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Telegraph
05-05-2025
- Entertainment
- Telegraph
Ooh, matron! Carry On cut as Britain's censors crack down on classic comedy
Sarah Cronin-Stanley, who runs a TV channel with her father, Noel, from an office in their Hertfordshire garden, has an important decision to make. Talking Pictures TV, which specialises in 'golden oldies' films and TV series, is preparing to air an episode of 1970s drama A Family at War for the first time in years. The last time she did so, Cronin-Stanley was hauled in front of regulator Ofcom over her refusal to censor the racist insult 'w-g'. Now, she must decide whether to broadcast the word again with a warning to viewers in advance – or cut it out completely. It is a familiar challenge not just for Talking Pictures TV, which is approaching its 10th anniversary, but also for a handful of other channels that have carved out a niche among audiences looking for a nostalgic trip into the annals of entertainment history. There is no doubt that some language and themes from those days are no longer acceptable in the modern era. But critics say Ofcom's 'suffocating' guidelines raise the risk that classic hits will gradually be whittled down and ultimately lost. 'I think people have a thicker skin than maybe Ofcom gives them credit for,' says Jonathan Moore, who runs Rewind TV. 'It's the nanny state, isn't it, really? It's one rule to try and dictate taste for everyone rather than allowing the audience to make their own choices.' While nostalgia TV remains a relatively small niche in the broadcasting landscape, the genre has built up a loyal following through its re-runs of classics such as Are You Being Served?, 'Allo 'Allo! and the Carry On series. Figures from official ratings agency Barb show Talking Pictures TV, which claims to be the biggest independent channel in the country, had an audience of around 3.3m in March. Rewind TV attracted 1.4m viewers, while That's TV pulled in 3.7m. 'Good, clean fun' Despite their popularity, these channels have often found themselves at loggerheads with Ofcom. While the regulator does not have a blacklist of banned words and phrases, it issues guidelines on offensive material based on a public survey carried out every five years. Ofcom uses these findings to assign language to one of three categories: mild, moderate and strong. Words that fall into the first category are considered unlikely to trouble audiences, while moderate language has a greater potential for offence. Words ranked 'strong' are perceived to be highly offensive and require a 'clear and strong contextual justification for broadcast'. Rather than acting as an outright censor, Ofcom gives guidance on how broadcasters should approach language then leaves them to make the decisions. If audiences are unhappy, they are entitled to complain to the regulator, as on occasion they have. For some TV bosses, however, the rules are overly prescriptive. Critics argue that the ever-evolving nature of language and social norms means channels are being held to an arbitrary and constantly shifting set of standards. Ofcom's latest guidance, published in 2021, ranks 'whore' as moderate language, whereas the Americanised equivalent 'ho' is deemed mild. Following 2016's survey, 'bloody' was considered mild language. As of 2021, however, it has been upgraded to moderate. Other words such as 'queer' split opinions among survey respondents. It has been used in the past in a derogatory way but has now been adopted in the acronym LGBTQ+. 'T--ser', 'slut' and 't--t' are among the words that have been cleaved out of classics including Carry On Laughing (a TV compilation of clips from the film series), Please Sir!, On The Buses and Whose Line is it Anyway?. 'It's a little bit arbitrary, to be perfectly honest,' says Moore. 'Offence is partly in the eye of the beholder, isn't it? One person's offensive word might be another person's completely acceptable word.' Broadcasting bosses agree that some topics, such as outright racism or homophobia, are beyond the pale. 'There is some stuff that's just not funny any more,' says Cronin-Stanley. 'If you're going to watch a film from 1958 you're going to hear language from 1958. But if it is so outrageously rude, we'll take it out.' Other elements are more nuanced, especially in light of their context. Films such as the 1959 crime drama Sapphire contain racist language precisely because it is a critical study of racist attitudes in London at the time. In the world of comedy, meanwhile, the offending characters are often being sent up for their unsavoury views, or will ultimately get their comeuppance as a result of them. Robert Ross, an author and comedy historian, says: 'No producer, no actor, no writer of that generation of comedy set out to be malicious or offend on purpose. It was all for good, clean fun.' Ofcom says it is not a censor and takes context into account when considering complaints. Cronin-Stanley insists that after almost a decade of broadcasting, her channel has found a 'happy medium' to stay within the regulator's rules, though she says any move to edit programmes sparks an angry response from viewers. Free speech fears Others are less sanguine. Moore argues that Ofcom's approach means classic programming is at risk of being cut beyond all recognition as broadcasters self-censor, warning that this could ultimately lead to extinction. 'The last thing we want is a whopping great big fine coming in the post because we've let something slip,' he says. 'So we're very aware and very nervous about that and we probably do go a bit further than we should, maybe, because of that fear.' Critics point to similar examples in the publishing industry where the works of children's authors such as Enid Blyton and Roald Dahl were revised to avoid causing offence. Blyton's Famous Five books were subsequently reverted to their original language after the edits flopped. Campaigners are now calling on Ofcom to grant an exemption for classic comedies, much in the same way that vintage cars become exempt from MOTs and road tax once they turn 40 years old. Such a move would free old-school programmes from language restrictions on the proviso that viewers were given adequate prior warning about the content. Ross argues it is vital to keep broadcasting these films and programmes to preserve a window into a Britain long gone, and that a trigger warning is a small price to pay. 'If that's what's needed to actually let this stuff out of the vaults, then that's good,' he says. The debate over free speech comes as Ofcom is already facing criticism from Donald Trump's administration over its crackdown on online harms. US officials are believed to have raised concerns that the new laws, which are designed to protect children from harmful material circulating on social media, target American companies and impinge on free speech. It comes amid a broader campaign by Trump's administration, which cites free speech in its efforts to overturn what it describes as censorship on social media platforms. In a speech in Munich in January, JD Vance, the vice president, launched a ferocious attack on Europe, accusing the bloc of abandoning 'some of its most fundamental values' and claiming free speech was 'in retreat'. He said: 'What no democracy, American, German or European will survive, is telling millions of voters that their thoughts and concerns, their aspirations, their pleas for relief, are invalid or unworthy of even being considered.' An Ofcom spokesman said: 'Ofcom is not a censor. Freedom of expression is at the heart of our broadcasting rules which do not prevent the broadcast of content that may be offensive or controversial to some audiences. 'There is editorial freedom for each broadcaster to decide how it covers any issue, topic or programme type. 'In our research, audiences recognise offensive language can play an important role on TV and radio. But viewers and listeners still want broadcasters to take care with potentially offensive terms, particularly so children are protected, and especially when discriminatory language is used. 'Our rules and research help broadcasters to strike the right balance. 'We've explored people's views on the acceptability of outdated or discriminatory content being broadcast in older programmes. Our research reflects that viewers welcome being warned about this kind of content at the start of programmes whilst still being given the opportunity to watch and enjoy older material.' Beneath the discussions about censorship and the nanny state, however, is a desire among these channels to preserve a piece of the past. 'It's not a nice thing to be responsible for when effectively you are butchering shows,' says Moore. 'We're not just here for a quick buck, we actually deeply care about the programming and we want to preserve what is, at the end of the day, history and historical artefacts – that's how we view them.'
Times
02-05-2025
- Entertainment
- Times
The Government Inspector review — a Gogol revival with slapstick
It's almost as if panto season has arrived early at Chichester Festival Theatre. Gregory Doran's revival of Gogol's comedy of mistaken identity and everyday graft in Tsarist Russia is brash, hectic and awash with old school slapstick. Phil Porter's fruity adaptation isn't afraid to toss in slivers of Carry On humour as well, nor can you help noticing that Sylvestra Le Touzel's lubricious mayor's wife speaks in the same suggestive tones as Mollie Sugden's department store harridan in the vintage sitcom Are You Being Served? The comedians Rik Mayall and Julian Barratt have been drafted in to spice up the central role in past productions. This time the honour falls to the stand-up comedian Tom Rosenthal, star of the TV shows Plebs and Friday Night
Daily Mail
29-04-2025
- Entertainment
- Daily Mail
What happened when Gen Z watched Britain's favourite retro comedies: From Carry On to Little Britain, the shows that wouldn't be made today
In 2021 Little Britain was pulled off streaming sites with Ofcom branding the show, created by comedians Matt Lucas and David Walliams, as 'explicitly outdated and racist'. And Benny Hill, one of Britain's favourite entertainers with his particular brand of comedy hugely popular for some two decades, has also fallen victim to changing tastes. Earlier this month the comedian's career was the topic of a Channel 5 programme, The Cancellation of Benny Hill, in which Gen Z viewers were introduced to his slapstick and risqué sketches for the first time to gague their reactions. Some of the clips shocked the younger viewers due to their politically incorrect content, such as a male office worker lecherously gazing at the secretary as she bends down to open a drawer in a short skirt and suspenders. While the skit was very much of its time, it was certainly not the only retro comedy that would never be made in this day and age. The Carry On series pedalled the same brand of bawdy comedy, while Are You Being Served? was similarly focused on sexual innuendos. Meanwhile, the loud-mouthed, bigoted bully Alf Garnett in the BBC sitcom Till Death Us Do Part was a loathsome character, known for his racist rants and woman-hating grumbles. Both the writer, Johnny Speight, and lead actor Warren Mitchell always made it clear the show was meant to be a satire, intended to mock the bigots and racists, but that didn't stop some viewers taking it at face values - and indeed agreeing with Alf's views. To find out what the modern audience thinks of the shows that would never be made today, Gen Z viewers Emily Cooper, 23, Poppy Gibson, 25, Poppy James, 23, sat down to watch some of the UK's best-loved retro comedies to see if they really deserve to be cancelled. 1960s: Carry On Doctor The 15th comedy in the 31-strong Carry On film series, Carry on Doctor was full of classic British comedians including Sid James, Barbara Windsor and Kenneth Williams. It was well received at the time and spawned even more Carry On films, Taking place in a hospital, the film follows the unrequited love affairs and sexual tension between staff and patients, who regularly find themselves in sticky situations. One clip sees Barbara Windsor enter the hospital ward in a tight pink mini dress and stockings along with a little nurses cap was deemed sexy' by Emily Cooper, Poppy Gibson and Poppy James. Poppy Gibson said: 'Oh wow, very sexy' In another scene nurses tried to take the temperatures of patients which rose drastically as soon as the younger nurses wearing short skirts came in. 'You wouldn't get this anymore, it wouldn't be so hammy', Poppy Gibson said, while Poppy James said the outfit was 'a bit like a Halloween costume'. Despite the sexual innuendos, the film didn't go down too badly with the Gen Z viewers. Emily said who enjoyed the campness of it but decided it probably wouldn't be made now. The verdict? Emily said she liked the campness and thought it was funny because 'it was clearly a joke' but said you 'wouldn't see anything like that on TV nowadays' But it was one comment in particular that shocked the viewers, where one of the characters in a hospital bed was asked about his medical history by a matron and said that he liked to touch young girls's 'yo-yos'. 'Oh my god, I don't even know - who came up with that?', Emily said, while Poppy James covered her mouth in shock. The trio later said they didn't understand the reference fully but felt it was inappropriate and that it made them uncomfortable. Discussing the clip, Emily said she liked the ramped-up bawdiness. She said: 'I liked the sexiness - it's clearly a joke and you wouldn't see anything like that on TV nowadays - maybe Drag Race would do it. 'You wouldn't see it on V now but it still made me laugh and I still found it funny.' 1970s: 'Till Death Do Us Part The British TV show was such a success when it was made that it spanned seven series over ten years and was revived twice in 1981 and 1985. The show centred on the East End Garnett family, led by Alf Garnett (Warren Mitchell), a white working-class man with racist and anti-socialist views who is teased and challenged by his long suffering wife, daughter and son-in-law. Billed as a satire showcasing the widening cultural gap in the 1960s and 70s, the show did not stand the test of time in front of the Gen Z Goggleboxers who were left shocked by the repeated racial slurs and outdated gags. In one episode Alf repeatedly uses a racial slur, to refer to African slaves sold as part of the Atlantic slave trade while discussing the subject in the pub with an American visiter. Emily, Poppy Gibson and Poppy James were visibly shocked, covering their hands with their mouths. Poppy Gibson said: 'Jesus Christ that is so racist', while Poppy James added: 'It's actually more upsetting with the laughter.' All three agreed they felt uncomfortable and couldn't believe it was only from the 1970s with Emily saying: 'I can't believe this is the 1970s - this feels way older. 'That one actually made me feel wholly uncomfortable. The other one from the 60s there were moments where I was laughing along and it was funny but I didn't enjoy that'. 1980s: Are You Being Served? The BBC sitcom ran from 1972 to 1985 and followed the misadventures of staff and regular customers at a department store. The show was so popular it was broadcast in Canada, New Zealand and the US and was revived more than 30 years after it ended due to popular demand. The comedy centred around sexual innuendos and slapstick elements with a regular gag including a reference to Mrs Slocombe's pussy and the obsession with Mr Humphries, a gay character, measuring the inside of gentlemen's legs. In one scene Mrs Slocombe' announced to the staff gathered at the till that she's never late for work because her pussy is like an alarm and always gets her up. In another clip one of the shop assistants berates another for having his hands down the bra of a mannequin made up to look like her and is told it's the most 'action' she's like to get. Poppy Gibson said: 'It's hyper-sexualised but it's not funny though like the other one was - it feels a bit on the nose.' While the trio weren't overly offended by the gags they did feel they were out of date and not particularly funny, finding the pussy reference silly and over-used. She the comedy was made up of 'a lot of boob jokes, a lot of pussy jokes and pussy puns that weren't funny.' Poppy James thought the sexualised jokes aimed at women were 'unnecessary' but thought some of the gags poking fun at men were a little bit more humorous. In another snippet Mrs Clocombe complained that one of the employees was more talk than action and one of the younger female assistants noted that he seemed to be very hands-on when he dragged her into a cupboard at a Christmas party. In response to the joke Emily said her comment 'sounded like a cry for help' and the and the plethora of 'boob jokes and pussy puns were cheap gags', which felt 'sad' rather than funny'. Emily also commented that all the women all seemed to be playing the same role and said she would've been interested to know how the actors felt about playing those parts at the time. 'Did you notice how all the women were just copy and pastes of each other? They're just playing the dumb, blonde, hypersexualised woman', she said. Poppy Gibson added that the show was 'very much of its time'. 1990s: Men Behaving Badly The ITV show, which was first broadcast in 1992, follows two beer-drinking, TV-watching flatmates as they try (and fail) to pursue and date women living in their flat block. The sitcom, which ran for six series and spawned a Christmas special and three-spin off episodes, was well received and it seems the comedic elements have stood the test of time with all three viewers laughing along to Martin Clunes and Neil Morrissey. While some of the jokes flew over their heads, they all agreed the show had great comedic timing with the harmless jokes that poked fun at the hapless men but not in a particularly mean way. In one scene the two main characters Gary and Tony confess they've given up drinking and prefer staying in with a cup of tea before cutting to a scene of them being drunk and dancing in a pub. The physical comedy triggered some giggles with Emily declaring it was her favourite era so far because 'they weren't cheap jokes and it was harmless and light' with timeless gags. Poppy Gibson said: 'It's nice to see that women aren't the butt of these jokes'. Emily added: 'There was lots of physical comedy which I think you just can't go wrong with and it's just timeless, really.' 2000s: Little Britain All three Gen Z-ers confessed they could remember when Little Britain first came out and enjoying the show and its spin off Come fly With Me. As soon as iconic character Vicky Pollard came on, the trio began smiling and chuckling and thought it was funny because of the relatable nature of the jokes. In one scene where the schoolgirl Vicky explains why she hasn't got her homework and is seen smoking and rolling her eyes, Emily exclaimed that the teenagers reminded her of people she knew at school. In another scene, wheelchair-bound Andy Pipkin and his carer Lou Todd decide what show they want to see for Andy's birthday and he chooses the opera La Traviata which he hates - heckling the singer during the performance. Emily and both Poppy Gibson and Poppy James revealed they thought it was impressive that writers and stars Matt Lucas and David Walliams played such a range of characters but noted that it did seem insensitive. 'It was written by those two and the range of characters they played is really impressive and still is impressive but I think if it was on today there would probably be backlash about them playing minority characters that they don't identify with,' Emily said. But Poppy James both said they found it funny and didn't think the jokes made in the clips were actively harmful although they probably re-enforced stereotypes. 'The character in the wheelchair that would not fly today. You couldn't do that today.' Poppy Gibson said: 'I don't think there's anything actively harmful or offensive about it and I thought it was funny', and added that Matt Lucas's character 'is one people remember and do find funny.' Poppy James added that Little Britain still has negative connotations and those who find it funny today are met with raised eyebrows. She said: 'It's not got to the point where it's been cancelled completely but people do look at you differently for liking it and it just couldn't happen today'. And Poppy Gibson said she didn't think sketch shows could be made in the same way anymore, saying: 'I don't think sketch shows can be made like this anymore because people are more aware of the offence they can cause'. Overall the group concluded that they had enjoyed the comedic offering from the 1960s in the form of Carry On Doctor and the slapstick humour of the 1990s with Men Behaving Badly. However they also noted that there were fewer women included as time went on and they were either shown a sex symbols or not at all. Emily said: 'I preferred the 60s one which is odd - I would've thought as it got more up to date I would like it more, but no.'
Edinburgh Live
27-04-2025
- Entertainment
- Edinburgh Live
Joanna Lumley's telling response when asked about plans to retire from acting
Our community members are treated to special offers, promotions and adverts from us and our partners. You can check out at any time. More info Dame Joanna Lumley, a stalwart of the TV and film industry with a career spanning several decades, shows no signs of slowing down as she nears her 80th birthday. Known for her femme-fatale roles, comedic timing, and stage performances, the actress continues to captivate audiences. Born in India in 1946 during the British Raj, Lumley moved to the UK as a young girl and attended boarding school. Despite an initial rejection from the Royal Academy of Dramatic Art, she found her way into the acting world. Her first significant role was a brief appearance as a Bond girl in 1969's On Her Majesty's Secret Service. She then secured roles in popular TV shows like Coronation Street, Steptoe and Son, and Are You Being Served?, before landing her breakthrough role as Purdey in The New Avengers. READ MORE -BGT viewers all say the same thing as live show is halted twice READ MORE - John Higgins shows true colours as snooker star aims dig at Ally McCoist in BBC chat Speaking at the SANDS International Film Festival of St Andrews on April 26, the iconic star expressed her determination to continue working in the industry, reports the Mirror. "I'll be here when I'm 90 - as long as I can speak. When I was 16 and told the careers officer at my convent school that I wanted to go into acting, he told me that the only jobs open to me in film would be as a continuity or makeup girl," she shared, as reported by the Daily Mail. (Image: Getty Images) (Image: Getty Images) (Image: Getty Images for University of S) Joanna, who has previously voiced her thoughts on what she would 'ban' for teenagers, commented: "In the past women like me would have been sidelined at 38 but now there are lead parts for people in their 50s and big parts for those in their 70s." Despite now being a celebrated name, the star of Amandaland opened up about the difficulties she faced on her journey to fame, especially as a young single mum at the tender age of 21. "I've been skint – I had no money, and we lived off Marmite sandwiches for months, and I burnt furniture to keep us warm," she recalled, adding: "But having a son to look after gave me such motivation to work, and it wasn't so bad – it made me tough, and I learnt resilience." She's just landed a fabulous new role in the Netflix sensation Wednesday, where she'll portray Hester Frump, the protagonist's grandmother. As well as being excited about the wigs and makeup for her spooky role, Joanna shared insights into her true character away from the camera glare. With a history that took her from modelling to stardom, Joanna learned early the art of budgeting and quick thinking, often doing her own styling from head to toe in her formative years. Now, travelling the globe as a sought-after actress, Joanna – a longstanding vegetarian – is known for having just one modest requirement on set, in stark contrast to the stereotypical demands of the Hollywood elite. She shared: "The only thing I put on my rider when travelling is that I don't eat meat or fish in case I get an upset tummy," and added: "So if I am presented with meat when I visit somewhere I just say, 'Oh it is against my religion.'".
Daily Mirror
26-04-2025
- Entertainment
- Daily Mirror
Dame Joanna Lumley's brutal response as she opens up about retirement
Joanna Lumley is one of the most iconic and loved actresses of the past few decades, and revealed when she plans to step back from the spotlight while looking back on her journey to stardom Dame Joanna Lumley is one of the greats of TV and film, with a career spanning decades. The actress is known as a femme-fatale as well as being a comedian and stage thespian, and even as she approaches 80 she has no plans of stopping yet. The beloved model was born in 1946 in India back when it was under British control, but moved back to the UK as a young girl and went straight to boarding school. Shockingly, she was turned down by the Royal Academy of Dramatic Art, but soon found her way into acting regardless. Her first big role was a few lines as a Bond girl in 1969's On Her Majesty's Secret Service, but she soon found plenty of work in popular TV shows such as Coronation Street, Steptoe and Son, and Are You Being Served?, before finding her breakout role as Purdey in The New Avengers. The iconic star spoke at the SANDS International Film Festival of St Andrews in Scotland on April 26, and said that despite having made a huge mark on the industry she's by no means ready to hang her hat up yet. 'I'll be here when I'm 90 - as long as I can speak. When I was 16 and told the careers officer at my convent school that I wanted to go into acting, he told me that the only jobs open to me in film would be as a continuity or make-up girl,' she said, according to the Daily Mail. Joanna - who recently shared what she'd 'ban' among teens, added: 'In the past women like me would have been sidelined at 38 but now there are lead parts for people in their 50s and big parts for those in their 70s.' While the Amandaland star is a huge success, she also spoke about the struggles she's been through to get to this point - particularly after becoming a single mum aged just 21. 'I've been skint – I had no money, and we lived off Marmite sandwiches for months, and I burnt furniture to keep us warm,' she said, adding: 'But having a son to look after gave me such motivation to work, and it wasn't so bad – it made me tough, and I learnt resilience.' The star has just secured her next major role in the Netflix hit show Wednesday, playing the main character's grandmother Hester Frump. Alongside gushing over all the fun wigs she gets to play as the creepy character, Joanna also described what she's truly like behind the scenes. The star explained that starting out as a model taught her to be thrifty and think on her feet, describing how back in the day models were often expected to do their own hair, makeup and nails. And now - unlike many celebrities and their diva antics - the longtime vegetarian only has one demand while working around the world. "The only thing I put on my rider when travelling is that I don't eat meat or fish in case I get an upset tummy,' she revealed. 'So if I am presented with meat when I visit somewhere I just say, 'Oh it is against my religion.''
