Latest news with #PlaySchool
Daily Mail
3 days ago
- Entertainment
- Daily Mail
RICHARD COLES: I went on Ozempic after my neighbours were BULLYING me about my weight. But then I found the real reason they were so keen to get me on the drugs - and it's shocked me to my core
You can ask the Reverend Richard Coles anything on his new live tour, so let's cut straight to the chase. How's the love life? 'Excellent, thank you! I have a lovely time with Dickie, who came into my life a couple of years ago.' Dickie is the Shakespearean actor Richard Cant, son of former Play School presenter Brian. 'He hates me talking about him,' says Richard with a wince, 'but if you ask, there are things I can say.' Their first date was at the Royal Horticultural Society Garden Wisley in Surrey. 'I knew he was coming from work - he was in the play Orlando in the West End at the time - so I did a brilliant thing and packed an extra pair of Wellingtons. I estimated his shoe size correctly. I knew that was a cool move.' How did it go down? 'Well, he said later, "You had me at the Wellingtons."'
The Guardian
26-05-2025
- Entertainment
- The Guardian
‘The fandom was rock'n'roll. Sophie Ellis-Bextor loved our rap song!'' How we made Balamory
After graduating from Rada I'd been a jobbing actor for 20 years. One day I was with my kids watching Play School, and thought: 'I could be a presenter on this.' So I became one, and then the BBC trained me up as a preschool director and I went on to be a freelance director and producer specialising in preschool. The BBC wanted to do a preschool drama centred around travellers in Ireland. It didn't get commissioned but it gave me the idea to create something set in a community. I had a health hiccup, which put me out of work but gave me downtime to think. Play School had been a new programme every day, so it had an immediacy. I thought: 'Why not make a preschool soap?' A year later, BBC had created CBeebies and had masses of airtime to fill and were looking for a programme that was about the world around us, so I pitched my idea. The commissioning editor said: 'How can you do a soap for preschool kids?' I said: 'Well, instead of the Queen Vic you could have a nursery school.' He said: 'That's quite a good idea.' I was made series producer and we had to film 126 episodes in 10 months, beginning in January 2002. I went down to the EastEnders set. They were very helpful and I came back with a formula. We were originally going to film in Kirkcudbright but that was too far from Glasgow, where we needed to film some of the indoor shots, so we moved it to Tobermory on the Isle of Mull, which is a child's dream with all its colours, water and hills. I'd already written the theme song: What's the Story in Tobermory? But there was a Womble called Tobermory, so a researcher in the Gaelic department came up with Balamory. It wasn't a nod to Oasis's (What's the Story?) Morning Glory, which I'd never heard of! We put out feelers for the cast, such as 'a child's dream nursery teacher' for Miss Hoolie. Lionel Jefferies, who'd played the grandfather in Chitty Chitty Bang Bang, applied, but we weren't really looking for named actors, plus – it's terrible to say – I think I was too terrified to audition him in case I had to say no. Mary Riggans, who'd been in Scottish soap opera Take the High Road, wowed us, and we cast her as Suzie Sweet. We constructed our own school in Barmulloch, in the north of Glasgow. The kids would come in and believe it was their nursery, so they didn't have to act. Kids programmes aren't just for children. They're meant to be a shared experience. The characters we created all had their quirks. There was friction between [school bus driver] Edie McCredie and Suzie Sweet [who runs the village shop and cafe]. Miss Hoolie [nursery teacher] and PC Plum quite liked each other. I think the quirks made them seem more relatable. We created a community on this little island that felt realistic and had humour no matter what age you are. I think that's probably why people are so fond of the characters and the place. I'm not involved in the reboot, at least, not yet. I was diagnosed with spinal muscular atrophy at the age of two. It was amazing how many people thought my wheelchair was a prop. A small role in ITV drama Blind Ambition that centred on disabled athletes gave me the itch to act, although being disabled often means playing a character who specifically has a disability issue or medical problem. Eventually I found myself in a room with Brian Jameson and lots of other actors who were all being considered for the role of Penny. My disability was never openly discussed in front of me, which is what made the role so very important to me. Penny runs the village shop and cafe with Suzie Sweet. She's a bit of a maths wizard and likes organising. As the writers got to know me and realise how active I was, Penny went on to be the football and rowing coach. I spent the best part of three years filming up in Scotland, doing 14-hour days but having the best of times. Working on Balamory was such joy. I was surrounded by such a brilliant cast and crew. We laughed a lot! The scripts were funny but also sometimes surreal, like one about a party at the nursery when Penny and Suzie were dressed as Pearly Queens but nobody else was in costume. It was also emotional – I particularly remember the episode when Penny and Suzie went to Finland to visit Santa. I got to meet him and cuddle a litter of husky puppies – there were sobs! The Balamory fandom quickly grew. We were able to meet many of them when we performed live on the arena tours. It all felt a bit rock'n'roll. I remember Sophie Ellis-Bextor coming to the show and saying she loved Penny's rap song. For the first time my son started to think I was cool. I started to realise how popular the show had become when I went to St James' Park to watch Newcastle United play and the fans, in their thousands, all sang What's the Story? when they saw me. It gave me goosebumps, and still does, thinking about it.
Rhyl Journal
12-05-2025
- Entertainment
- Rhyl Journal
Government defeated over copyright protections against AI models
Baroness Beeban Kidron, who directed the second film in the Bridget Jones series, put forward an amendment that would ensure copyright holders would have to give permission over whether their work was used, and in turn, see what aspects had been taken, by who and when. The crossbench peer said the Data (Use and Access) Bill provided an opportunity to ensure those in the music, film, television and other creative industries were properly credited and paid, if they agreed that their work could be used. Lady Kidron said creatives risked unwittingly providing materials to train generative AI models without payment. Those models could then end up creating their own material, and undercutting human musicians, authors, actors, filmmakers and other creatives. She denied the accusation from Technology Secretary Peter Kyle, who watched from the sidelines, that creatives were trying to stymie change. It comes days after a joint letter to Sir Keir Starmer signed by hundreds of people in the creative industries, including Sir Elton John, Sir Paul McCartney and Sir Ian McKellen, urged the Prime Minister to introduce safeguards against work being plundered for free. She said: 'Creators do not deny the creative and economic value of AI. But we do deny the assertion that we should have to build AI for free, with our work, and then rent it back from those who stole it.' She added: 'We need the amendment in front of us today now, because if this Bill does not protect copyright by the time they work out their policy there will be little to save. 'My lords, the language of AI, scraping, training, data, modules, LLMs (large language models), does not evoke the full picture of what is being done. AI corporations, many of which are seeking to entrench their existing information monopolies, are not stealing nameless data. They are stealing some of the UK's most valuable cultural and economic assets. 'It's Harry Potter, it's the entire back catalogue of every single music publisher in the UK. It's the voice of Hugh Grant, the design of an iconic handbag, the IP of our universities, great museums and library collections. Even the news is stolen in real time. All without payment, with economic benefits being taken offshore. 'It costs UK corporations and individuals their hard-earned wealth, and the Treasury much needed revenue.' The amendment passed by 272 votes to 125, a majority of 147. Former BBC children's TV presenter Baroness Floella Benjamin, who fronted Play School and Hullabaloo, said she feared the reach of AI into programming for youngsters. The Liberal Democrat peer said the UK was at a 'fascinating and unsettling crossroads'. Lady Benjamin said: 'Our ability to connect with an audience on an emotional level, to bring authenticity and vulnerability to a role remains a uniquely human attribute. Thousands and thousands of people tell me I did just that when they watched me almost 50 years ago on Play School. 'It had a lasting emotional effect on them, right through to their adulthood.' Speaking in support of Lady Kidron's amendment, she added: 'It terrifies me to think that future generations of children may never experience a human being connecting with them, with their souls, either on screen or on stage, or inspire them to pursue a career in the creative industry. No Government should have that on their conscience.' Conservative peer Baron Black of Brentwood, who sits as deputy chairman of Telegraph Media Group, warned of the impact on news organisations. Lord Black said: 'The provision of independent, verified and regulated news will be among the very first victims of AI if this amendment is not cast and we act very soon. 'I do not say this lightly, my Lords, and having spent almost my whole career in the media I am choosing my words very carefully. But I have to give the House this warning. AI has the capacity utterly to destroy independent news organisations, because it feasts off millions of articles written by journalists without any attribution or payment, destroying the business model that makes the free press possible. 'Without action this day, news will die in the cold darkness of cyberspace where no legal framework exists.' Labour technology minister Baroness Jones of Whitchurch said: 'It's the Government's view and moreover it's morally right that creators can license and be paid for the use of their content. The Government has always been clear that we want to see more licensing by the AI sector.' She said the proposed mechanism to identify individual works that had been used could be unworkable as the technology would not support it. She said it could also create large obligations on AI companies. She said: 'The scale of their impact on those businesses is unknown. But without a proper impact assessment there is a real risk that the obligations could lead to AI innovators, including many home-grown British companies, thinking twice about whether they wish to develop and provide their services in the UK.' A Department for Science, Innovation and Technology spokesperson said: 'The Data (Use and Access) Bill is focused on unlocking the secure and effective use of data for the public interest – boosting the economy by an estimated £10 billion over the course of the next 10 years to help deliver the growth which is fundamental to the government's plan for change. 'We want our creative industries and AI companies to flourish, which is why we have been separately consulting on a package of measures that we hope will work for both sectors. We have always been clear that we will not rush into any decisions or bring forward any legislation until we are confident that we have a practical plan which delivers on each of our objectives.'
South Wales Guardian
12-05-2025
- Entertainment
- South Wales Guardian
Government defeated over copyright protections against AI models
Baroness Beeban Kidron, who directed the second film in the Bridget Jones series, put forward an amendment that would ensure copyright holders would have to give permission over whether their work was used, and in turn, see what aspects had been taken, by who and when. The crossbench peer said the Data (Use and Access) Bill provided an opportunity to ensure those in the music, film, television and other creative industries were properly credited and paid, if they agreed that their work could be used. Lady Kidron said creatives risked unwittingly providing materials to train generative AI models without payment. Those models could then end up creating their own material, and undercutting human musicians, authors, actors, filmmakers and other creatives. She denied the accusation from Technology Secretary Peter Kyle, who watched from the sidelines, that creatives were trying to stymie change. It comes days after a joint letter to Sir Keir Starmer signed by hundreds of people in the creative industries, including Sir Elton John, Sir Paul McCartney and Sir Ian McKellen, urged the Prime Minister to introduce safeguards against work being plundered for free. She said: 'Creators do not deny the creative and economic value of AI. But we do deny the assertion that we should have to build AI for free, with our work, and then rent it back from those who stole it.' She added: 'We need the amendment in front of us today now, because if this Bill does not protect copyright by the time they work out their policy there will be little to save. 'My lords, the language of AI, scraping, training, data, modules, LLMs (large language models), does not evoke the full picture of what is being done. AI corporations, many of which are seeking to entrench their existing information monopolies, are not stealing nameless data. They are stealing some of the UK's most valuable cultural and economic assets. 'It's Harry Potter, it's the entire back catalogue of every single music publisher in the UK. It's the voice of Hugh Grant, the design of an iconic handbag, the IP of our universities, great museums and library collections. Even the news is stolen in real time. All without payment, with economic benefits being taken offshore. 'It costs UK corporations and individuals their hard-earned wealth, and the Treasury much needed revenue.' The amendment passed by 272 votes to 125, a majority of 147. Former BBC children's TV presenter Baroness Floella Benjamin, who fronted Play School and Hullabaloo, said she feared the reach of AI into programming for youngsters. The Liberal Democrat peer said the UK was at a 'fascinating and unsettling crossroads'. Lady Benjamin said: 'Our ability to connect with an audience on an emotional level, to bring authenticity and vulnerability to a role remains a uniquely human attribute. Thousands and thousands of people tell me I did just that when they watched me almost 50 years ago on Play School. 'It had a lasting emotional effect on them, right through to their adulthood.' Speaking in support of Lady Kidron's amendment, she added: 'It terrifies me to think that future generations of children may never experience a human being connecting with them, with their souls, either on screen or on stage, or inspire them to pursue a career in the creative industry. No Government should have that on their conscience.' Sir Elton John was among stars who signed a joint letter to Sir Keir Starmer (PA) Conservative peer Baron Black of Brentwood, who sits as deputy chairman of Telegraph Media Group, warned of the impact on news organisations. Lord Black said: 'The provision of independent, verified and regulated news will be among the very first victims of AI if this amendment is not cast and we act very soon. 'I do not say this lightly, my Lords, and having spent almost my whole career in the media I am choosing my words very carefully. But I have to give the House this warning. AI has the capacity utterly to destroy independent news organisations, because it feasts off millions of articles written by journalists without any attribution or payment, destroying the business model that makes the free press possible. 'Without action this day, news will die in the cold darkness of cyberspace where no legal framework exists.' Labour technology minister Baroness Jones of Whitchurch said: 'It's the Government's view and moreover it's morally right that creators can license and be paid for the use of their content. The Government has always been clear that we want to see more licensing by the AI sector.' She said the proposed mechanism to identify individual works that had been used could be unworkable as the technology would not support it. She said it could also create large obligations on AI companies. She said: 'The scale of their impact on those businesses is unknown. But without a proper impact assessment there is a real risk that the obligations could lead to AI innovators, including many home-grown British companies, thinking twice about whether they wish to develop and provide their services in the UK.'
Glasgow Times
12-05-2025
- Entertainment
- Glasgow Times
Government defeated over copyright protections against AI models
Baroness Beeban Kidron, who directed the second film in the Bridget Jones series, put forward an amendment that would ensure copyright holders would have to give permission over whether their work was used, and in turn, see what aspects had been taken, by who and when. The crossbench peer said the Data (Use and Access) Bill provided an opportunity to ensure those in the music, film, television and other creative industries were properly credited and paid, if they agreed that their work could be used. Lady Kidron said creatives risked unwittingly providing materials to train generative AI models without payment. Those models could then end up creating their own material, and undercutting human musicians, authors, actors, filmmakers and other creatives. She denied the accusation from Technology Secretary Peter Kyle, who watched from the sidelines, that creatives were trying to stymie change. It comes days after a joint letter to Sir Keir Starmer signed by hundreds of people in the creative industries, including Sir Elton John, Sir Paul McCartney and Sir Ian McKellen, urged the Prime Minister to introduce safeguards against work being plundered for free. She said: 'Creators do not deny the creative and economic value of AI. But we do deny the assertion that we should have to build AI for free, with our work, and then rent it back from those who stole it.' She added: 'We need the amendment in front of us today now, because if this Bill does not protect copyright by the time they work out their policy there will be little to save. 'My lords, the language of AI, scraping, training, data, modules, LLMs (large language models), does not evoke the full picture of what is being done. AI corporations, many of which are seeking to entrench their existing information monopolies, are not stealing nameless data. They are stealing some of the UK's most valuable cultural and economic assets. 'It's Harry Potter, it's the entire back catalogue of every single music publisher in the UK. It's the voice of Hugh Grant, the design of an iconic handbag, the IP of our universities, great museums and library collections. Even the news is stolen in real time. All without payment, with economic benefits being taken offshore. 'It costs UK corporations and individuals their hard-earned wealth, and the Treasury much needed revenue.' The amendment passed by 272 votes to 125, a majority of 147. Former BBC children's TV presenter Baroness Floella Benjamin, who fronted Play School and Hullabaloo, said she feared the reach of AI into programming for youngsters. The Liberal Democrat peer said the UK was at a 'fascinating and unsettling crossroads'. Lady Benjamin said: 'Our ability to connect with an audience on an emotional level, to bring authenticity and vulnerability to a role remains a uniquely human attribute. Thousands and thousands of people tell me I did just that when they watched me almost 50 years ago on Play School. 'It had a lasting emotional effect on them, right through to their adulthood.' Speaking in support of Lady Kidron's amendment, she added: 'It terrifies me to think that future generations of children may never experience a human being connecting with them, with their souls, either on screen or on stage, or inspire them to pursue a career in the creative industry. No Government should have that on their conscience.' Sir Elton John was among stars who signed a joint letter to Sir Keir Starmer (PA) Conservative peer Baron Black of Brentwood, who sits as deputy chairman of Telegraph Media Group, warned of the impact on news organisations. Lord Black said: 'The provision of independent, verified and regulated news will be among the very first victims of AI if this amendment is not cast and we act very soon. 'I do not say this lightly, my Lords, and having spent almost my whole career in the media I am choosing my words very carefully. But I have to give the House this warning. AI has the capacity utterly to destroy independent news organisations, because it feasts off millions of articles written by journalists without any attribution or payment, destroying the business model that makes the free press possible. 'Without action this day, news will die in the cold darkness of cyberspace where no legal framework exists.' Labour technology minister Baroness Jones of Whitchurch said: 'It's the Government's view and moreover it's morally right that creators can license and be paid for the use of their content. The Government has always been clear that we want to see more licensing by the AI sector.' She said the proposed mechanism to identify individual works that had been used could be unworkable as the technology would not support it. She said it could also create large obligations on AI companies. She said: 'The scale of their impact on those businesses is unknown. But without a proper impact assessment there is a real risk that the obligations could lead to AI innovators, including many home-grown British companies, thinking twice about whether they wish to develop and provide their services in the UK.'
