Phil Tufnell gives honest five-word response when asked about Question of Sport axe
EXCLUSIVE: Phil Tufnell was a staple figure on British television throughout his time on A Question of Sport up until the day the BBC shook up the show
Phil Tufnell was on A Question of Sport for 13 years
(Image: PA )
Phil Tufnell has admitted that he was not surprised when the BBC decided to part with himself, Sue Barker and Matt Dawson on A Question of Sport.
Tufnell, 59, had been a team captain on the panel show since 2007 until he was let go by the BBC as part of a reshuffle in 2020. The England cricket legend was one of the most recognisable figures on the show, until he made way for Paddy McGuinness, hockey star Sam Quek and rugby ace Ugo Monye.
When the new format of the show was shelved in 2023, ex-BBC Football Focus presenter Dan Walker suggested the Beeb may have, "alienated their core audience while searching for a new one" when they decided to axe Tufnell and his show mates. Barker was also upset with the way the decision was handled.
Tufnell held no resentment when he was informed about his departure. Speaking at the launch of The Overlap and Betfair's Stick to Cricket show, Tufnell looked back on the decision and said: "You can't do things forever."
He added: " They had been talking about it and what have you. I wasn't really involved in it. We'd all been doing it for a while. Well, more than a while, around 13 or 14 years I'd been captain.
"You can't do things forever. They fancied a bit of a refresh. We were just sort of like, 'Okay, well, there you go. Thanks very much for the memories. I thoroughly enjoyed every single show. Loved every minute of it.'
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"Now we're doing the theatre show. It's not called a Question of Sport, of course. We're all good friends, all got a very similar sense of humour. We all get on very well, so it's great to be back recreating it a little bit.
Tufnell had been on the show for 13 years when he was told he would be leaving in 2020
(Image: BBC )
"Obviously, you think to yourself, 'Oh crikey' but we wished everyone the best. It was part of our lives.'
In a statement released at the time, the BBC said: "We would like to thank Sue for her enormous contribution as the show's longest reigning host over the last 24 years, and Matt and Phil for their excellent team captaincy over 16 and 12 years respectively.
"Together they have ensured A Question of Sport remains a firm favourite with the BBC One audience. Sue, Matt and Phil's final series will be broadcast next year."
Tufnell will be a guest on the Stick to Cricket podcast, which launches very soon
(Image: Betfair/Stick to Cricket podcast )
When the show was shelved in 2023, a BBC spokesman appeared to leave the door ajar for a future reboot, claiming the decision was, "not the final whistle." When asked if he thinks the show may return in the future, potentially with himself, Barker and Dawson's involvement, Tufnell added: " I hope it does come back.
"It was part of my childhood. It had been going for 55 years, a long time. I loved the show when I was on it and I loved it as a boy. It was one of those little half an hours that you sat round with your family.
"Hopefully, it comes back. I'd be delighted to sit down and watch it. Whether we do it again, I'm not so sure. But, we've had our time haven't we?"
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Betfair are set for a big summer and winter of cricket, launching a new show with The Overlap: Stick to Cricket. Don't miss the first episode next week, where the team will be reviewing the opening test of the series between England and India.
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The Guardian
37 minutes ago
- The Guardian
‘Your work changed the course of my entire life': novelist Douglas Stuart meets painter Jenny Saville
In the summer of 1992, I was a 16-year-old who was watching his mother drink herself to death. I had a desperate need to find work and somewhere to stay, and so remaining in education didn't seem like a possibility. I had two teachers who saw how I was struggling. They dreamed a future for me that I could never have imagined for myself. One evening they took me up to the degree show at the Glasgow School of Art, and there I came face to face with the paintings of Jenny Saville. The power of that encounter has never left me. Those images were fierce and confrontational. A few months after the degree show, I lost my mother to her addiction. With the support of my teachers, I eventually finished school and went on to art school and built a career in design. Meanwhile, the GSA degree show formed a body of work that would lead to Jenny's ascension into the Young British Artist movement – with her works appearing on the covers of Manic Street Preachers' albums The Holy Bible and Journal for Plague Lovers – and help cement her reputation as one of the greatest British painters of any generation. I have often returned to Jenny's paintings as inspiration for my writing, especially when thinking about the body, the clarity of a child's gaze, a mother's vulnerability. Writing is my way of painting. I try to conjure pictures in the minds of my readers and surround them with a world that feels as vivid as any visual work. Jenny's paintings contain many narratives; that of the image, loaded with emotion, tenderness, brutality, movement. But they also contain the narrative of their own making. You can read the journey a painter takes, following her decisions through every brushstroke. It is not unlike the sketching and building and drafting of a novel. On the occasion of Jenny's crowning retrospective at the National Portrait Gallery in London, I wanted to revisit what her paintings have meant to me. So, 33 years after that fateful summer in Glasgow, we spent the afternoon together in her studio in Oxford and finally had the chance to talk. Douglas Stuart Looking back now, what do you think your 22-year-old self would think about this show at the National Portrait Gallery? Jenny Saville Well, it's exciting. My 20s were an incredible time. Before that, I had waitressing jobs alongside being at art school. But during the summer between my third and fourth year, I worked to put enough money in the bank so that I wouldn't have to. And I learned a lesson about time: that it was the most precious aspect of life. It was wonderful to be able to paint every day: everything came together, and my degree show had my first mature pictures. DS Did you always know that you wanted to work in paint? JS I always painted or made things from a young age. The permission for creativity was strong in my upbringing. My parents were teachers and would encourage creativity. DS In a lot of ways, you were the one who gave me my first creative awakening. Growing up in Glasgow, I'd never been to a museum or a gallery. A couple of art teachers at school could see I was struggling. One night after school, they said: 'Look, just come with us,' and took me up to the Glasgow School of Art to the 1992 degree show. A lot of it was lost on me, because I was only a kid. But then I turned the corner and there was Propped, and although I didn't understand all the layers of it, I was blown away. In that one moment, your work changed the course of my entire life. JS Was that the first time you went to the building? DS First time. I grew up less than a mile away from it and hardly knew it existed. Even if I had, I would have been intimidated; working-class kids don't always feel that they're invited into those circles. When I was writing [Douglas's 2020 debut novel] Shuggie Bain, I looked at Trace (1993–94) a lot. It was an image that I had of Shuggie when he takes off his mother's bra to care for her because she can't care for herself, and he's looking at her back, at the lines left in the flesh, and rubbing them and hoping they would lift. As if he could erase them, he could take away some of her pain. JS Hilary Robinson, my theory tutor for my dissertation, had written an essay where she said: 'A body is not a neutral ground of meaning but a copper plate to be etched.' DS Those paintings were helpful in slowing me down. They ask us to observe closely. They challenged me to write about bodies in a similar way, and it's essential because the body is a very political thing. It's often the only thing that my characters have: their bodies are shaped by what they do, and their lives are shaped by how they use their bodies to survive. JS There's a lot of attention concentrated on our bodies. You see that shift in the high street, the way the shops change over the years: you used to have a post office, a stationer's, a butcher; now many have transitioned to nail bars, tanning salons, tattoo parlours. DS I was at a university a couple of weeks ago to do a reading of Shuggie Bain. It's only five years old but I can't yet look back on him with fondness. All I wanted to do was rewrite the book. I wished I had a red pen. Do you look back with kindness? With fondness? JS Fondness sometimes, or I find my fearless naivety a bit amusing. Often I hear the music that was playing at the time, look at passages of paint and remember making that mark, the size of brush I used, the feeling inside. When I see my paintings I often think: 'Oh, that part worked, but maybe I should have put another bridging tone there.' People say: 'Oh, that's a great painting,' and you think: 'It's not as good as it was in my head.' DS It's similar with writing: your audience encounters the finished artefact and they don't see the journey and the loneliness. JS I wouldn't call it loneliness. I enjoy making paintings. DS I find writing very lonely because I worked for 20 years in fashion. Now, writing in contrast to fashion feels incredibly lonely because I sit around and talk to imaginary people all day. JS Do you have a routine? DS I find that imaginary people are chattiest in the mornings, so I try to get up at six o'clock and I work till two or three in the afternoon. How about you? JS I've had different working rhythms and routines in my life. Recently I've been getting up about 6.30 in the morning and then I'll paint until I feel that lull, which tends to be around four, and then I might do another session. I like painting eyes first thing in the morning. Sign up to Inside Saturday The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend. after newsletter promotion DS Why is that? JS Because my concentration's at its highest, so I tend to paint details like teeth and eyes first thing in the morning, when I'm sharp. DS One of the things that speaks to me the most about your work is your journey with colour. It has evolved so much. In the early work I can actually feel Glasgow in the paintings. JS Glasgow can have beautiful light. My first home there was on Hill Street, and you'd look over toward the flats and mountains and see this silvery light. I've never seen it anywhere else quite the same way. Over the last few years I've thought much more about nature and light. I'd travel, look at other approaches to painting. I went to Paris and New York and saw how [Willem] de Kooning painted flesh and thought: 'What great colours and fluidity.' Then after 11 September and the Iraq war, we were flooded with images that had a lot of intense colour and emotion and I responded to the atmosphere of that time. My work evolved and I started using ranges of red and blue pigments, for example, like in my Stare heads. If you're curious you experiment, and on that journey you discover possibilities. DS The same in writing. You've got to write through it, to free yourself of it, and then get to the thing that you've got no idea that you were heading toward. You're feeling a character and you're not quite sure what they're going to do, so you build this world for them and then you see how they react. JS It's been said before, but it's probably impossible to make the perfect work. I often think: 'That's almost what I meant, that's got something.' And this moves you forward to the next painting. DS Truth is essential in writing. And there's power in writing truths that people would rather leave unsaid – maybe like depicting a body that some might rather not see? I must admit, I was horrified looking back at the journalism around some of your earlier work, and the fact that reviewers would use the word 'grotesque' to describe it. Obviously those works haven't changed, but the world around us keeps shifting, so hopefully reactions have changed as well. Has that journey been interesting to you, or do you not pay attention to it? JS I just get on with my work. You can't predict how work will be perceived. And you evolve as well. In the early 90s there were fewer spaces to show, and only a small minority of artists got major platforms. Now art is exhibited from all over the world and different voices are being heard. And then once you've been accepted, it's like, you've won the Booker prize, you can't stay annoyed about that. DS I felt really overwhelmed by the feeling of being on the outside and nobody knowing me. And then suddenly everybody looked at me like: 'Where the hell did you just come from?' There was 15 years of work behind my novels so I hadn't just arrived, I'd just been quietly over there where no one was paying attention to me. I miss that. JS It's important to have time to develop, be playful, use your imagination. I'm often judged on those early degree show works and I've developed my painting a lot since then. You have to make the work the way it should be. You can't make work to appease people who have written a bad review. And if you're mature about it, the bad review of a new body of work is OK. DS That's very big of you. I'm not sure I'm quite there yet. 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Times
2 hours ago
- Times
Enjoyed the holiday? Now buy the swanky vintage poster
If Jeremy Sacher tires of looking at a verdant Queen's Park through the windows of his west London home, he needs only to step into his kitchen to find a view of New York's Times Square or an Imperial Airways flying boat heading for Cape Town. Sacher, you see, is an avid collector of travel posters created during the early decades of the 20th century to entice the adventurous into a world gradually being made smaller by trains, planes and automobiles. Back then such ephemera was used as a cheap, cheerful and entirely disposable way to promote the services of shipping companies, airlines and railways. But now surviving examples of the best vintage travel posters have become valuable and highly sought-after. Sacher began collecting more than 40 years ago when, as the head of a design company, he found himself making regular trips to studios in New York. 'There were many more poster dealers in the US than there were in the UK, so I became familiar with the world of collecting and with the names of the top graphic artists. 'Howard Hughes employed many of them when he owned Trans World Airlines during the 1940s and 1950s, so I started collecting posters advertising the airline's routes,' he explains. In recent years Sacher has bought through the art agents Nicolette Tomkinson and Sophie Churcher, who set up the specialist art agency Tomkinson Churcher in 2016 following the closure of Christie's South Kensington saleroom, which ran a vintage poster department. Travel posters first became seriously collectable after New York's Swann Galleries staged the first dedicated auction in 1979. Now the best examples by leading graphic artists such as the Frenchmen Roger Broders and Adolphe Mouron Cassandre, the Brits Norman Wilkinson and Frank H Mason, or the Irishman Paul Henry can fetch as much as £15,000 apiece. Tomkinson says the golden age of Britain's railways during the 1920s and 1930s resulted in some of the best images but, by the very nature of their role as short-lived advertisements, few have survived — and getting hold of good ones is becoming increasingly difficult. 'Sometimes travel posters are numbered but in most cases we never really know what the print runs were,' she explains. 'What is certain is that only a fraction of those produced actually survived, because they were either pasted over or torn down. And when collectors get hold of the best, they tend to hold on to them.' But some big collections saved by people who had connections with the printers, the artists or the firms that commissioned the designs do occasionally come on to the market. One spectacular cache emerged in Australia about 20 years ago, having been amassed by the owner's father, a teacher, who had written to the country's various train companies during the 1920s asking for travel posters to use in geography lessons. He received more than 200, which were dispersed at auction for in excess of £200,000. And while posters promoting trips to once-popular British holiday resorts such as Skegness and St Andrews continue to sell for as much as £5,000, it's those depicting more glamorous continental destinations that many collectors find most uplifting. Tomkinson says several such images have been consigned to a Lyon & Turnbull auction (happening on October 29) and include a 1957 lithograph of Cote d'Azur, 'after Pablo Picasso', which is estimated to fetch £1,500. And at his by appointment gallery in south London, the dealer James Manning is offering a striking 1930s image by the top artist AE Halliwell promoting 'cruises to Norway' for £4,000. However, travel posters are not categorised only by country but also by modes of transport and activities, meaning there are images that hold appeal to fans of cars, trains and aeroplanes, others that attract those drawn to the glamour of steam-driven liners and still others that are bought by regular visitors to top ski resorts such as St Moritz and Gstaad. Buying vintage originals is not, however, the only route to getting some uplifting travel posters on to your walls, as there are now several firms, such as Stick No Bills and the north London gallery Pullman Editions, that sell brand-new, top quality images that are either in a vintage style or licensed fine art prints of exceptional posters from the golden era of graphic advertising. Uniquely, Stick No Bills has been granted access to the historic archives of travel companies such as Pan American Airways, British Overseas Air Corporation (BOAC), Lufthansa, the Fomento del Turismo Mallorca and Braniff International Airways in order to recreate the best of their vintage posters. Sizes range from postcard-format works to unique Master editions featuring 24-carat gold lettering applied by the Spanish royal family's yacht gilder — and costing as much as £16,000. Which might be the price of a darned good holiday. But the poster will last a whole lot longer — and there's no need to endure the journey…
Daily Mail
4 hours ago
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Claudia Fogarty embraces her growing baby bump at The Couture Club's star-studded 10th birthday party in Manchester
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