In the Night Garden

Total Page:16

File Type:pdf, Size:1020Kb

In the Night Garden Highlights | August 2011 For further information and images, please contact: UK: Nick Myles Editorial Coordinator BBC Worldwide Channels E-mail: [email protected] Tel.: +44 20 8433 2000 Produced by EBS New Media www.ebs.tv + 44 1462 895 999 Editorial Manager: Paul Talbot [email protected] August 2011 Highlights Britain’s Funniest Comedian BBC Entertainment presents a month of top comedy with four of Britain’s funniest comedians. John Cleese, Rowan Atkinson, Ricky Gervais and Stephen Fry are featured in their finest shows, and viewers are invited to vote for their favourite on the BBC Entertainment website. John Cleese From Sunday 7 August from 18:00 Kicking off the proceedings, the legendary John Cleese stars in classic 70s sitcom Fawlty Towers. Cleese gives an iconically hysterical performance as Basil Fawlty, the much put-upon hotel manager whose life is plagued by dead guests, hotel inspectors and riff-raff, not to mention hapless waiter Manuel’s peculiar attachment to a certain rodent. Rowan Atkinson From Sunday 14 August at 18:00 The Blackadder series sees the inimitable Rowan Atkinson starring as four different incarnations of Edmund Blackadder. In The Black Adder he is Edmund, Duke of Edinburgh, haunted by his uncle Richard III who he accidentally killed. In Blackadder II, Lord Edmund swaggers back with a big head and a small beard in search of grace and favour from stark raving mad Queen Elizabeth I. In Blackadder the Third, Edmund has been reduced in status and is serving as butler to the Prince Regent (Hugh Laurie), and in Blackadder Goes Forth we find him doing everything he can to avoid a futile death in the trenches of the First World War. Page 2 August 2011 Highlights Britain’s Funniest Comedian Ricky Gervais From Sunday 21 August at 18:00 One of the most successful comic figures of recent years, Ricky Gervais first revolutionised British comedy with two series of The Office, and consolidated his reputation with his next show, Extras. In The Office, Gervais plays David Brent, regional manager of stationery company Wernham Hogg. He fancies himself as a great team leader using humour to win the loyalty of his staff, but in reality he is unthinkingly offensive. Filmed as a fly-on-the-wall documentary, The Office is working life at its hilarious worst. Extras sees Gervais as Andy Millman, who gave up his day job in the hope of achieving fame and fortune as an actor. From Andy’s humble beginnings as a background artist to his sudden rise to prominence in his own show, his natural tendency to say the wrong thing remains painfully to the fore. Stephen Fry From Sunday 28 August at 18:00 British national treasure Stephen Fry’s latest comic incarnation is as master of ceremonies of the “Quite Interesting” comedy panel show QI. In each themed edition of the programme, Fry steers a motley crew of fellow comedians as he tackles a whole host of random subjects. Asking impossibly difficult questions of a four- strong panel of guests from the cream of current comic talent, Fry is harried and hampered at every turn by regular panellist Alan Davies. Page 3 August 2011 Highlights Derren Brown: Something Wicked This Way Comes Sunday 21 August at 22:00 Master of deception Derren Brown presents an award-winning live show which fuses magic, suggestion and psychology. Filmed in front of a packed audience at the Old Vic, London, this show is definitely not for the faint-hearted. Featuring plenty of audience participation, shocking stunts and subliminal mind-games, Derren demonstrates why he is one of the country's most exciting live performers, exhilarating audiences with his unique brand of intelligent and theatrical entertainment. Page 4 August 2011 Highlights Live At The Apollo Series 5 – From Monday 15 August at 22:00 Series continues every Monday at 22:00 The popular stand-up show returns for some more cutting edge comedy from the hottest names on the comedy circuit. Live from the world famous Hammersmith Apollo in London, Live At The Apollo showcases a variety of comedic talents, with a host of different styles. This time around, taking their turn as the evenings’ hosts are Rob Brydon of Gavin & Stacey fame, Irishman Ed Byrne and impressionist Alistair McGowan. Each perform a special set before introducing some of today’s finest talent, including British Comedy Award winner, Michael McIntyre, Jason Byrne, Sarah Millican, Adam Hills and pun- meister Tim Vine. Page 5 .
Recommended publications
  • Alternative Heroes in Nineteenth-Century Historical Plays
    DOI 10.6094/helden.heroes.heros./2014/01/02 Dorothea Flothow 5 Unheroic and Yet Charming – Alternative Heroes in Nineteenth-Century Historical Plays It has been claimed repeatedly that unlike previ- MacDonald’s Not About Heroes (1982) show ous times, ours is a post-heroic age (Immer and the impossibility of heroism in modern warfare. van Marwyck 11). Thus, we also fi nd it diffi cult In recent years, a series of bio-dramas featuring to revere the heroes and heroines of the past. artists, amongst them Peter Shaffer’s Amadeus In deed, when examining historical television se- (1979) and Sebastian Barry’s Andersen’s En- ries, such as Blackadder, it is obvious how the glish (2010), have cut their “artist-hero” (Huber champions of English imperial history are lam- and Middeke 134) down to size by emphasizing pooned and “debunked” – in Blackadder II, Eliz- the clash between personal action and high- abeth I is depicted as “Queenie”, an ill-tempered, mind ed artistic idealism. selfi sh “spoiled child” (Latham 217); her immor- tal “Speech to the Troops at Tilbury” becomes The debunking of great historical fi gures in re- part of a drunken evening with her favourites cent drama is often interpreted as resulting par- (Epi sode 5, “Beer”). In Blackadder the Third, ticularly from a postmodern infl uence.3 Thus, as Horatio Nelson’s most famous words, “England Martin Middeke explains: “Postmodernism sets expects that every man will do his duty”, are triv- out to challenge the occidental idea of enlighten- ialized to “England knows Lady Hamilton is a ment and, especially, the cognitive and episte- virgin” (Episode 2, “Ink and Incapability”).
    [Show full text]
  • Freedaily Paper of the Hay Festival Lionel Shriver What We Talk About
    Freedaily paper of the Hay Festival The HaylyTelegraph telegraph.co.uk/hayfestival • 25/05/13 Published by The Telegraph, the Hay Festival’s UK media partner. Printed on recycled paper Lionel Shriver What we talk about when we talk about food Inside GlamFest FreeSpeech StandUp this issue David Gritten Andrew Solomon Dara Ó Briain, Jo gets on the says embrace the Brand, Ed Byrne, Great Gatsby child you have, not Sandi Toksvig, Lee roller coaster the one you want Mack – and more! 2 The Hayly Telegraph SATURDAY, MAY 25, 2013 We need to shut up about size JQ@MNOJMT%@MI@RIJQ@GDN<GG about it. In retrospect, that very obliviousness must have helped to keep me slim. <=JPOA<O =PO)DJI@G0CMDQ@M So perhaps one solution to our present-day <MBP@NDO]NODH@R@NOJKK@? dietary woes is to restore a measure of casualness about daily sustenance. We think J=N@NNDIB<=JPOJPMR@DBCO about food too much. We impute far too much significance, sociologically, Growing up in America, I was a picky eater. psychologically and morally, to how much Lunch was a pain; I’d rather have kept people weigh. Worst of all, we impute too playing. During an athletic adolescence I ate much significance to how much we weigh whatever I liked, impervious to the calorie- ourselves. Unrelenting self-torture over counting anxieties of my classmates. At 17, I poundage is ruining countless people’s summered in Britain with a much heavier lives, and I don’t mean only those with eating girlfriend. After hitting multiple bakeries, disorders.
    [Show full text]
  • Gavin and Stacey Were Cast Who Played Pamela Shipman, on Fat Friends
    L-R: Gavin, Stacey, Smithy and Nessa REPORTS #50 OH! WHAT’S OCCURRING? heat takes a look at the most famous show ever to come out of Barry Island t’s hard to believe, but it’s ten years Mathew Horne and Joanna Page, and gave families and sets of friends. It was GAVIN AND since James Corden and Ruth Jones Larry Lamb, who played Gavin’s dad Mick, actually based on a real couple, whose brought Gavin & Stacey into our a role that was the total opposite of his evil Welsh wedding James attended, then lives. A decade ago, the majority EastEnders character, Archie Mitchell. told his close friend Ruth Jones all about. Iof the Great British public had no idea Reflecting on the show, James tellsheat , James explains, “The wedding was where Barry Island was, had never heard “Gavin & Stacey changed everything, on Barry Island, and Ruth’s from Cardiff anyone ask, “Oh, what’s occurring?” really, for all of us involved in the show. and knows the area quite well. I told her STACEY – nor realised that eating a corn on the cob In your career, you hope that you’ll have I didn’t think anybody had shown a could be considered sexual foreplay. something that resembles a hit. You don’t wedding on TV like the one I had been to.” Without the show, James Corden might ever think that something could mean James based his own character, Smithy, not have become a £10m global superstar as much to people as it does right now.” on a friend of his cousin.
    [Show full text]
  • A Fighting Force for Mental Health
    SANE: A fighting force for mental health Famous personalities who are friends and Vice Patrons of SANE are speaking up for those whose voices are so often not heard. We are delighted that they give their time and talent for greater public understanding. Jane Asher: “Where SANE is so invaluable is in not only providing someone to talk to who understands and can offer encouragement, but also in giving the kind of practical information that is needed.” Fellow Vice Patrons: The Rt Hon the Lord Kinnock Lynda Bellingham: Professor Colin Blakemore FRS Hon FRCP “SANE is vital to sanity in the way society Rowan Atkinson deals with mental health.” Cherie Booth QC Frank Bruno MBE Michael Buerk Stephanie Cole OBE Barry Cryer OBE Dame Judi Dench CH DBE Alastair Stewart OBE: Edward Fox OBE Sir David Frost OBE “Ignorance and prejudice are terrifying Barry Humphries AO CBE partners. SANE has always bravely and Virginia Ironside consistently battled against both and held high Sir Jeremy Isaacs the banners of care and compassion.” Gary Kemp Ross Kemp Nick Mason Ian McShane Carole Stone: Anna Massey CBE “As someone whose brother suffered from paranoid Sir Jonathan Miller CBE schizophrenia, I am very pleased to be a patron of David Mitchell SANE. I only wish it had been available to me and my James Naughtie family in those days.” Trevor Phillips Tim Pigott-Smith Griff Rhys Jones Barry Cryer: Nick Ross Timothy Spall OBE “The crazier the world gets, the more we need SANE. They are completely Juliet Stevenson CBE involved with the people they help.
    [Show full text]
  • Mr Bean in Town
    LEVEL 2 Teacher’s notes Teacher Support Programme Mr Bean in Town Rowan Atkinson, Richard Curtis, Steak Tartare, pages 1–6: Mr Bean rarely goes to EASYSTARTS Robin Driscoll and Andrew Clifford restaurants. Yet on his birthday, he decides to spend a special evening at a very nice one. In his best clothes, he asks for a table for one and sits at a very elegant table. As soon as he reads the menu he realises he can barely LEVEL 2 afford any meal there. So he orders steak tartare, not knowing what it is. In the meantime, he writes a birthday card for himself and leaves it on the table. Then he reads LEVEL 3 it pretending somebody has remembered his birthday. Mr Bean knows nothing about behaving mannerly at a restaurant. He does not understand why the manager LEVEL 4 pulls the chair away from the table for him or why the wine is to be tasted. He does not know why he should not play with the cutlery at the table or play the birthday LEVEL 5 About the authors song on the restaurant’s glasses. When he is served his food, he gives it a try and finds it revolting. He tries Rowan Atkinson was born in Consett, County Durham, to hide it: in a mustard pot, in a vase of flowers, and England in 1955. He went to public school, then took a elsewhere. LEVEL 6 degree in electrical engineering at Newcastle University before going to Oxford in 1975. It was at Oxford that he Steak Tartare, pages 7–12: Mr Bean continues to hide the met screenwriter Richard Curtis, with whom he wrote rest of the steak tartare inside the bread rolls, under the and performed comedy revues at the Oxford Playhouse.
    [Show full text]
  • Rts Announces Winners for the Programme Awards 2009
    P R E S S R E L E A S E Tuesday16 March 2010 RTS ANNOUNCES WINNERS FOR THE PROGRAMME AWARDS 2009 The Royal Television Society (RTS), Britain’s leading forum for television and related media, has announced the winners for the RTS Programme Awards 2009. The ceremony, held at Grosvenor House on Tuesday 16 March, was hosted by actor, comedian and radio presenter Rob Brydon and the awards were presented by RTS Chair, Wayne Garvie. The RTS Programme Awards celebrate all genres of television programming, from history to soaps, children's fiction to comedy performance. Covering both national and regional output, as well honouring the programmes themselves, they aim to recognise the work of exceptional actors, presenters, writers and production teams. The Winners: Scripted Comedy The Thick of It BBC Productions for BBC Two “An acerbic, intelligent and sweeping comedy which attained new heights. Faultless ensemble acting, meticulous writing and intricately contrived comedy climaxes combined to make this a series we didn‟t want to end.” Nominees Miranda BBC Productions for BBC Two The Inbetweeners A Bwark Production for E4 Entertainment Newswipe with Charlie Brooker Zeppotron for BBC Four “Right on the money... Refreshingly polemical and with real authenticity.” Nominees Britain's Got Talent A talkbackTHAMES and SYCO TV Production for ITV1 The X Factor A talkbackTHAMES and SYCO TV Production for ITV1 2-6 Northburgh Street, London EC1V 0AY +44 (0) 20 7490 4050 www.franklinrae.com Daytime and Early Peak Programme Come Dine With Me ITV Studios for
    [Show full text]
  • Evangelism and Capitalism: a Reparative Account and Diagnosis of Pathogeneses in the Relationship
    Digital Commons @ George Fox University Faculty Publications - Portland Seminary Portland Seminary 6-2018 Evangelism and Capitalism: A Reparative Account and Diagnosis of Pathogeneses in the Relationship Jason Paul Clark George Fox University, [email protected] Follow this and additional works at: https://digitalcommons.georgefox.edu/gfes Part of the Biblical Studies Commons, and the Christianity Commons Recommended Citation Clark, Jason Paul, "Evangelism and Capitalism: A Reparative Account and Diagnosis of Pathogeneses in the Relationship" (2018). Faculty Publications - Portland Seminary. 132. https://digitalcommons.georgefox.edu/gfes/132 This Dissertation is brought to you for free and open access by the Portland Seminary at Digital Commons @ George Fox University. It has been accepted for inclusion in Faculty Publications - Portland Seminary by an authorized administrator of Digital Commons @ George Fox University. For more information, please contact [email protected]. EVANGELICALISM AND CAPITALISM A reparative account and diagnosis of pathogeneses in the relationship A thesis submitted to Middlesex University in partial fulfilment of the requirements for the degree of Doctor of Philosophy by Jason Paul Clark Middlesex University Supervised at London School of Theology June 2018 Abstract Jason Paul Clark, “Evangelicalism and Capitalism: A reparative account and diagnosis of pathogeneses in the relationship.” Doctor of Philosophy, Middlesex University, 2018. No sustained examination and diagnosis of problems inherent to the relationship of Evangeli- calism with capitalism currently exists. Where assessments of the relationship have been un- dertaken, they are often built upon a lack of understanding of Evangelicalism, and an uncritical reliance both on Max Weber’s Protestant Work Ethic and on David Bebbington’s Quadrilateral of Evangelical priorities.
    [Show full text]
  • +\Shu Dqg Plvxqghuvwdqglqj Lq Lqwhudfwlrqdo
    1 +\SHUDQGPLVXQGHUVWDQGLQJLQLQWHUDFWLRQDOKXPRU Geert Brône University of Leuven Department of Linguistics Research Unit &UHDWLYLW\+XPRUDQG,PDJHU\LQ/DQJXDJH (CHIL) E-mail address: [email protected] $ ¢¡¤£¦¥¢§©¨ £ This paper explores two related types of interactional humor. The two phenomena under scrutiny, K\SHUXQGHUVWDQGLQJ and PLVXQGHUVWDQGLQJ, categorize as responsive conversational turns as they connect to a previously made utterance. Whereas hyper-understanding revolves around a speaker’s ability to exploit potential weak spots in a previous speaker’s utterance by playfully echoing that utterance while simultaneously reversing the initially intended interpretation, misunderstanding involves a genuine misinterpretation of a previous utterance by a character in the fictional world. Both cases, however, hinge on the differentiation of viewpoints, yielding a layered discourse representation. A corpus study based on the British television series %ODFNDGGHU reveals which pivot elements can serve as a trigger for hyper- and misunderstanding. Common to all instances, it is argued, is a mechanism ofILJXUHJURXQG UHYHUVDO. Key words: interactional humor, hyper-understanding, misunderstanding, layering, mental spaces, figure-ground reversal 2 ,QWURGXFWLRQ Recent studies in pragmatics (see e.g. Attardo 2003) have shown a renewed interest in humor as a valuable topic of interdisciplinary research. More specifically, these studies have extended the traditional focus of humor research on jokes to include longer narrative texts (Attardo 2001a, Triezenberg 2004) and conversational data (Boxer and Cortés-Conde 1997, Hay 2001, Kotthoff 2003, Norrick 2003, Antonopoulou and Sifianou 2003, Archakis and Tsakona 2005). New data from conversation analysis, text linguistics and discourse psychology present significant challenges to linguistic humor theories like the General Theory of Verbal Humor (Attardo 1994, 2001a), and call for (sometimes major) revisions.
    [Show full text]
  • (23Rd - 28Th August 2017) Pavilions Teignmouth Episodes from Blackadder the Third - Dual & Duality - Sense and Senility - Ink & Incapability
    August 2017 In this Edition Chairman’s Welcome Membership Reminder Blackadder III Box office summer closure Princess & the Pea Name of the Theatre Production News Who’s who CHAIRMAN’S WELCOME Our new committee members have had a very busy time since joining us and we are looking forward to more busy months ahead. We are very pleased that they volunteered and only hope that everyone on the committee is able to continue with all their good work, and we again extend our thanks to past committee members too, who also still contribute constantly to T.P. Following on from months of rehearsals with the youngest Tykes, and slightly less with the more senior Tykes and the ‘adults’ we were so pleased to present Peter Pan at the Pavilions Teignmouth in July. It was by no means an easy task and a great many ‘thank you’ messages need to be passed on. Mike and June Hewett spent many hours to design and build the set and then painting was done by Jane Branch and a ‘friend’ - I’m sorry but I cannot remember the lady’s name – to create some wonderful scenes. June also weilded her paint brush in a less artistic way but with more great results. Unfortunately some last minute adjustments were needed once the set had been transported to Pavilions as there was complications with space, but Mike laid aside his Mr Darling costume and spent many more hours with assistance from Iain Ferguson, completing it. The lighting was designed by Daniel Saint; then he had help from some members as they took down the majority of lights from the Ice Factory and re-erected them inside Pavilions.
    [Show full text]
  • A Rhetorical Analysis of Dystopian Film and the Occupy Movement Justin J
    James Madison University JMU Scholarly Commons Masters Theses The Graduate School Spring 2015 Occupy the future: A rhetorical analysis of dystopian film and the Occupy movement Justin J. Grandinetti James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/master201019 Part of the American Film Studies Commons, American Popular Culture Commons, Digital Humanities Commons, Other Film and Media Studies Commons, Other Languages, Societies, and Cultures Commons, Rhetoric Commons, and the Visual Studies Commons Recommended Citation Grandinetti, Justin J., "Occupy the future: A rhetorical analysis of dystopian film and the Occupy movement" (2015). Masters Theses. 43. https://commons.lib.jmu.edu/master201019/43 This Thesis is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Masters Theses by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Occupy the Future: A Rhetorical Analysis of Dystopian Film and the Occupy Movement Justin Grandinetti A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Master of Arts Writing, Rhetoric, and Technical Communication May 2015 Dedication Page This thesis is dedicated to the world’s revolutionaries and all the individuals working to make the planet a better place for future generations. ii Acknowledgements I’d like to thank a number of people for their assistance and support with this thesis project. First, a heartfelt thank you to my thesis chair, Dr. Jim Zimmerman, for always being there to make suggestions about my drafts, talk about ideas, and keep me on schedule.
    [Show full text]
  • Blackadder Goes Forth Audition Pack
    Blackadder Goes Forth Audition Pack Key Dates Audition Dates: • Tuesday 8 th May – 6:00 – 10:00pm (Everyman Clubroom) • Saturday 12 th May – 10.30am – 5.00pm • Sunday 13 th May – 10:00am – 3.00pm Recalls (if required): • Friday 18 th May – 6:00 – 10:00pm (Everyman Clubroom) • Saturday 19 th May – 10:00am – 1:00pm (Everyman Clubroom) Actors who are successfully cast need to understand that they MUST be available for all the following key dates • Technical Rehearsal: Sunday 11 th November (cast need to be available all day) • Dress Rehearsal: Monday 12 th November (evening) • Performance Dates: Tuesday 13 th – Saturday 17 th November; Evening Performances at 7.30pm, Saturday matinee at 2.30pm Rehearsal Nights Rehearsals will begin w/c Monday 3 rd September. Exact rehearsal nights will be confirmed nearer the time but are quite likely to be Tuesdays, Thursdays and Sundays. Not all cast will be required for every rehearsal. Plot Blackadder Goes Forth is set in 1917 on the Western Front in the trenches of World War I. Captain Edmund Blackadder is a professional soldier in the British Army who, until the outbreak of the Great War, has enjoyed a relatively danger-free existence fighting natives who were usually "two feet tall and armed with dried grass". Finding himself trapped in the trenches with another "big push" planned, his concern is to avoid being sent over the top to certain death. The show thus chronicles Blackadder's attempts to escape the trenches through various schemes, most of which fail due to bad fortune, misunderstandings and the general incompetence of his comrades.
    [Show full text]
  • Free, M. (2015) Don't Tell Me I'm Still...Pdf
    Pre-publication version. This is scheduled for publication in the journal Critical Studies in Television, Vol. 10, Summer 2015. It should be identical to the published version, but there may be minor adjustments (typographical errors etc.) prior to publication. Title: ‘Don’t tell me I’m still on that feckin’ island’: Migration, Masculinity, British Television and Irish Popular Culture in the Work of Graham Linehan Author: Marcus Free, Mary Immaculate College, University of Limerick – [email protected] Abstract The article examines how, through such means as interviews and DVD commentaries, television situation comedy writer Graham Linehan has discursively elaborated a distinctly migrant masculine identity as an Irish writer in London. It highlights his stress on how the working environment of British broadcasting and the tutelage of senior British broadcasters facilitated the satirical vision of Ireland in Father Ted. It focuses on the gendering of his narrative of becoming in London and how his suggestion of interplays between specific autobiographical details and his dramatic work have fuelled his public profile as a migrant Irish writer. Graham Linehan has written and co-written several situation comedies for British television, including Father Ted (with Arthur Mathews – Channel 4, 1995-98); Black Books (with Dylan Moran – Channel 4, 2000-2004 (first series only)); The IT Crowd (Channel 4, 2006- 13); and Count Arthur Strong (with Steve Delaney – BBC, 2013-15). Unusually, for a television writer, he has also developed a significant public profile in the UK and Ireland through his extensive interviews and uses of social media. Linehan migrated from Dublin to London in 1990 and his own account of his development as a writer stresses his formation through the intersection of Irish, British and American influences.
    [Show full text]