Blakes 7 – Seek Locate Destroy

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The Liberator crew teleport down to Centero to steal the Federation’s cipher machine.  They achieve this successfully, but Cally is left behind and is apprehended by Federation troopers.  Blake, of course, vows to rescue her, whatever the cost.

Blake’s devotion to his crew will be used by Supreme Commander Servalan (Jacqueline Pearce) and Space Commander Travis (Stephen Greif).  Servalan has been tasked with the job of capturing Blake and she assigns Travis (who has history with him) to carry out the mission.  Using Cally as bait, Travis lures Blake into a trap, where he plans to destroy him …..

Everything changes in Seek Locate Destroy.  Until now, the Federation has provided Blake with rather faceless opposition.  But here, Servalan and Travis are strong, defined characters who will obviously be much more of a challenge to overcome.  And for those who regard Blakes 7 as a sci-fi version of Robin Hood (Blake = Robin, Jenna = Maid Marion, Gan = Little John, etc) the parallels are strengthed by the arrival of Servalan (the Sheriff of Nottingham) and Travis (Sir Guy of Gisbourne).

As with most Robin Hood series, we’ll see how regular returning villains tend to lose their effectiveness over time (due to overexposure).  Of the two, Travis was always going to be harder to write as a continuing character.  When Greif decided to leave at the end of the first series it probably would have been best to create a new character, rather than recast, since there’s only so many times that Travis can be bested by Blake before it becomes monotonous.

But Greif certainly does his best with the material he’s given – he even manages to invest his ripe closing speech with a striking intensity. “Run, Blake. Run. As far and as fast as you like. I’ll find you. You can’t hide from me. I am your death, Blake.”  His replacement in series two, Brian Croucher, was rather less successful unfortunately.

What gives the Blake/Travis conflict extra spice is the history the pair have.  Blake explains to the others exactly what happened.

BLAKE:  The group had arranged to meet in a sub-basement. There were about thirty of us. I was very particular about security. I had our people watch the entrances and exits for a full twenty-four hours before we were supposed to meet. No Federation forces came anywhere near the place. I was absolutely sure that we were safe. That night we were assembled and about to begin, and Travis and his men suddenly appeared from nowhere.

AVON:  Didn’t you post any guards?

BLAKE:  Of course I did. Travis was already there. He’d been hiding in that basement for more than two days. We made no attempt to resist arrest. There was no point, we had no chance. I said to Travis, “We will offer no resistance.” And he just stared at me. And then he ordered his men to open fire. Everybody was diving for cover that wasn’t there. I, I ran, I found myself grappling with a guard, and I managed to get his gun away from him, and then I was hit in the leg. But as I went down, I saw Travis. And I fired. I saw him fall. I was sure I’d killed him.

Another character who would suffer from overuse is Jacqueline Pearce’s Servalan – plus she would become camper and camper as the series progressed.  She’s quite different here – efficient, charming (when she needs to be) but also capable of barely suppressed fury (when speaking to her old flame Rai who dares to question the appointment of Travis) as well as showing occasional moments of hesitancy.  It’s a controlled performance which works very well.  In this episode we see Servalan the politician, manouvering others to do her bidding.  Later, she’d become more mobile and would appear to run into the Liberator crew nearly every week, which didn’t always work.

Pearce and Greif help to bolster what is a fairly flimsy story – Blake steals the cypher machine, realises Cally has been captured and then rescues her.  The location filming (at Fulham Gasworks) does help matters – Blakes 7 always loved an industrial setting – but several minus points for the rather silly-looking robot.  Sadly it reappears in a later story – presumably (despite appearances) it was expensive to make, so I assume they felt they had to get their monies worth.

It’s difficult to believe that nobody realises Cally hasn’t returned with the others, but given the excitement of the raid it’s just about believable I guess.  Jan Chappell’s fight with the trooper, which results in her losing the teleport bracelet, is rather ineffectual – had it been shot on film there would have been time to cut it together properly, but the unforgiving medium of multi-camera VT simply didn’t allow this (so it’s less a fight, more a series of shoves!).

Afterwards, it’s interesting to see the Federation trooper remove his helmet – to reveal a fairly nondescript looking man.  The masked troopers have a nightmarish and dehumanised appearance, so this moment (whilst understated) helps to show us that the troopers aren’t monsters, they can be just normal people.

A similar point is touched upon later, when Rai (Ian Oliver) expresses to Servalan the disquiet that he and his fellow officers have concerning the reappointment of Travis.  Travis has been suspended after another massacre of unarmed civilians and in Rai’s opinion he should have been dismissed from the service.  Whilst the series in general tends to paint the Federation en-masse as tyrants and killers, here we see Rai presented as a decent and honourable officer, disgusted with the return of a psychopath like Travis.  And the fact he’s not the only one to feel this way about Travis does suggest that maybe the Federation isn’t quite as black as Blake believes.

Although Travis is the centre-point of the story we don’t actually see him until more than half way through the episode.  His first scene in priceless though – to the strains of Dudley Simpson at his most dramatic, Grief strides in, hands on hips, as he confronts Servalan.  He’s already spoken a good few lines before the camera cuts to his face and we see the signs left by his last tussle with Blake.

Any episode is always enlivened by a touch of Peter Miles (at his most cutting here),  He forms a nice double-act with John Bryans and the pair will also return in the series two episode Trial (Bryans also pops up in series three, in a different role, in Rumours of Death).  Ian Cullen (formally a Z Cars regular) is rather wasted as Escon and Peter Craze (brother of Michael) is Prell.

Solid stuff then and it’s obvious that Travis will be back again and again – only death, it seems, will end the feud between him and Blake.

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The Wheeltappers and Shunters Social Club – 4th May 1974

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Tonight’s Turns:

The Wedgewoods
Beryl Calvert
Jimmy Jewel
Marie
Valentino
Johnnie Wager, Union Man
Buddy Greco

First up are the Wedgewoods, a wholesome singing group.  They’re a vision in blue velvet and the highlight of their song must be when the camera pans into the audience to show us a man clapping with such grim determination that it’s possible to imagine there’s a gun pointing at him off camera!

Next is ventriloquist Beryl Calvert.  She’s quite well-spoken, whilst her doll sports a broad Liverpudlian accent.  It’s a decent act, although it only attracts polite laughter from the audience.  Beryl certainly doesn’t leave any stone unturned when attempting to tug at the heartstrings of the punters though (similar to the way that Keith Harris and Orville would later work).

Buddy Greco makes a brief appearance and he’s far from impressed with the piano he’s been given.  When he tells the chairman he requires a grand piano, he’s told that it’s the grandest they’ve got.  It’s not what he wants to hear, so he kicks the piano over and leaves the stage.  This forces Bernard to fill in, with the assistance of a drunk from the audience (played by Jimmy Jewel).

Jewel was a veteran British variety performer, who had enjoyed a thirty year partnership with his cousin Ben Warriss, before they went their separate ways in the late 1960’s.  After the split, Jewel would continue to rack up an impressive list of film and television credits well into the 1990’s.  At the time of this Wheeltappers appearance he would have been best known for the ITV sitcom Nearest and Dearest, where he appeared alongside Hylda Baker (famously, the pair detested each other in real life).

His comic talents are rather wasted here, as the “joke” is that Bernard and Jimmy perform a song which appears to get a rapturous reception.  But what they don’t realise is that the applause is for the stripper who’s appeared behind them.  So they continue to give encore after encore, whilst the stripper (Marie) takes off another item of clothing.  How long can this joke be stretched out?  Quite a way, it has to be said.

After the break, we’re launched into the middle of Valentino’s act.  It’s a compelling turn – although it might just be the ever-so shiny jacket that piqued my interest.  If you’ve ever wondered how Colonel Bogey would sound on the accordion when played in different countries, then this is the turn for you.  Valentino, born Jackie Farn, has enjoyed a long and successful career, rubbing shoulders with a host of showbiz greats (including the Beatles).  His official website, modestly called King of the Music is worth a look.

After a fairly laughter-free turn from Johnnie Wager, it’s a relief to learn that they’ve found Buddy Greco a decent piano and he’s returned to close the show.  Born in 1926, Greco is still going strong – a survivor from a classic era of music.  In the 1960’s he appeared with the Rat Pack and is a veteran of numerous Las Vegas engagements.  He brings a little of that glamour to the Wheeltappers, although the performance is slightly wonky – not necessarily his fault, since the band do seem to be playing different songs at the same time!

Blakes 7 – The Web

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Cally, under the control of a mysterious alien, pilots the Liberator to a distant planet where it becomes ensnared in a strange web.  Blake teleports down to the surface, finds more of the web-like substance and meets Geela (Ania Marson) and Novara (Miles Fothergill).  They are under attack from a group of diminutive aliens called the Decimas (as is Blake when he arrives).  But as Blake begins to assess his surroundings, he finds that his sympathies lie more with the Decimas than the distinctly odd Geela and Novara.

Exactly why the two humanoids are on the planet, their relationship with the Decimas, and the involvement of the mysterious Saymon (Richard Beale) are all puzzles that Blake finds he has to solve.

The Web is a story that seems rather out of place in series one (although you could imagine it fitting into series three or four quite easily).  But on the other hand, since the majority of the first series from now on will be dominated by Servalan and Travis, it’s probably not a bad idea to have a couple of non-Federation/pure SF stories.

True, it’s not one to watch in the company of non-fans, as there are various production choices (the Decimas, Saymon, etc) which will no doubt only generate derision.  But digging deeper underneath, there’s a creepy SF story here – which makes a nice change from the Blake versus the Federation yarns.

Cally’s only been onboard the Liberator for a short while and she’s already taken over by a mysterious alien force (this certainly won’t be the last time it’ll happen either).  As previously discussed, it’s easy to spot various plot contrivances that have been put into place in order to shape the drama and Cally’s possession is another.  In Doctor Who, the TARDIS could simply land at random on a planet and then the adventure would begin.  This can’t happen in Blakes 7, so another way had to be found to involve Blake and the others in Saymon’s affairs.

Michael E. Briant’s direction is very effective – the story opens with a nice panning shot of Saymon’s laboratory and the film sequences (recorded at Black Park) have a spooky atmosphere.  Miles Fothergill had previously played the emotionless robot SV7 in the Doctor Who story The Robots of Death, which was clearly good practice for his similar role here.

Richard Beale has a somewhat thankless role.  Saymon’s dialogue (here’s a sample – “They must come. They must. They must. They must come. They must. They must. They must. They must come. They must come. They must. They must. They must come to us” etc) is rather repetitive and his appearance – which should be shocking – can’t help but be rather comical.  Beale’s clearly just poking his head through a wall, so it’s hard to take him seriously.  But he is a very good actor, so he’s still able to make something out of the fairly unpromising hand he’s been dealt.

The dubious morality of genetic engineering is debated and it’s pleasing that there’s no pat, neat solution at the end.  Blake sides with the Decimas, but not everyone share his sympathies.  “These are what you wanted to protect” comments Avon, with Blake retorting that the Decimas are fighting for their lives.  “Who isn’t” counters Avon.

The early part of the story takes place on the Liberator, which allows everybody to enjoy some more character development.  It then becomes more of Blake’s story as he meets Geela, Novara and Saymon.

Highlights of the first part of the episode include the controlled Cally knocking Vila out, which happens just after he asks her what she thinks of his new outfit.  My opinion?  Not very good.  Also of note is the scene between Cally and Avon.  She’s still under the control of Saymon at the time (although Avon doesn’t realise this until later) and there’s an intimacy to her words which clearly rattles the cold, logical Avon.  It’s one of the few times thus far that we’ve seen him wrong-footed, so it’s a nice character moment.  Jenna’s possessed acting is also interesting, shall we say …..

The Web probably isn’t a particularly highly regarded episode, but it’s certainly not without merit and is a step-up from the tedious run-around antics of Time Squad.

Minder – Gunfight at the O.K. Laundrette

RIP George Cole, 1925 – 2015

archivetvmusings's avatarArchive Television Musings

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It should have been an easy job for Terry (Dennis Waterman) – a simple case of minding Alfie Cavallo (Dave King) as he collected the money from his string of coin-operated laundrettes.  But a bungled armed robbery, led by Stretch (Trevor Thomas), meant that Terry, Alfie and the unfortunate Mrs Mayhew (Hilary Mason) are taken hostage and a tense stand-off with the police begins.

Richard Marson’s recent book about Verity Lambert describes how she green-lit Minder after listening to a five minute pitch.  Her snap decision paid off as it remained one of ITV’s top-rated dramas for the next fifteen years.  During that time the tone of the series certainly changed, as it became a more comedic, family friendly series – which wasn’t to the liking of everyone (especially Dennis Waterman, who left after the seventh series mainly because he’d felt the show had lost its edge).

Gunfight at the…

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Out of the Unknown – The Last Lonely Man

RIP George Cole, 1925 – 2015

archivetvmusings's avatarArchive Television Musings

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Story by John Brunner, Adapted by Jeremy Paul
Directed by Douglas Camfield

In the future, death no longer holds the same fear that it used to.  Now when people die, their personality and life experience are automatically transferred into the mind of a nominated host.  James Hale (George Cole) is a devoted family man with a wife and two children who’s already become the host of his late father’s personality (which he sometimes has to battle against) and he’s a staunch advocate of the process – known as Contact.

So when he meets Patrick Wilson (Peter Halliday) in a bar and learns that Patrick doesn’t have Contact with anyone he agrees to “take him on until he can can get fixed up with a friend”.  But soon it transpires that Patrick has had Contact with many people – all of whom terminated their link once they became aware of exactly…

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Grange Hill. Series Three – Episode Sixteen

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Written by Phil Redmond. Tx 29th February 1980

The series-long plotline of Penny verses Doyle is concluded here. After being berated by Miss Peterson for his poor performances as the third year rep, Doyle vows to get even with Penny (who he assumes has once more been telling tales about him).

He steals her project (which she has spent a considerable time on) and throws it away with the rubbish collected by the cleaners. But eventually his sins find him out, he loses his position as rep and he, and his friends, are forced to sort through the piles of rubbish to retrieve as much of Penny’s project as they can find.

Apart from an unexpected one-off appearance in series five, this would be Ruth Davis’ last episode as Penny Lewis. It’s something that happens time and again in Grange Hill, as pupils vanish for extended periods or sometimes forever (usually because real-life pressures, such as exams, intervene). Penny is replaced in series four by Pamela Cartwright, an almost identical character (bossy, a frequent contributor to the school magazine, etc). It’s tempting to think that the scripts for series four were originally written for Penny and they simply crossed her name out and wrote Pamela’s instead.

The final scene of Doyle and co leafing through the rubbish is an amusing, if low-key, ending to the series. Clearly the thought of concluding a series with a hook to lead into the next run of episodes wasn’t something that was considered at this time.

Blakes 7 – Time Squad

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The Liberator is en-route for Saurian Major.  Blake explains that it’s home to the Federation’s transceiver complex.  “It’s a vital nerve centre in the Federation space control system. Destroy that, and you blind, deafen and silence them.”

On the way, they stop to pick up a capsule which contains several people in deep cryogenic sleep.  Jenna and Gan remain on-board as their visitors slowly return to life, whilst Blake, Avon and Vila teleport down to the planet.  The three of them meet Cally (Jan Chappell) – the last surviving member of Saurian Major’s resistance group.  She guides them into the complex whilst Gan and Jenna tussle with the now very awake and very deadly aliens ……

Time Squad opens with Blake asserting his authority over the others.  He unilaterally decides to attack Saurian Major and expects the others to follow him, although he does say that anybody is able to opt out at any time, which he obviously considers closes the debate.

Nobody decides to leave, so for the present they all seem content.  Jenna, as we’ve seen, might be happy to remain because of her growing relationship with Blake – there’s further small examples of this during the episode (in addition to the fact that she seems very put out when Cally joins the crew!).  Vila seems to go with the flow, whilst Gan later admits that he can’t be on his own – he has to be around people he can trust (although the reasons for this aren’t immediately clear).  And Avon, by far Blake’s staunchest critic, remains on the sidelines, tossing the occasional barbed comment Blake’s way.

As previously touched upon, because Blakes 7 has such an abundance of technological wonders (and there are more in this episode, such as the device which instantly mends Jenna’s broken arm) ways have to be found to limit their effectiveness – lest the dramatic tension of the stories are completely eroded.

There’s two direct examples in Time Squad – and indeed, the word “limiter” is mentioned in both cases.  The first occurs when the Liberator encounters the floating projectile – it seems clear that Zen senses it contains danger, but can’t or won’t directly state this.  For dramatic purposes this makes sense – had he told them it contained several homicidal lunatics who were programmed to destroy all life, it’s a fair bet they would have left it where it was!

But it doesn’t make any logical sense for Zen to have this limit placed upon him (by, presumably, the Liberator‘s creator).  It just feels like slightly clumsy plotting, as is the fact that nobody seems to take the slightest heed to Zen’s strange behavour anyway.  You would have assumed that someone would have twigged that maybe the sleepers were bad news (a look at their faces should have been proof enough).

The second limiter has been placed in Gan’s head.  I assume this was done after he was convicted of murder, since it means he can no longer take a life.  His inability to kill will have serious consequences when the sleepers are running amok – although it didn’t seem to be a problem in the previous few episodes, where he was happy enough to crack any number of heads together.  Why couldn’t Gan aim to disable, rather than kill?  Again, this feels like a plot contrivance – in order to make him less effective (and place Jenna in direct peril) a way had to be found to neuter him.

With Gan below par, this leaves Jenna at the mercy of the aliens.  Whilst it’s true that the concept of a woman stalked by several stronger men is a familiar, if not very progressive, trope, it does at least allow Sally Knyvette a decent amount of screen-time.  In later episodes she would become progressively marginalised, ending up as little more than the teleport operator.  The Blake/Avon/Vila combination seemed to be the most appealing for many of the writers, which unfortunately meant that Jenna and Cally had very little to do at times.  In Time Squad though, she’s able to carry part of the narrative by herself.  Jenna may be frightened, but she’s also resourceful and independent.

Whilst Gan and Jenna have their hands full aboard the Liberator, Blake and the others teleport down to Saurian Major (which you may not be surprised to learn is a quarry) and meet Cally.  She will prove to be an asset – as she’s a hardened fighter and someone who’s just as fanatical, if not more so, than Blake.

Blake says he needs Cally’s help to infiltrate the complex, but it’s hard to see why, since they appear to just stroll in with no trouble at all.  This is more than a little bizarre – if this really is a top-security installation, how are they able to reach their goal without anybody challenging them?  It’s just too easy and therefore there’s no tension to these sequences.  And though Blake tells us that the transceiver complex is a vital piece of Federation hardware, its destruction doesn’t seem to make any difference to the Federation’s ability to hunt the Liberator down in later episodes.

Since this part of the plot isn’t very effective (and the lumbering sleepers plotine drags on as well) it’s fair to say that the crew interactions are the main pleasures to be taken from Time Squad.  Everybody gets some space to develop their characters – especially Gan, as we learn some of his back-story (which unfortunately is never touched on again).  Vila continues to wisecrack.  When told that some of the plant-life on Saurian Major has an intelligence rating, he says “that’s a comfort. I should hate to be eaten by something stupid.”

Blake/Jenna/Cally is an intriguing triangle which was never really developed in the series (although I’m sure there’s plenty of fan-fic out there, should you wish to find it).  We’ve seen Blake and Jenna develop a closeness and also observed how she seems put out to see Cally join the crew.  It’s hard to imagine anything romantic developing between Blake and Cally, but their fanatical nature makes them two of a kind.

Grange Hill. Series Three – Episode Fifteen

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Written by Alan Janes. Tx 26th February 1980

I don’t know what the mortality rate of Grange Hill is, compared to other schools in the UK, but I’d guess it’s a great deal higher. Deaths, of course, are a staple in any soap opera – they help to create interest, ratings and spark debate.

The deaths in Grange Hill are sometimes, but not always, designed with a specific point in mind – they can be morality tales with a clear message. In this case we’re told that dares can be dangerous and potentially fatal.

A craze of dares is sweeping the school and at the same time there are running fights between Grange Hill and Brookdale pupils. Since these often take place at the local shopping centre, it’s placed out of bounds (and teachers are sent on patrol there).

Naturally, many of the kids, including Tucker and Alan, happily ignore this order and they’re lucky not to be caught by Mr Baxter. But tragedy strikes when Antoni Karamanopolis (Vivian Mann) is dared by Billy Phillips (Tony London) to walk along the rooftop of the shopping precinct – he falls and is killed instantly.

Antoni was a typical supporting Grange Hill character. He appeared in a handful of episodes during series two and three, sometimes just in the background but occasionally with a few (usually not vital) lines. He was clearly the ideal person to be sacrificed – someone who would be familiar to the audience, but not one of the central characters.

Of course, this does lessen the impact of his death (imagine if it had been, say, Benny) and apart from one casual mention in a later episode he doesn’t appear to be greatly missed – there’s certainly no attempt to plant a tree in his memory, ala Danny Kendall.

Mr Baxter’s pursuit of the children through the shopping centre does provide us with an awkward moment as he follows them into the toilets and proceeds to try and look under the toilet doors. He becomes aware that he’s being observed (by a traffic warden) and tries to shrug it off by telling him that he’s looking for some boys. It’s played as a comedy moment, but it’s hard to imagine something similar being done today!

Grange Hill. Series Three – Episode Fourteen

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Written by Alan Janes. Tx 22nd February 1980

The third years take a trip to work on the Outdoor Centre. Tucker inadvertently puts the girls’ tents up over an ants nest, Alan and Susi continue to work on their Judo, whilst Cathy puts her foot through a rotten floorboard in the upstairs part of the building and has to be taken to hospital.

The realisation that the floorboards are rotten causes concern. How much will it cost to repair them? As might be expected, money is tight and it looks as if the plans for the Outdoor Centre will have to be abandoned. Eventually a rescue plan is worked out later in the series (they decide to share Brookdale’s Outdoor Centre instead) but since it’s never seen again it’s a plotline that doesn’t go anywhere. A pity, since the odd trip to the Outdoor Centre could have been used to break up the (naturally) school-dominated run of episodes.

This is Alex Kingston’s final appearance as school-bully Jill Harcourt. Once Susi uses some of the Judo moves on her that Alan taught her, she’s no longer a threat and limps away.

Blakes 7 – Cygnus Alpha

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Once Blake, Avon and Jenna have learnt a little about the new spaceship they’ve “acquired” (and also tangled with the mysterious super-computer Zen) they set a course for the prison planet Cygnus Alpha.  Once there, Blake is keen to free as many of the prisoners as he can – he needs a crew to start fighting the Federation.  But the charismatic ruler of Cygnus Alpha, Vargas (Brian Blessed), needs new recruits to serve his god and he isn’t going to give them up without a fight …..

Cygnus Alpha is a story of two halves.  Later we explore Cygnus Alpha and Vargas’ weird religion, but to begin with we follow Blake, Avon and Jenna as they start to evaluate the Liberator and slowly begin to understand its capabilities.  Blake remarks that the design is alien – it certainly doesn’t appear to be of Federation origin.  In story terms of course, it’s handy for Blake’s small group to have such an advanced ship – otherwise their battle against the Federation would have been rather brief.

If you accept this as a dramatic requirement, then you also have to turn a blind eye to the fact that the Liberator has a well stocked arsenal of weapons and a teleport system which means they never have to land the ship, handy that!  At this point, they can only remove one gun each (“single function isomorphic response” as Avon puts it) although this is a convention that’s later blithely ignored.

The teleport system is the closest link to Star Trek – and as in the American series it’s a device that is frankly just too useful.  The ability to teleport anybody out of danger at any time is a problem, so during the course of the series we’ll see various ways used to limit its power.  Sometimes the Liberator will be forced to leave teleport range (because of incoming Federation ships) and on other occasions, like here, the loss of a teleport bracelet will prevent a quick escape.

One oddity in this story is that at the end there appears to be two teleport areas.  We see Blake, Vila and Gan appear in the usual one and then Vargas seems to materalise in another teleport area on the opposite side.  Although it’s possible this is just a bad piece of editing, since this secondary teleport area (if that’s what it is) is never used again.

Shortly after finding the guns they encounter Zen (voiced by Peter Tuddenham) for the first time.  As he’s got such a clear personality it’s no surprise that Blake later claims him as one of the seven.  But as the following exchange illustrates, Zen has boundaries that he’s not prepared to cross.

BLAKE: Zen, how does the teleport system work?
AVON: Would its function be injurious to our species? Have you the necessary data?
ZEN: Wisdom must be gathered, it cannot be given.
AVON: Don’t philosophise with me you electronic moron. Answer the question.

Zen doesn’t answer Avon’s question which infuriates him no end.  Avon vows to reprogram the computer, but it’s probable that he’s met his match.

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Down on the surface of Cygnus Alpha things are grim – as might be expected of a penal planet it’s a pretty bleak environment.  There is a smidgen of civilisation though – led by Vargas and Kara (Pamela Salem).  They, and the others, worship their god in a quasi-medieval setting.  New prisoners (or as Kara refers to them “new souls for the faith”) are therefore always welcome – though it may not come as a surprise that Vila’s far from keen.  When Gan spies a building, he asks Vila what he thinks.  “The architectural style is early maniac” he responds.

Apart from Gan and Vila, we see a couple of new prisoners – Arco (Peter Childs) and Selman (David Ryall).  Well, I say new, but they must have been aboard the London, so we have to assume they were always just out of shot in the previous episode. Either of these actors would have livened up Blake’s crew (I certainly would have taken Arco over Gan).

Whilst Blake’s recruiting members for the cause on Cygnus Alpha, Jenna faces a moral dilemma aboard the Liberator.  She’s discovered a room with untold riches, which certainly appeals to Avon.  He’s keen to take the money and run as he tells her that Blake would “look upon all this as just one more weapon to use against the Federation. And he can’t win. You know he can’t win. What do you want to be, rich or dead?  We might never have this opportunity again.”

Jenna agrees, although she decides to wait for an hour to see if Blake contacts the ship.  But when it comes to the crunch she can’t leave him – and neither, it appears, can Avon.  Why Avon doesn’t jump ship at the next available port with as much wealth as he can carry?.  Could it be that he too is beginning to believe in Blake’s crusade?  It seems improbable, but Avon’s motivations aren’t always easy to read (compared with how transparent Blake is) so it’s hard to say for sure.

The surface of Cygnus Alpha might only be a quarry, but the location benefits from extensive night shooting, atmospheric dry ice and some decent matte effects.  The interiors are more conventional and look like they could have been drawn from stock, but are reasonably solid.

Just two episodes after the nihilistic opener, we’re into something totally different here. Cygnus Alpha is much more conventional adventure series fare – complete with an over-the-top villain in Vargas. Brian Blessed could do this sort of performance in his sleep (possibly he did!) and whilst he’s undeniably a powerful actor, it’s hard to take Vargas very seriously as we know it’s only Brian Blessed dialing it up to eleven.

By the end of the story, Blake has been able to rescue Vila and Gan, so his band of brothers has got slightly bigger. It still seems that they’re very few to be thinking about launching an all-out attack on the Galactic Federation, but for a true fanatic like Blake that’s not something that’s going to bother him.

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Grange Hill. Series Three – Episode Thirteen

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Written by Alan Janes. Tx 19th February 1980

Duane, Michael and Tracy have to brave an interrogation by Mr Keating.  His first appearance in this episode is a memorable one – we hear him clear his throat in a very ominous way – making it clear that he’s not in a very good mood!  All three children give him a different reason for their presence in school at half term (Tracy’s is the correct one) but it’s obvious he’s unsure which of them to believe, so he tells them he’ll see them all later.

Having learnt that Mr Humphries might have some materials to donate to the Outdoor Centre, Mr Hopwood pays him a visit.  He spies a very serviceable van, which Mr Humphries was considering selling, and manages to grab it at a very decent price.  It’s instructive to watch the artful way Mr Hopwood is able to strike a bargain by playing on Mr Humphries’ good nature (but since it’s all in a good cause that’s fair enough).  It’s also amusing to hear Mr Humphries ask for cash, rather than a cheque, since a cheque would have to go through the books (thereby adhering to the cliche that all small businesses like to fiddle their tax!)

Susi finds herself persecuted by Jill Harcourt (Alex Kingston) who pressurises her to complete her homework.  Jill’s not the first school bully we’ve seen in the series, but it’s not until Gripper’s reign of terror in series five and six that we actually see a bully who carries out a concerted series of attacks over a sustained period.  Like Jackie Heron in series one, Jill Harcourt’s villainy is rather negated by the fact it’s so brief (she’s vanquished in the very next episode).

As for Duane, Michael and Tracy, Mr Keating eventually discovered that Tracy was the one telling the truth – but although they submitted multiple competition entries (and all the answers were correct) they didn’t win the minibus since their entries reached the paper the day after the competition closed.  But the paper was interested enough to interview them, although the resulting article is a great disappointment since it didn’t even mention their names.

Susi continues to feel the pressure from Jill, but she doesn’t have to suffer for very long as Alan’s spotted what’s been happening and is prepared to give her extra Judo lessons so she can defend herself against Jill’s bullying.

Blakes 7 – Spacefall

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Blake and the rest of the prisoners have started their eight-month journey to the prison planet Cygnus Alpha on the ship London.  Blake doesn’t waste any time in attempting to work out a way to take control of the ship – but he’ll need the co-operation of Avon (Paul Darrow).  Whilst Blake and the others plot, they have to contend with the sadistic second-in-command Raiker (Leslie Scofield) who places little value on any of their lives.  After an aborted attempt to hijack the ship, the appearance of a highly advanced and apparently abandoned spaceship seems to offer an escape route ……

One of the interesting things about watching Spacefall for the first time is pondering who will survive to join Blake on his crusade.  Since Vila and Jenna were introduced in the previous episode, it’s a fair bet that they’ll make the cut.  And from his opening appearance it’s quite clear that Avon is going to be a significant character.  He’s an expert in his field – computers – and is easily able to explain to Blake how the security doors operate.  “It’s simple enough. All authorised personnel have their palm prints filed in the computer. The blue sensor plate reads the print. If it conforms, the computer opens the door.”

Later Blake asks him if he could open all the doors on the ship.  Avon, who we’ll soon discover is never one to suffer from false modesty, tells him that “I could open every door, blind all the scanners, knock out the security overrides, and control the computer. Control the computer and you control the ship.”

Even this early on there’s a nice bite to the scenes between Thomas and Darrow.  Avon’s highly dismissive of the small group of people that Blake has been able to recruit – Vila, Jenna, Gan (David Jackson) and Nova (Tom Kelly).  “You’ve got an army of five, Blake. Five and HIM!”  The “him” is Vila – even the short time that Avon and Vila have spent together seems to have been enough for Avon to have formed a healthy loathing of him!  Although it’s true this is rather negated later on when he realises just how talented Vila is at opening any kind of locked door or security system.

So what of the other two potential recruits to Blakes 7 – Gan and Nova?  It’s quite a while into the episode before we hear Gan speak, until then it’s quite possible to imagine he’s just another non-speaking extra (like the majority of the prisoners).  Nova seems quite a personable chap, but he doesn’t last very long.  He suffers a rather grim fate – trapped in the ship’s infrastructure during a meteorite attack, he’s suffocated by the sealing foam triggered to repair the breaches to the ships hull.

Thanks to Avon’s efforts, Blake is able to take control of the ship – but can he keep control?  Glyn Owen gives a wonderfully weary performance as the London‘s commander, Leylan.  He’s a fair man who doesn’t want any trouble, unlike his subordinate Raiker who’s happy to kill off the prisoners at thirty second intervals until Blake, Jenna and Avon give themselves up.

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Blake, of course, sees no alternative but to surrender – whilst Avon naturally takes the opposite view and later makes this point very forcefully to Blake.  “What a fiasco. You could take over the ship, you said, if I did my bit. Well, I did my bit, and what happened? Your troops bumble around looking for someone to surrender to, and when they’ve succeeded, you follow suit.”

Before they surrender, Blake, Avon and Jenna discuss what they’ll do if they manage to escape. Blake tells them he wants to return to Earth and explains why.

BLAKE:  They butchered my family, my friends. They murdered my past and gave me tranquilized dreams.
JENNA:  At least you’re still alive.
BLAKE:  No! Not until free men can think and speak. Not until power is back with the honest man.
AVON:  Have you ever met an honest man?
JENNA:  [Glances at Blake] Perhaps.
AVON:  Listen to me. Wealth is the only reality. And the only way to obtain wealth is to take it away from somebody else. Wake up, Blake! You may not be tranquilized any longer, but you’re still dreaming.
JENNA:  Maybe some dreams are worth having.
AVON:  You don’t really believe that.
JENNA: No, but I’d like to.

Blake wants to fight and nothing will stop him.  Avon lacks Blake’s idealism and simply wants a quiet life, once he’s stolen enough money to live comfortably.  Jenna doesn’t share Blake’s views, but there’s something in what he says which strikes a chord in her.

After Blake and his friends are recaptured, it does seem like they’ve blown their only chance.  But all this changes when a fantastically advanced spaceship drifts alongside the London.  The first appearance of the Liberator in space (complete with Dudley Simpson’s fanfare) is an impressive moment.  And the first scene on the Liberator‘s flight deck is another moment of wonder – especially after the bleak, utilitarian decor of the London.

After only one of the ship’s crew sent over to explore the strange ship comes back (and he appears to be quite mad) it’s decided by Raiker and Leylan to send Blake, Avon and Jenna over to explore.  Yes, it’s probably not the wisest move to send the three of them over to the ship unsupervised.

How were Blake, Avon and Jenna able to survive the ship’s defences which killed the others?  Blake was the only one of the three who was able to realise that the images created were an illusion – maybe his recent traumas and the retention of his suppressed memories had something to do with it?

Whatever the reason, they were able to survive and take control of the ship.  And with a ship like that they could go anywhere in the Universe – but Blake wants to head to Cygnus Alpha.  He plans to free the other prisoners – once he’s done that he’ll have a full crew and can really start fighting back.

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Grange Hill. Series Three – Episode Twelve

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Written by Alan Janes. Tx 15th February 1980

It’s half term and Tucker, Alan and Benny have gone to work for Alan’s father at his builders yard.  Whether this is work experience or simply a way for the three of them to earn a little extra pocket money isn’t clear, but it’ll probably not come as a great surprise to learn that things don’t quite go to plan.

The day doesn’t get off to a good start when one of the workmen trick the trio into removing a large selection of timber that had already been correctly racked up.  As the irritated Mr Humphries later tells them, they should have been putting the loose timber into order – not removing what had already been sorted.  It’s very clear that Mr Humphries is an intimidating character – even the normally ebullient Tucker is rather subdued in his presence.  When he later asks Alan how he copes with a father like that, Alan airily tells him that his mother is worse!

Another misadventure sees them larking by a van with a fire extinguisher.  When they spy Mr Humprhies approaching they find the only cover available – the back of the van.  Unfortunately for them, the van is on the way to the tip – which is miles away from the yard.  Quite why they didn’t wait until the van slowed down before jumping off is a bit of a mystery (surely three rough-and-tumble characters like Tucker, Alan and Benny could have braved a few bruises?!).

Alas, they have to walk all the way back to the yard, but the ever eloquent Tucker is able to spin an elaborate tale about how his mother was rushed into hospital with “acute something or other” but is thankfully feeling much better now.

Elsewhere, Duane along with Benny’s younger brother Michael (Mark Bishop) pops round to see Tracy.  There’s a competition in the local paper to win a minibus – if they win, says Duane, it could be donated to the school, since they need one for the proposed Outdoor Centre.  The only problem is that there’s ten tough questions to be answered, so they need to use Tracy’s encyclopedias.  Ah, those far-off pre-internet days, when answers weren’t simply available at a click of a button!

Sadly their fact-finding is brought to an abrupt end when Tracy’s mother returns home.  She’s clearly not happy to find Michael in the house and tells her daughter that he has to leave.  The conversation occurs outside the living room, but it’s loud enough for Michael to hear – and we see the camera slowly close in on his hurt face.  It presumably wouldn’t have been the first time in his young life that he’d suffered discrimination due to the colour of his skin, but this scene (understated though it is) does have something of an impact.

Although Tracy lives in a nice house and her mother appears to be a pleasant-enough person, her casual, inflexible racism would have been very common in the late 1970’s and early 1980’s and it still packs quite a punch to hear such views expressed in a children’s tea-time series.

With Tracy’s encyclopaedias out-of-bounds, the trio decide to break into school and find the information they need there.  For some reason, Mr Keating is about and catches them – since they’re not prepared so say why they’re on school premises he tells them to report to him on Tuesday morning.

If Tucker, Alan and Benny’s morning didn’t quite go as planned, they do knuckle down to some work in the afternoon.  This impresses Mr Humphries and when the trio discover that one of his staff is pinching materials he’s even more impressed.  He gives them twenty five pounds as a reward (watch their faces fall though when he says, after a beat, that it’ll be donated to the Outdoor Centre!)

Blakes 7 – The Way Back

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Blakes 7 was certainly a programme of its time.  For example, some of the topics covered in The Way Back (Blake’s arrest on trumped-up child abuse charges) and his ongoing crusade against the federation during the first two series (which resulted in casualties too numerous to mention) would surely be highly problematic for modern television executives.  Given this, you might have assumed that The Way Back was broadcast in a post-watershed slot, but this wasn’t the case – it went out at 6.00 pm on the 2nd of January 1978.  Truly, it was a different era.

Were Blake and his associates freedom fighters or terrorists?  That depends which side of the fence you’re on, which is one of the reasons why the series remains fascinating today.  Blake (largely) remained unswerving in his convictions and most of the others – Jenna, Vila, Gan, Cally – were content, to a greater or lesser extent, to follow his lead.  Avon was always his most outspoken critic, although ironically he could also be the one who’s the most supportive when it comes to the crunch.  These interlocking character dynamics help to explain the continuing appeal of Blakes 7.

Although Britain in the 1970’s had suffered numerous terrorist attacks from the IRA, there still seemed to be something romantic about foreign terrorists.  This would explain why Chris Boucher, when penning his Doctor Who script The Face of Evil, named Leela after the Palestinian terrorist Leila Khaled.  Boucher would also later admit that the activities of various South African revolutionaries inspired his work on Blakes 7.

All thirteen scripts of series one of Blakes 7 were penned by series creator Terry Nation.  It’s often been suggested that Nation’s draft scripts were fairly short, meaning that script editor Chris Boucher had to work intensively on them in order to bring them up to scratch.  Although the precise truth of this is hard to establish for certain, it’s easy to assume that The Way Back, given its importance as the series opener, was mostly the work of Nation and it’s the later scripts that would have had more Boucher input.

The Way Back has an unsettling dystopian atmosphere.  At the start, Roj Blake (Gareth Thomas) appears to be an average sort of person – but it quickly becomes clear that the last few years of his life has been nothing but a sham.  A trip outside the Domed community (which is strictly forbidden) leads to a meeting with Bran Foster (Robert Beatty).  Foster is able to break the bitter truth to Blake.

Four years ago, there was a good deal of discontent with the Administration. There were many activist groups. But the only one that really meant anything was led by Roj Blake. You and I worked together. We were outlawed and hunted. But we had supporters and we were making progress. Then someone betrayed us, I still don’t know who. You were captured. So were most of our followers. They could have killed you. But that would have given the cause a martyr. So instead they put you into intensive therapy. They erased areas of your mind, they implanted new ideas. They literally took your mind to pieces and rebuilt it. And when they’d finished, they put you up and you confessed. You said you’d been “misguided”. You appealed to everyone to support the Administration, hound out the traitors. Oh, they did a good job on you. You were very convincing. And then they took you back and erased even that.

One major problem with the episode is the way that all of Blake’s suppressed memories seem to come back shortly after Foster speaks to him.  Given the time and effort taken by the Administration to reprogram him, it’s rather bizarre that somebody telling him the truth can seemingly reverse all of their treatments (although it is mentioned that a sudden shock could cause Blake to regain the areas of his mind that were previously blocked).  It would have been more dramatically satisfying for Blake to slowly recover his memories over the course of the first series, but I assume it was felt that they needed a resolute (and not confused) central character in place by the end of episode one.

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Foster and his friends have been betrayed by Dev Tarrant (Jeremy Wilkin)  and everybody, except Blake, is massacred.  This early example of the ruthlessness of the Administration provides Blake with yet another reason to fight.  The outside sequences, all shot on film, are nicely directed by Michael E. Briant – especially the moment when Blake returns to the meeting place and finds dozens of lifeless bodies strewn about the floor in a haphazard fashion.  This scene is also notable for the lack of music underscoring what we see – the picture (and the stark silence) speaks for itself.

We’ve already learnt that Blake wasn’t killed four years ago because the Administration feared his death would turn him into a martyr.  This is presumably also why his life is spared now (although if we accept this, can we also accept that Foster and all the others were completely dispensable?).  This time they don’t decide to brainwash him, instead he’s arrested on charges of child abuse – which is a much more insidious way to discredit and silence him.

Of course, if the Administration wanted to be sure of an easy conviction, why didn’t they brainwash Blake into believing he’d committed the crimes, in the same way that the children had been conditioned?  It also seems a bit lax to have given Blake an honest man as his defender.  Varon (Michael Hasley) is persuaded, after Blake’s urgings, that he may be telling the truth after all – but it’s all to no avail as both he and his wife are quietly disposed of.

Although we never see the children and the crimes are only mentioned in passing, the whole notion (as well as the probability they’ve been implanted with false memories) is a chilling one.  But despite Blake’s conviction, which you’d assume the Administration would have broadcast fully, I can’t recall a single person that Blake later meets who ever mentions the case.  As a piece of propaganda it therefore seems to have failed totally.  Surely somebody would have believed it?

With Blake now a convinced criminal, he faces a eight-month journey to the penal planet Cygnus Alpha.  Before lift-off, he meets several other prisoners – Vila (Michael Keating) and Jenna (Sally Knyvette).  As the ship blasts off, Blake takes a last despairing look at the Earth and vows to return …..

The Way Back is an effective opener.  Gareth Thomas manages to make an immediate impression as Blake, although it won’t be until the following episode, where we meet Avon, that the dynamic for the first few series is firmly established.  There’s some very decent model shots, especially of Blake and the others leaving the Dome, and a number of familiar faces (Robert Beatty, Robert James) in supporting roles.  It is slightly concerning that even this early on some of the sets look fairly tatty – my favourite are the doors which have a “swoosh” sound effect put on them.  This is to sell the illusion that they’re somehow more sophisticated than the bog-standard doors they actually are.  Naturally, this doesn’t work!

Sally Knyvette and Micheal Keating only have a limited amount of screen time, but both impress with the little they have to do.  Knyvette is presented as a tough and bitter character, but we’ll come to see that she does possess a heart – and will take a very definite shine to Blake (this becomes even more obvious when Cally joins the crew!).  As the series progressed Vila would become more of a comic figure, but here he’s rather sinister and unsettling – it’s a pity that this characterisation didn’t last for longer.

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Grange Hill. Series Three – Episode Eleven

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Written by Phil Redmond. Tx 12th February 1980

Fund-raising for the Outdoor Centre continues and culminates in a tug-of-war between the pupils and the staff.

But the most interesting part of the episode is the confrontation between Pogo and Karen. Pogo’s at his most obnoxious here – breaking the toast-rack that Karen made in woodwork for no other reason than he felt like it. For a character who’s later usually positioned as a positive one, it seems an incredibly mean and spiteful thing to do.

Karen gets her revenge though as she enlists the help of some older girls to steal Pogo’s trousers! No, it’s not a particularly sophisticated storyline, but it’s amusing nonetheless. Thanks to Miss Mooney’s prompting he does get them back though.

Elsewhere, Mr Baxter continues to victimise Benny because he chose to play for the district, rather than the school team. Michael Cronin’s always good value as the belligerent sports master, especially during the cross-country run which sees Tucker, Alan and Benny decide to take the bus, rather than complete the course in the usual way. You would have thought that by catching the bus they would have been amongst the first to finish, but they end up being the last, which is rather odd.  But for once they manage to outfox Bullet, which is a rare victory for them.

The Wheeltappers and Shunters Social Club – 27th April 1974

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Tonight’s Turns:

Stephane Grappelli and Diz Disley Trio
Little and Large
Tony Brutus
The Barcias
Terri Rogers
Lonnie Donegan

Another typically eclectic Wheeltappers show opens with Stephane Grappelli.  His lengthy career saw him play with a wide variety of fellow musicians – including Pink Floyd, Duke Ellington, Oscar Peterson, Paul Simon, Yo Yo Ma as well as Yehudi Menuhin (the pair recorded several well-received albums).  It’s hard to imagine a less likely artist to grace the bill of a working man’s club, but once you accept the incongruity of his appearance, it’s a very enjoyable (albeit brief) turn.

From the sublime to the, well, rather less sublime.  At their peak (during the late seventies and well into the eighties) Little and Large were one of television’s top-rated attractions – their BBC shows generated very good ratings which turned the pair into major stars.  But in the decades since, their stock has plummeted – so much so that today they’re mostly forgotten or held in barely disguised contempt by those who do remember them.

Does their turn here hint at any forgotten greatness?  Not really no, although it’s probably an accurate snapshot of the act they’d honed playing many similar club gigs during the years prior to their big television break (they formed in the 1960’s, so the pair had spent a long time slogging around the unforgiving club circuit).  Syd attempts to sing a song but finds himself interrupted by Eddie in numerous ways (Quasimodo impressions, using his electric guitar as a sledgehammer, etc).  Personally, I saw them live in 1985 and thoroughly enjoyed their show, so maybe they were an act that worked better in the live environment.  On television their limitations were possibly more easily exposed.

Strongman Tony Brutus attempts to lift both Bernard Manning and the local Mayor off the ground.  This is an impressive, albeit brief, feat.  The specialty acts continue with the Barcias, who display some decent feats of agility.

Next up is vent act Terri Rogers.  Rogers was an interesting character – she was born male but underwent a sex-change operation in the early 1960’s.  This naturally enough generated a certain amount of publicity, but it didn’t prevent her from enjoying a lengthy career as both a magician and a ventriloquist – mainly in the clubs, although in later years she notched up appearances in Las Vegas and on American television.

The contrast between the highly coiffured Rogers (complete with tiara) and the somewhat tatty, slightly foul-mouthed doll is the best part of her turn, even though she may not be the greatest technical ventriloquist ever (I suspect the large microphone was strategically placed at times to obscure her moving lips!).

The show ends with a bona fide British showbusiness great – Lonnie Donegan, the King of Skiffle.  He was an influence on virtually every aspiring British musician in the 1950’s (including, most famously, The Beatles).  His later musical career was less successful, as tastes changed, so it’s not difficult to imagine him in this sort of club setting during the mid 1970’s.  Like the rest of the turns, he’s only got a few minutes to make his mark, but his energetic act certainly brings this edition of the Wheeltappers to an impressive end.

Grange Hill. Series Three – Episode Ten

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Written by Phil Redmond. Tx 8th February 1980

There’s quite a lot going on in this episode. Penny is unhappy that she can’t contribute to the school magazine (following her article on Doyle) but perks up when she realises that Susi can contribute material they can write together.

Andrew Stanton’s parents continue to have marital problems – it’s a piece of incidental story colour that doesn’t seem to be developed at this time, but will eventually pay off in series four when it’s revealed that Andrew’s father has left (taking Karen with him).

There’s also more discussion about the proposed Outdoor Centre, but most of the running time revolves around Benny’s participation in the trials for the district football team. His hopes for selection aren’t helped by the fact that they’re being run by Mr Wainwright (Bernard Kay) who is clearly favouring his own pupils from Brookdale.

It’s always a pleasure to see Bernard Kay of course and the football sequences also paint an interesting picture of late seventies inner-city London life. Location-wise, Grange Hill would change over the years as production moved to different areas (most dramatically, of course, when it moved to Liverpool for the last few series). The match also takes up a fair few minutes and the only dialogue we have to guide us are Gary Hargreaves’ off-camera comments and criticisms.

Benny gets picked but he then has face a dilemma from Mr Baxter – does he choose to play for the district or the school?

The recent (far too early) death of Terry Sue Patt gives this episode an extra poignancy. Benny would tend to fade into the background (or not even appear at all) during series four, so this is one of the last Benny-centric episodes we’ll see.

Grange Hill. Series Three – Episode Nine

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Written by Phil Redmond. Tx 5th February 1980

The episode opens with Mr Sutcliffe and Miss Mooney having a rather public argument (which amuses Cathy and Trisha no end!).  Later, we see Mr Hopwood rather dismayed at the lack of interest shown by the pupils in discussing plans to set up the Outdoor Centre – only six people turn up.

But the bulk of the episode concerns itself with Penny Lewis’ crusade to expose Michael Doyle’s corruption and disinterest as a school rep.  She learns from Andrew and Justin that Doyle asked for fifty pence before raising the topic of the Outdoor Centre at the next school council meeting.  With Susi by her side she pens an incendiary article for the school magazine. Naturally, she doesn’t clear it with the teachers first, so both she and the editor have to face the music.

Doyle isn’t best pleased of course and confronts Penny and Susi – but luckily Alan and Tucker are around to see them off. Alan’s chivalrous action is another hint that he’s interested in Susi – a slow burn plot-line that will develop well into the fourth series.

It’s been stated before, and is again here, that as Doyle’s father is a local councillor (and also on the board of Governors at Grange Hill) his opinions tend to carry more weight than an ordinary parent. This is obviously unfair, but it’s something that Michael Doyle manages to use to his advantage and the teachers seem unable or unwilling to challenge this state of affairs.

The episode ends with a rather nice shot of a tearful Penny vowing to get even with Doyle. This is another plot-line that’s clearly not over yet.

Grange Hill. Series Three – Episode Eight

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Written by Phil Redmond. Tx 1st February 1980

The attempt to establish a permanent Outdoor Centre picks up a little pace in this episode.  Mr Hopwood has found the perfect place (the pupils already visited there in episode three).  The owner of the property was impressed by the way the pupils helped to put out the fire during their last visit (although if he knew they were responsible for starting it in the first place he may not have been quite so understanding!)

But since he remains in ignorance, he’s happy to let the property for a nominal fee for the next year – provided the school can find the money to repair the derelict building.  This, of course, is where the problems begin.  Funds for extra-curricular activities have always been difficult to come by – and the early 1980’s was an especially cash-fraught time.  Mr Keating, deputising for the (by now always) absent Mr Llewellyn doesn’t dismiss the plan out of hand, but it’s obviously going to be a considerable struggle to bring these plans to fruition.

The main part of the episode revolves around Pogo’s money-making plan to establish his own school tuck shop (since the official one still hasn’t been approved).  This does mean turning his mother’s kitchen upside down in order to keep making all the cakes he needs in order to fulfill his orders.  When poor Mrs Patterson surveys the mess she says that whilst she was happy for him to make a few cakes she didn’t realise he’d be attempting to rival Mr Kipling!

Pogo and Duane’s free enterprise did have the tacit approval of Mr Sutcliffe, who was also a willing customer.  In fact, the original clamour for alternative food arose after Mr Sutcliffe blocked Mr Garfield from arranging the tables in the canteen for lunch.  Mr Sutcliffe was taking a drama class at the time and didn’t understand why the caretaker had to disrupt his class when it was only mid-morning.  Mr Garfield, being the inflexible man he is, was happy to walk away and do it later – though this meant delaying the start of lunch and thereby creating a whole group of willing customers for the few cakes that Pogo and his friends already had on them (which they made earlier on in their cookery class).

Sadly, Pogo’s tuck shop comes to an ignominious end after Mr Keating becomes aware of it.  He starts by giving a dressing down to Mr Sutcliffe, who he says should really have known better, but then he has some good news.  The school tuck shop will be going ahead – and Mr Sutcliffe, Pogo and Duane seem like the ideal people to help run it (they’re clearly not in a position to refuse).

And Mr Keating also has some not-so good news for Pogo and Duane – a series of detentions as well as an essay to be written by them entitled “the problems of private enterprise in an authoritarian society”!

Grange Hill. Series Three – Episode Seven

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Written by Margaret Simpson.  Tx 29th January 1980

A new girl, Fatima Bibi (Belgit Gill), is placed in the care of Sudhanami Patel (Sheila Chandra).  This seems to be because Fatima doesn’t speak any English and the assumption appears to be that Sudhanami will be able to communicate with her.

But it becomes clear very quickly that Sudhanami isn’t going to make any headway.  Mrs Conrad (Margaret Stallard), the teacher responsible for working with pupils who need to increase their English language skills, is quick to grasp the gulf between Fatima and Sudhanami.  Sudhanami comes from Uganda and Fatima hails from East Pakistan.  The unconscious racism on the part of the other members of staff who’d obviously assumed they’d be able to communicate is never directly commented upon, but is clear enough.

Grange Hill has, from the first episode, been a multi-cultural school, but it’s rarely something that’s been a central part of any ongoing story.  True, Benny did receive taunts about the colour of his skin in some of the early episodes, but he was also bullied because his family was poor.  This episode is therefore notable since it attempts to deal with two thorny topics at once – the problems of how those newly arrived (like Fatima) integrate into British society but also how the people already established (like Sudhanami and her family) adapt to the culture around them.

Fatima is a one-shot character and won’t be seen again after this episode.  This it’s a bit of a shame, since there would have been some mileage in showing her develop.  But Sudhanami does remain a semi-regular for a while (up until the end of series four).  She’s rarely central though, so this is really the one episode where she moves to the heart of the story.

Her father, Mr Patel (Minoo Golvala), wants to transfer her to an all girls school.  He seems to be almost a caricature of a traditional Indian father – he hates the fact that she goes to school with boys, listens to pop music, etc.  All this does rather beg the question as to why he allowed her to go to Grange Hill in the first place.

Although a strict traditionalist (he expects her to help in the shop and is reluctant to allow her to spend time with her friends outside of school hours) it’s clear that he does genuinely love her and has (or at least he believes he has) her best interests at heart.  As for Sudhanami herself, she’s somewhat submissive and is happy to follow her father’s directions.  If he decrees that she will take part in an arranged marriage sometime in the future, then that’s what will happen.

This may be an accurate, although not terribly progressive, portrait of the times – but it’s notable that as the series progresses we’ll tend to see children who will be much less prepared to toe the family line.  Instead they’ll be keen to embrace all that Western culture can offer, irrespective of what their parents may say.

Although this is a fairly serious episode, there are a few lighter moments.  Trisha and Cathy are aghast to find that Miss Mooney and Mr Sutcliffe are engaged – Cathy earlier remarked that Mr Sutcliffe “wouldn’t marry a thing like that”!  Trisha and Cathy also attempt to teach Fatima some useful phrases such as “Flippin’ ‘eck” and “Shut yer mouth”.

Tucker’s artistic flair is put to good use again when he designs a cut-out figure for the school fair.  The teachers line up to put their heads through the opening and have to suffer wet sponges being thrown at them.  It’s all for a good cause, so they can’t complain, and naturally the pupils are delighted for the chance to take their revenge – especially on Mr Baxter!