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Fun With Daisy and Onslow

TV Comedy

When you’re a Red Dwarf fan, it’s easy to forget how spoilt you are. The DVDs bombard you with deleted scenes and unused material. Want an early version of the opening episode, featuring an entirely different introduction to The Cat? The DVDs have you covered.

Sadly, Red Dwarf is an outlier; a rare example of a series which started in 1988 which still had a production office at the time of the DVD revolution. Moreover, it was understood that there was a large geek audience who would lap this kind of thing up. The chance to see this kind of material for programmes of Red Dwarf‘s vintage on an official release is rare, especially when it comes to audience sitcom. Sometimes, you have to rely on other means.

Or, just occasionally… mistakes.

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Onslow’s Telly Redux

TV Comedy

Over the past few days, I’ve been posting lots of interesting facts about exactly what’s on Onslow’s telly in Keeping Up Appearances. If I was somebody sensible, I would pretend I had now tracked down every last piece of information about the topic. By poking it any more, all I risk is inducing boredom and confusion, even among the hardcore readers of this site.

However, as previously established for the past 15 years here, I am not sensible. In some episodes, I couldn’t quite figure out exactly what Onslow was watching. And I feel duty-bound to document it.

So, stand by to be bored and confused.

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Onslow’s Sporting Moments

TV Comedy

Last time in our look at Keeping Up Appearances, we saw Harold Snoad making a load of fake films for Onslow’s telly. But Onslow doesn’t just enjoy watching the offcuts of Snoad’s location shoots. He also likes a bit of sport. Real, actual clips of motor racing and horse racing, not fake stuff.

But we get a little more specific than than that, surely?

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“Specially Shot for Onslow’s Telly”

TV Comedy

DAISY: There was a time when you used to chase me all over the house.
ONSLOW: That was before we got colour, wasn’t it.

Keeping Up Appearances, “The Art Exhibition”, TX: 11/10/92

Here on Dirty Feed, we like to answer people’s burning questions about television occasionally. So let’s look at two related queries1 from friend of the site Rob Keeley, who wants to know the following about Keeping Up Appearances:

  1. What’s the scary movie Onslow’s always watching, and
  2. What movie is in the QE2’s cinema in the “Sea Fever” special?

I can answer these questions… but it gets complicated. Strap yourself in. Here is each and every film which Onslow watches from the comfort of his armchair. The lazy bastard.

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  1. Yes, from two years ago. I never said we like to answer people’s burning questions about television quickly

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Oh, Nice!

TV Comedy

OK, so my planned Summer hiatus really didn’t work. To be fair, would you rather have a nice walk outdoors enjoying the sunshine, or spend your free time working out what is showing on Onslow’s television in every single episode of Keeping Up Appearances?

As ever, this project has become a complete nightmare, and I quickly realised why nobody else has ever bothered doing it before. Let’s take an example. Watch this scene from Series 3 Episode 4, commonly known as “How to Go on Holiday Without Really Trying”, broadcast on the 27th September 1992:

I am amused that Mary Millar gets a bit of an American sitcom-style reaction when she enters in that get-up.

But onto important matters: what music is playing there on Onslow’s telly? The production paperwork should reveal all. They list it as “Street Action”, Track 1 of the Chappell library album American Drama. Well for a start, “Street Action” is on the album American Drama 2, but the catalogue number matches up: Chap 142. Let’s give it a listen.

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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 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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