Author: VHiStory

Tremors – Women On The Verge Of A Nervous Breakdown – tape 865

This tape opens with Channel 4 and the opening of Sticky Moments. I clearly wasn’t interested in keeping that recording, though, as it’s almost immediately overwritten by a recording from the Movie Channel, Tremors.

This is a great, great movie, and I watched it a while ago on another tape, where it wasn’t marked, so I won’t repeat myself here.

Instead, let’s look at the second film on this tape,also from The Movie Channel, Women On The Verge Of A Nervous Breakdown. I confess I have never watched a single Pedro Almodovar film, so I hope I like it.

This opening shot makes me wonder if I’ve accidentally put Thunderbirds on again.

I always find it harder to concentrate on subtitled films, as I do have to give them more attention. I was having trouble with this one for a while, as it wasn’t really clicking for me, but I perked up by the end.

Carmen Maura plays Pepa, an actor who’s just split up from the older actor she was seeing, Ivan, and he’s not returning her calls. She’s not taking it well.

Antonio Banderas plays Carlos, who is her ex, Ivan’s young son, from his previous partner. Rossy de Palma is his girlfriend Marisa. After bumping into Pepa on the street when she’s spying on Ivan’s apartment, they turn up at her apartment next day because she’s subletting it, and their estate agent sent them.

Pepa isn’t there, but her friend Candela is (Maria Barranco).

Candela has her own problems, and tries to jump off Pepa’s balcony.

She’s in trouble because an ex boyfriend turned out to be a Shiite terrorist, and he brought two of his co-terrorists to her flat the weekend before, and now they’ve been arrested so Candela is convinced she’ll be arrested for harbouring terrorists.

Pepa visits the feminist lawyer Paulina Morales, to ask for advice for Candela. She’s rather unhelpful – in fact she’s rather hostile to Candela’s plight. I wonder if ‘Shiite’ is a naturally funny word in Spanish? Or if that’s a change in made for the subtitles, and it’s a totally different word in the Spanish dialogue.

We later learn that Paulina represented Carlos’ mother when she sued Ivan, but the case failed. And now, that Paulina is Ivan’s new lover, and they’re travelling to Stockholm together. On a flight that’s possibly going to be hijacked by Shiites.

More visitors to the flat. This time it’s Carlos’ mother, and two policemen wanting to know about the call they made earlier about the hijacking. This is really where the feeling of farce kicks into high gear and I really started enjoying the film.

Carlos’ mother is out for revenge against Ivan. She was in a mental hospital with no memory until she heard his voice on TV, now she’s back and wants revenge.

There’s even a car chase, as the mother hijacks a motorbike to get to the airport.

Pepa stops her killing anyone, and then, even when Ivan says he’s sorry for leaving her, she tells him she’s finished with him.

It’s a peculiar film, definitely, but I can see why people enjoyed it. It has a lovely surreal side to it

The tape ends right after the movie.

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Thunderbirds – Cheers – tape 1250

This tape opens with a trailer for Live Concerts on Radio One.

There’s a trailer for programmes later on Friday, including a Slatterywatch klaxon sounding. It was nice to see some outpouring of love for Mr Slattery after a recent Guardian interview with him about his absence from the public eye.

Then we have ThunderbirdsSun Probe. They’re launching a manned probe to the Sun, and the lunatics aren’t going at night. Madness!

Meanwhile, Brains has built a robot assistant, Braman.

I suppose I should mention that, as I write this, it’s only been just over a month since Shane Rimmer died. It’s a little outside my usual threshold for acknowledging a death, but he was the kind of actor I always liked to notice in films and TV. RIP Scott.

It’s a space mission, so Thunderbird 3 is needed. Tin-Tin gets to wear the uniform for once.

Brains and Virgil have to take Thunderbird 2 somewhere cold. This is a song of Ice and Fire.

After they rescue the sun probe, Thunderbird 3 is still heading into the sun, so Brains and Virgil have to send a remote signal, although it needs a complicated calculation to work, and they’ve forgotten to bring their computer. Luckily, they packed the robot Braman by mistake, so they ask him. See if you can work it out. “What is the square root to the power of 29 of the trigonometric amplitude of 87 divided by the quantitative hydraxis of 956 to the power of 77.”

Apparently the answer is 45,969. And so they can send a signal to Thunderbird 3 and remotely fire their retros, and it flies away from the sun. Nice attempt by the model team to do a flaming sun.

BBC Genome: BBC Two – 11th October 1991 – 18:00

After this, there’s a trailer for Mystery Train.

There’s the start of Supersense looking at Super Scents.

After a few minutes of this, recording switches to Channel 4, and there’s an episode of CheersPick A Con – Any Con

It’s scary how much better the older seasons look, because they were edited and delivered on film, rather than video. NTSC video really was a cancer on our eyeballs.

Coach has been playing cards for months with a hustler, and he’s so far lost about $8k.

So they get Harry the Hat to help Coach get his money back.

It doesn’t go the way they expect, as Harry is working with George the hustler, and when they confront George, he agrees to win more money from Harry, with Coach giving him a signal. It’s a nice episode, with some nice twists, and a typically great performance from Nicholas Colasanto as Coach.

After this, it’s back to BBC2 for anotherThunderbirdsThe Uninvited.

Scott is travelling back to base, over the desert, when he’s attacked by some racist stereotypes.

I like this episode. It has some interesting shots of the downed TB1.

He gets help from a couple of men looking for a Lost Pyramid.

“I guess he doesn’t have to do his spell of satellite relief until he’s fit, father.” Way to be sympathetic, John. No wonder nobody likes you.

More lovely shots. They really get a good sense of scale.

You wait ages for a Thunderbird 3 launch, and then you get two episodes at once.

The men who rescued Scott lose their trailer with all their fuel and water, so they’re trapped in the desert.

For all John’s moaning, Alan comes to relieve him.

The lost adventurers spot the Lost Pyramid of Komandites (sp?).

They get trapped in the Pyramid, but at least they’ve found water.

Scott arrives to rescue them, but one of them has gone a bit mad with all the heat and the treasure, and starts shooting. Then the inhabitants of the pyramid appear.

Some nice interior model shots.

It’s bugging me that the Zz logo on the walls here is backwards compared to the same logo on their hats.

I thought it might be because the images were optically flipped, but no – here’s the wall logo backwards and the hat logo forwards. I wonder why? Cock-up by the background builders?

In the end, the lost pyramid explodes, a tragic loss for antiquity.

BBC Genome: BBC Two – 18th October 1991 – 18:00

After this, recording switches, and rather oddly, we have the last five minutes or so of another Thunderbirds episode. It’s The Perils of Penelope and weirdly, I’ve got this same broadcast on another tape.

After this, there’s a trailer for The Dream Machine.

Then there’s the start of Delia Smith’s Christmas.

After about 15 minutes of Delia, that recording stops, and underneath, there’s part of a broadcast of Mystery Train, featuring the animated Aeon Flux. I’m not quite sure how empowering this female protagonist is.

It’s all very ‘male gaze’. I think the creator should probably be on a register of some kind. Mystery Train host Richard O’Brien describes it as ‘post-feminist’ which presumably means after feminism has completely gone away.

BBC Genome (for this fragment): BBC Two – 18th October 1991 – 23:45

There’s weather from John Kettley, and a look at programmes for Saturday.

Then BBC2 closes down.

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Labyrinth – The Chronicles Of Narnia – tape 877

This tape opens with a trail for Bread on Christmas Day.

Then, the first showing on Network TV of Labyrinth. I was always impressed by the CGI Owl they used in the credits – pretty good lighting and modelling for the mid-80s.

What I like less is the initial characterisation of young Sarah, played by Jennifer Connolly. She’s written as whiny and entitled, and although she complains about being treated terribly by her stepmother, we don’t see any of that. I get that she’s a bit of a fantasist, but her character is not endearing. I feel they could have written her differently at the start and still had the same story. It’s a small niggle.

The bad things start happening when she wishes the goblins would take her baby brother away, after she’s left babysitting. Her brother disappears, and the Goblin King, Jareth, tells her he’s taken him at her request. Jareth is, of course, played by David Bowie, possibly he most famous role, if not necessarily his finest. With hair like a Final Fantasy character, and a talent for juggling glass balls that was actually provided by juggler Michael Moschen, whose specialty was a lovely act with glass balls. Every time you see Jareth handling the balls, those are Moschen’s hands you’re seeing.

She has to travel through the Labyrinth to get to Jareth’s castle, and along the way she meets a lot of characters provided by Jim Henson’s creature shop. Her main companion is Hoggle, whom she calls ‘Hogwart’ at first, which amused me.

There’s some nice matte paintings.

Let’s not forget, this is a musical with songs by David Bowie.

I liked the use of the Two Guards, one who lies and the other who tells the truth, a classic logic puzzle.

Another friend she meets is Ludo.

There’s another musical number, featuring the Fireys, two of whom are voiced by Danny John Jules.

I like the Escher Room.

Bowie’s Goblin Codpiece is slightly legendary.

Sarah defeats the Goblin King, the baby is safe, and she even gets the chance to play with all her new friends in her bedroom.

BBC Genome: BBC One – 24th December 1989 – 15:00

After this, there’s a trailer for Christmas Eve programmes.

Then, there’s the start of Beasts of the Field, in which Desmond Morris tells us why farm animals behave the way they do. Here he is with a bull in a china shop.

After a couple of minutes, recording switches to later in the day, and the end of Esther Rantzen’s Hearts of Gold.

There’s another trailer for Bread.

Then, the Christmas ident appears (it wasn’t being used earlier in the day).

Then, we have Episode Four of The Chronicles Of Narnia – Voyage of the Dawn Treader. I really appreciate all the effort put into this series, even while lamenting the lack of necessary budget to do it justice. The worst aspect is that it was shot on video, leading to dark murky scenes the like of which we haven’t seen since… well, Episode 3 of Game of Thrones this year.

Samuel West (son of Timothy) plays the older Prince Caspian.

Warwick Davis plays another of his trademark creature roles.

This series played with animated creatures, which worked reasonably well, even though the video compositing makes it look worse than it needs to.

Geoffrey Bayldon plays Ramandu.

Reepicheep gets to go up to Heaven (sorry) Aslan’s Realm on a waterspout.

Aslan turns up at the end to tell Lucy and Edmund that they won’t come back to Narnia because they’re too old.

BBC Genome: BBC One – 24th December 1989 – 17:50

After this, there’s the start of the BBC News, where the tape ends.

Film 86 – tape 157

Set the wayback machine to 1986 for some more film reviews from Barry Norman, this week looking at the following films:

There’s a report from the World Premiere of The Color of Money, in which veteran Paul Newman stars alongside young hotshot Tom Cruise. Fun Fact – at this time, Paul Newman is only 5 years older than Tom Cruise is today.

BBC Genome: BBC One – 28th October 1986 – 22:50

Before the next episode, the end of some bowls, presented by David Icke.

Then, another episode of Film 86, a repeat showing on BBC2. The films under consideration are:

There’s also an interview with Bette Midler. And a location report on Whoops! Apocalypse.

BBC Genome: BBC Two – 6th November 1986 – 17:30

I’m missing the start of the next episode, which we join in the middle of a compilation of moments from past episodes of the show.

The films reviewed are:

There’s a very interesting interview with Farrah Fawcett about her film Extremities, about a woman who captures the man who attempted to rape her, and addresses the subject of male violence. Barry seems to be inches away from being the ‘Not all men’ guy, but as a result elicits some really good responses from Fawcett.

BBC Genome: BBC One – 11th November 1986 – 22:50

The next episode is complete, and features reviews of the following films:

It’s interesting that, talking about Running Scared, he describes Billy Crystal as “a sharp, witty comedian who’s virtually unknown over here”. Except those of us who’d been watching Soap for years.

There’s a report on the Children’s Film Unit, where director Colin Finbow directs a cast and crew made up of children, and make feature films. The film they’re discussing here is School for Vandals.

BBC Genome: BBC One – 18th November 1986 – 22:00

Before the next episode, there’s the end of All The Best – Dave Allen.

There’s a trailer for Test Pilot.

Then, one more episode of Film 86, with Barry Norman giving his verdict on the following new releases:

There’s a report on the trial in Los Angeles of director John Landis, for manslaughter, when three actors were killed when a helicopter crashed because of unsafe use of special effects. I was thinking of this event when watching all the helicopters in Starman. Helicopters in films always makes me slightly nervous.

Content warning: This report contains video footage of the accident.

BBC Genome: BBC One – 25th November 1986 – 22:00

After this, recording continues for a short time with some International Snooker presented by the Maestro, David Vine.

The tape ends shortly into this programme.

 

Friday Night Live – Point Blank – tape 450

First on this tape, Friday Night Live. There’s something odd going on with the sound at the start of this, phasing in and out.

According to Ben in his opening, this is the third episode in the series. There’s also a slight jab at Andrew Lloyd Webber (“The greatest living Englishman”). Ben would, of course, go on to write the book for one of Webber’s musicals, The Beautiful Game, a show about amateur football in Northern Ireland, and I’ll go to my grave wanting to believe the story that Ben got the gig because Lloyd Webber confused him with David Baddiel.

There’s a stirring musical number, with The Communards doing Dancing Queen.

Even the Reverend Richard Coles was dressed up. Watching this performance, it’s suddenly struck me that the reason all fashion was awful in the 70s was because we were spending all our creative energy on the greatest music ever made.

Stavros talks about radio stations.

More music from The Hooters. For some reason (their name, perhaps) I get these slightly confused with the J Geils Band, who did Centrefold. The Hooters’ hit is Satellite.

Josie Lawrence is back as Florence from Cradley (thanks to commenter billysmart who corrected my guess at the spelling on an earlier entry).

Nick Revell does a spot. I saw him live at the Old Town Hall comedy club, probably sometime around this recording. His support act was Jack Dee.

The Panic Brothers appear to be the posh, English Proclaimers.

Another novelty act, Les Bubb.

A sketch featuring Ben Elton and Hugh Laurie and some pubic barbering.

More music from The Hooters. I’m genuinely surprised they had more than one song. The keyboard player gets to sing this time. His hair isn’t a nice as the guitarist’s.

Josie Lawrence and Hugh Laurie do a sketch about the Olympics

Harry Enfield does Loadsamoney

Ben does his closing set in the shiny suit from the game show they tried in the first episode.

The show closes with another performance from The Communards. Can we stop to appreciate what a catastrophe was happening in TV Graphics at this time.

After this, recording switches, and we’re straight into Point Blank. It’s unfortunate because I’ve missed an introduction from Alex Cox. I could have done with it because the opening of this movie is incomprehensible. There’s something happening, some kind of heist, and I think it’s happening at Alcatraz. It’s got a helicopter.

Lee Marvin is Walker, stomping around, bursting into rooms and beating up whoever’s in there.

Sharon Acker plays Lynne, his wife (a fact I only learned from the Wikipedia entry, as I missed that fact from the film itself). She was part of the original heist, but she’s soon dead of an overdose.

John Vernon plays Reese, Walker’s partner in the heist, who double crossed him.

Angie Dickinson plays Chris, apparently Walker’s sister-in-law.

Walker dispatches Reese, throwing him off a roof, naked. It’s not quite Alan Rickman in Die Hard, but it’s a vivid image, nevertheless.

James B Sikking plays a hitman who kills off another couple of Walker’s enemies.

Carroll O’Connor (TV’s Archie Bunker) plays Brewster, the head of the syndicate that owes Walker his cut of the heist.

The end of the movie left me just as perplexed, as Brewster takes Walker to the location of the heist, to collect his cash, and Brewster is shot by Sikking, leaving only Fairfax (Keenan Wynn) who’s been following Walker around, who tells him Brewster was the last one, and their deal is done. He walks off, leaving Brewster lying dead, with the package of money lying next to him. But we don’t see Walker again, and that’s where the movie ends.

I can see why people appreciate this movie – it reminded me a lot of Christopher Nolan’s Inception – and I wonder if it’s true that the whole movie is supposed to be taking place in Walker’s head, as he’s dying after being shot during the heist in the opening scene. It would explain the fractured narrative. Either that, or the editor was drunk the whole time.

BBC Genome: BBC Two – 5th March 1988 – 22:05

Although we missed Alex Cox’s introduction to this film, here’s his introduction to the following film, Robert Altman’s The Long Goodbye.

There’s about half an hour of The Long Goodbye before the tape stops.

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Starman – tape 830

This tape opens with a rather upsetting sight. It’s Gary Glitter performing a song called Red Hot.

And it gets worse, as the song ends and Jimmy Savile appears. Yes, this is Jim’ll Fix It.

I always thought Savile’s habit of including all his honours in his TV credits was weird. If only that were the sole extent of his weirdness.

There’s more unpleasant images during the credits.

Does anyone remember Space Shooters?

After this there’s a trailer for the Jeffrey Archer potboiler Not a Penny More, Not a Penny Less.

Then, we have the network television premiere of John Carpenter’s Starman. This is a really odd entry in Carpenter’s filmography. It definitely marks a conscious move away from the horror or thriller films he’d been linked to. And the script had been under development for years, with several directors attached before Carpenter took it on.

It stars Karen Allen as Jenny Hayden, who is mourning the recent death of her husband in an accident.

Something falls from the sky, possibly a meteor, and Jenny wakes up in the night to strange sounds from her living room. She finds a baby laying on her floor, visibly growing before her eyes. This was a much vaunted special effects sequence at the time, so complex there were three different crews working on it, the cream of the special makeup effects world at the time, Dick Smith, Rick Baker and Stan Winston. So it’s odd that none of them could make a baby that didn’t look like it was about to grab a knife and kill someone.

It’s as if the actual transformation was beyond even these experts, as there’s very little of it on show here. And what is here doesn’t look great, like the strange stretchy face that looks like it might be stop motion.

But when he finally stops growing he looks exactly like Jeff Bridges. In fact, he looks exactly like Jenny’s dead husband, because the alien had sampled his DNA from a sample of his hair in a scrapbook.

It’s fairly obvious to her that there’s something otherworldly about the visitor.

Pretty soon they’re on a road trip as he effectively kidnaps her and gets her to drive him across the country to where he can be rescued. He even has alien Satnav.

While they’re travelling, and Starman learns about being human, Charles Martin Smith is helping the military track him down. He’s a scientist for SETI, so naturally he’s pitched against everyone else who seem gung-ho on straight-up murdering Starman.

Jeff Bridges got an oscar nomination for his performance here. I guess it’s one of those performances where it’s obvious he is acting, rather than just being Jeff Bridges. I confess it’s not one of my favourites of his. But there’s some humour to be had with him trying to learn about human interaction.

Starman learns to drive watching Jenny, which leads to him causing a bit of an accident at an interchange. “That was a yellow light!” “I watched you very carefully. Red Light – stop. Green Light – Go. Yellow Light – Go Very Fast.” Another one of those lines of dialogue that stick in my head, possibly it was used in trailers or as a clip on movie shows?

Jenny is still trying to get away from him, but as they travel, she’s starting to warm to him. At a truck stop, she intends to duck out and catch a bus, but she leaves the car keys with the waitress so he can continue on his own. But then she sees him raise a deer from the dead that was strapped to a hunter’s car, and decides she’ll stay with him.

The hunter and his good old buddies don’t take kindly to this, and beat him up a bit, so she has to save him by firing the gun she has and driving him away.

They stop in a motel, and there’s a nice scene where the local police roll up and spot her car. Then there’s a knock on the motel door, but it’s not the police, it’s another motel guest, a young man. “Hey buddy, it’s none of my business, but if that’s your orange mustang in the parking lot, there’s a couple of cops trying to jigger the lock.” They even distract the cops by pushing a vending machine down the stairs so Jenny and Starman can get away.

In the pursuit that follows, Jenny is shot by police as they’re driving, and Starman drives the car into a fuel truck, but then walks out unscathed, carrying Jenny. The science behind any of this is tenuous to say the least.

Then he hides out in a convenient mobile home, heals Jenny’s wounds, then leaves her there to continue his journey with someone else. But now she’s invested, so she hitches a ride and follows them, catching up with him at a road block.

 

They hitch another ride, then hop on a train car, and there’s the inevitable love scene.

It then descends into a biblical metaphor so huge, I’m surprised it wasn’t punctuated by a choir of angels. “I gave you a baby last night” has says. She protests that she couldn’t have children, but he assures her that she will, and it will be the son of her late husband, as well as him. “When he grows to manhood he will be a teacher.” I can’t decide if this is creepy or heartwarming. I should also mention that this is almost exactly the same plot point used in The Terminator which came out only two months prior to this film.

They overshoot their destination and end up in Las Vegas. How can they rent a car without any money? No problem, Starman can fix slot machines. “These guys become curious if you win too many jackpots at once” she warns just as he wins on the $500,000 jackpot machine.

They stop off at a remote diner, and the cops arrive, led by Charles Martin Smith. But after talking to them, he lets them go, telling the cops it’s the wrong people. Starman is grateful.

They get to the crater which is the rendezvous, but the army are in pursuit. There’s a lot of helicopters in these scenes, and in the pre-CGI days, these are probably all real.

After a bit of machine gun and rocket action – this army guy really isn’t much worried about Earth-Alien relations – Starman’s ride arrives. It’s big and shiny, and I’m sure ILM were pleased at being able to do all the reflections of the environment in the days before CGI.

Then Jenny has to say goodbye, and Starman tells her “I’ll be right here.” Oh wait, no, that’s the other lost alien film. It’s not surprising that this film took a while to be made, because, even after they tried to sand down the edges, this really is ET almost beat for beat. I wonder, if ET had never been made, if this story might have been a bit more successful? Hard to say, but I doubt it. ET is a film full of charm and wonder, and somehow, a grown-up saying goodbye to the creepy clone of her husband who kidnapped her can’t quite match the emotional peak of a ten year old losing his best friend.

BBC Genome: BBC One – 24th March 1990 – 19:05

After this, there’s a trailer for programmes for next Saturday.

After this, there’s the very start of the news, at which point the tape ends.

Butch Cassidy And The Sundance Kid – Carrott Confidential – tape 442

The sound on this tape is a bit off – as if it wasn’t recorded on a Hi Fi VCR.

The tape opens with the end of Bob Says Opportunity Knocks. There’s always a whiff of desperation during the clapometer.

There’s a couple of now familiar names – Boothby Graffoe and Darren Day.

Darren Day was the winner with the audience at the time.

There’s a warning at the end not to emulate Boothby Graffoe’s performance.

There’s a trailer for programmes on Sunday.

Then, Butch Cassidy And The Sundance Kid. A film with a cast iron reputation.

It starts with the credits playing next to very old film of the old west, then this caption, which sets up its myth-making aspirations.

It starts off in black and white, as Butch is casing banks. “What happened to the old bank? It was beautiful?” he asks the security guard. “People kept robbing it.” “Small price to pay for beauty.”

Robert Redford plays the Sundance Kid. He’s playing cards, and someone accuses him of cheating, squares off for a showdown. Butch tries to defuse things, trying to get the guy to back down, and when he won’t, he says “I can’t help you, Sundance” and the guy realises who he’s challenging to a fast draw. It’s a very deft way to illustrate his reputation without having to have a gunfight.

There’s a creepy scene where Sundance meets Katherine Ross, and makes her undress while he’s holding a gun on her, only defused when it’s revealed she’s his longtime girlfriend, Etta Place.

Returning to his old haunt, he finds his Hole in the Wall gang making their own plans, so he has to beat the ringleader in a knife fight.

One of the most famous scenes is when Newman and Katherine Ross are riding around on a bicycle (“The future. The horse is over.”) to the strains of ‘Raindrops Keep falling on my head’.

They hit a train twice, figuring that after the first hold-up, the train will be full again because they won’t expect it to be hit again. There’s a bit of a ‘you were only supposed to blow the bloody doors off’ moment when they try to blast the safe.

But following the money train is another one, fillied with a posse out to capture Butch and Sundance.

The posse are quite dogged, and keep tracking them, leading them to wonder who they are. Sundance recognises one of them as ‘An Indian, but he goes by an English name’ and it sounds like he’s saying ‘Lord Voldemort’ so it took a while before I realised he was saying ‘Lord Baltimore’.

This pursuit leads to the famous ‘jump into a river’ scene.

So Butch, Sundance and Etta leave town, and travel to Bolivia, where they have a small amount of success robbing banks. Even Etta gets to help.

But in a small country, their infamy spreads quickly, and as Americans, they tend to stick out, so Butch and Sundance are caught in a small town by the local police, and there’s a standoff, until the army arrives.

It’s not looking good for your two heroes.

Leading to one of the most famous freeze frames in film history.

I’d say this is a film that deserves its reputation. It’s fun, and the leads have charisma to spare, so despite their criminal ways, you do want them to succeed, something which often prevents me from enjoying other films about unsavoury characters.

BBC Genome: BBC One – 5th March 1988 – 20:15

There’s a trailer for Lovebirds.

Then, a BBC News Bulletin, leading with clashes at a funeral for an IRA bomber. Also a huge march to demand more money for the NHS.

Thatcher was still trying to push the Poll Tax.

BBC Genome: BBC One – 5th March 1988 – 22:05

There’s a trailer for This Week Next Week

Weather from Ian McCaskill

There’s a Radio Times advert.

Then, an episode of Carrott Confidential. You’ve got to admire a live comedy show going out at 10:20pm.

It’s Superman’s 50th anniversary.

Batman v Superman: Dawn of Justice

I guess Michael Jackson doing a Pepsi advert was also in the news.

Eddie ‘The Eagle’ Edwards appears in an advert parody.

Punt and Dennis do a bit.

There’s a Bill and Ben parody featuring Zebedee.

BBC Genome: BBC One – 5th March 1988 – 22:20

After this, there’s a public information film about Aids that could just as easily be repurposed as a ‘don’t go out with a dickhead’ ad.

After this, the tape runs out during a feature-length TV Movie of Cannon.