced me when it came to writing my own piece about Knightmare, published last month. A piece that yes, has its fair share of reminiscing about the show.

It also throws in plenty of cold hard facts, as well. It transcribes actual sections from the show. It quotes Tim Child twice, from two separate sources. It’s a piece which proves you can still write about your memories, and fact check them at the same time without destroying anything.

That old piece from 2002 makes a point of acknowledging “nostalgia’s rose-tinted eye”, but doesn’t actually do anything about it. The way to avoid nostalgia is to watch and research what you’re writing about. And who knows? You might find that what you’re writing about doesn’t “look a bit, erm, crap”. You might just find it’s still fucking great. And if you don’t think it’s great, at least you can explain why, rather than guessing.

And I write this not because I want to say I’m brilliant. Well, not entirely. But it did shape something in my approach to writing that I think is worth noting: that just because you’re writing about pop culture, it doesn’t absolve you from doing the legwork. Just because you liked a kid’s TV show when you were younger, it doesn’t mean your half-remembered guff about it is enough.

Realising that at least sets you on the right path, however well you ultimately manage to traverse it. I think I get to the start of Level 2 before being killed off, but at least that’s better than dying in the first room.


  1. There’s also no evidence that Pickle was gay, either, but I have no issue with slash being written about him. 

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The Dull Religious Music Programme

Music / TV Comedy

Back in June, I published the first part of my Young Ones Music Guide, detailing every single piece of music heard in Series 1 of The Young Ones. Some of you may be wondering why the second part is taking so long to appear.

By way of explanation, I have a tale for you today. It is a thrilling tale, tracing a piece of comedy history, full of twists and turns, with a stunning climax. It also features Gregorian chanting and incorrect paperwork, but don’t let that put you off.

Here is how complicated tracing the specific music used in television programmes can be.

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