Barlow and Watt investigate Jack the Ripper

Last night I watched the film Murder by Decree on Talking Pictures TV. I've watched it several times because the cast and premise (Sherlock Holmes tracking down Jack the Ripper) are so appealing, and because I always forget how disappointing it is.

But Holmes was the not first fictional detective to investigate the Ripper murders. In 1973 the BBC screened a series in which the nation's most celebrated television detectives Charlie Barlow and John Watt, played by Stratford Johns and Frank Windsor.

It was this series that introduced the public to the theory that the Ripper had been the eldest son of the future Edward VII, Prince Albert Victor. Stephen Knight did not publish his book Jack the Ripper: The Final Solution until 1976.

The 1973 television series avoided turning these terrible murders into a parlour game – Martin Crookall describes its approach well:

The format is simple, level-headed and unmelodramatic. On one level, Barlow and Watt move around a contemporary investigation room, surrounded by books, copies of newspapers, such documentary evidence as there is, and reconstruct the five canonical murders in chronological order. 

They don’t dramatise things, they talk like senior Detectives sifting evidence, looking for similarities and anomalies, testing the weight of the evidence against their professional experience, building up a picture of the time, the place, the people and the events, as fairly and neutrally as they can. Naturally, they talk as the characters they are playing, indulging in a never belaboured degree of the banter and cynicism of the veterans they are. 

Interspersed with this is the reconstruction. Intelligently, and in keeping with the series’ aim to be as factual and complete as possible, these eschew any reconstruction of the killings themselves and lapse into drama only once, showing fourth victim Catherine Eddowes being released from police cells after sobering up, only to be murdered within thirty minutes. She’s the only one of the five victims to actually be depicted in persona.

I'm writing this post because the whole series has reappeared on YouTube – it has a history of coming and going there.

The clip I have chosen above comes from the sixth and final episode. In it Joseph Gorman sets out the meat of the theory and claims that he is the illegitimate son of Walter Sickert. I don't believe a word of it, and Wikipedia says he later admitted his story was a fiction, but it doesn't give a source for this. Elwyn Jones, one of the writers of this series, was introduced to him when he told one of his police contacts that he was doing a series on Jack the Ripper.

Finally, a moan and then my Trivial Fact of the Day.

The moan is that when the Rest is History tackled the Ripper story, it said that Barlow and Watt were still in Z-Cars in 1973. In fact, they had left the show as long ago as 1965 to appear in Softly, Softly and then Softly, Softly: Task Force. By 1973 Barlow had a series of his own, Barlow at Large.

And my Trivial Fact of the Day? It's that Jack Warner's daughter in the often misremembered Dixon of Dock Green was first played by Billie Whitelaw.

The Joy of Six 1478

"In a sense, Clegg is right: politicians are more focused on narratives than data. But it’s data they use to justify their policies these days. Indeed, far from modern politics being a vibrant competition of ideas in the way Clegg suggests, modern anglophone politics has been dominated by just one since the 1980s: There Is No Alternative." James Graham takes apart Nick Clegg's book How to Save the Internet.

Sam Bright is puzzled by the contradictions of right-wing journalists: "These journalists are neoliberals – they preach the free market gospel. You can’t get them to shut up about the Industrial Revolution and how deregulated enterprise supposedly birthed Britain as an economic superpower. And yet they’re stuck in the Middle Ages – terrified of the advances in science and engineering that also spawned from their favourite period of history."

"Trade unions are civil society organisations. They give working people a way to voice their concerns, secure representation, and exercise lawful leverage. In a country where bargaining is often fragmented and workplace voice is weak, that is not a threat to liberalism; it is a condition of it." Jack Meredith states the Liberal case for the government's Employment Rights Act,

Tracey Spensley on veterinary medicines and the decline of Britain's songbirds.

Darren Chetty looks at the current BBC adaptation of Lord of the Flies: "The decision to include a diverse cast, including the excellent Winston Sawyers who plays Ralph, will probably be viewed by many as a progressive move, ensuring that not only white actors are offered roles and not only white people are represented on screen. But for all its progressive aspirations, an adaptation like this obscures some of the most interesting themes discernible in the book."

"Barrie was always ageless, with a kind of supernatural vibe about him that makes me think perhaps he wasn’t quite of this world. And in a way, he wasn’t: he belonged to a London long vanished, full of glamour and promise. Did Barrie disappear along with it?" Melissa Blaise searches for a Chelsea socialite she once knew.

Britain's two most famous TV policemen on screen together in 1964

Between 1962, when he first appeared as Charlie Barlow in Z-Cars, and 1976, when he played the character for the last time in Second Verdict, Britain's most famous television policeman was Stratford Johns.

That baton was then taken on by John Thaw, who had begun playing Jack Regan in The Sweeney in 1975. He continued in that role until 1978 and then played Inspector Morse between 1987 and 2000. (I don't remember their being any clear holder of the crown during that interregnum.)

And here they are together in a Z-Cars episode from 1964.

Trivia fans will be pleased that Sheila Hancock, who was married to John Thaw, played Miss Hannigan opposite Stratford Johns' Daddy Warbucks in the original London production of Annie.

Richard Jefferies Museum plans new Centre for Arts and Wildlife

The Richard Jefferies Museum, which is housed in the writer's birthplace at Coate Farm, Swindon, is raising money to fund its plans for a new Centre for Arts and Wildlife. You can read all about those plans on the museum website.

A spokesperson for the trust that runs the museum told the Swindon Advertiser:

"Our little museum has been growing – more events, more activities, more volunteers and more visitors.

"But we think it is time to grow some more, by creating something that will help the old farm site accommodate everything that's going on.

"So, we have come up with an idea for a new building to honour the things that were important to Jefferies, and are important to us."

You can read more about Richard Jefferies and his importance as a writer and thinker on the museum website.

Back in the Nineties I wrote my MA dissertation about Jefferies and gave the Richard Jefferies Society's Birthday Lecture. The lecture took place in the church hall at Aldbourne in Wiltshire – the village where the classic Doctor Who story The Dæmons was filmed in 1971.

Simon and Laura (1955): How Muriel Box predicted reality TV

This short video explores an unexpected and exciting piece of film and television history. Muriel Box's 1955 film explored the perils of reality television 45 years before Big Brother was first screened.

Simon and Laura provided Peter Finch with his first leading role (Laura was played by Kay Kendall). His last film, Network in 1976, was also about television.

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Jessica Valenti sounds the alarm about the Heritage Foundation's plan for American women: "Like the conservative movement more broadly, the organisation wants young women to believe this is all being done for their benefit: that work is soulless and unfulfilling, that feminism has made women miserable, and that the real path to happiness is being a stay-at-home mom. The latest right-wing mantra for women? 'Less burnout, more babies.'"

The government’s proposed model for mandatory reporting of suspected child sexual abuse bears no resemblance to the frameworks used in the 82 per cent of countries that have enacted such legislation, argues Tom Perry.

Jonathan Cook believes the jury was right to acquit the Palestine Action defendants.

"It was the only post-war building on London’s South Bank to remain unlisted, refused protection on six separate occasions by successive culture secretaries, who since 1991 had repeatedly rejected Historic England’s (formerly English Heritage) recommendations." Richard Waite on the Listing of the South Bank Centre – that's the Queen Elizabeth Hall, Purcell Room, Hayward Gallery and their associated terraced walkways and stairs – after 35 years of refusals.

"The shifting appeal of The West Wing during the past quarter century raises a sobering question: Is political competence and an idealized respect for democratic norms losing popularity in 2026?" Karrin Vasby Anderson and Nick Marx track the political drama's move from bipartisan hit to a polarised comfort watch.

Mansel Stimpson enjoyed Nouvelle Vague as I much as I did: "The casting ... which uses mainly relatively unfamiliar faces is one of the film's great successes. It is quite easy to accept Guillaume Marbeck as Godard and Aubry Dullin catches the essence of the young Jean-Paul Belmondo. Even more surprisingly given that Breathless contains an iconic performance by Jean Seberg, we find this film’s best-known name, Zoey Deutch, creating a Seberg in whom we really do believe."

Dixon of Dock Green: "It's not jolly – in fact it's unremittingly grim"

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Dixon of Dock Green does not deserve its reputation for cosiness. I wrote to that effect three years ago, but Tim Dowling was there long before me.

Here he is choosing a box set of the police drama back in 2012:

The stories are as gritty as anything you would find in The Bill, and happy outcomes are rare. In the little monologues that top and tail each programme, Dixon is likely to tell you the suspect was never convicted due to a lack of evidence, or that a wife-beater escaped punishment because the police were powerless to intervene. 

It's not jolly – in fact it's unremittingly grim. Bodies turn up in slag heaps. Depressed coppers kill themselves, and no one dares say so. "The coroner's verdict was death by misadventure," says Dixon, "and none of us would quarrel with that."

The Earth is healing: The Muppet Show is back

The blurb for this trailer on YouTube says it is "a special event", first being screened on February 4 on Disney+ and ABC.

Rhik Samadder has seen it and says in the Guardian:

Happily, it hasn’t been updated so Fozzie is doing bits on TikTok, or Rowlf protesting about streaming royalties. The guys are still trying to put on that variety show, and it’s still all going wrong.

After reading this column you will never think of Barbara Cartland in the same way again

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Another of my columns for the Journal of Critical Psychology, Counselling and Psychotherapy. 

Barbara Cartland has her own label on this column, and I think all this material had appeared on Liberal England before, but I suspect it is not common knowledge among radical mental health professionals.

Barbara Cartland as a political activist

The writer Damian Le Bas once interviewed a man whose mother, a Conservative county councillor, had fought for travelling families to have somewhere to live and for their children to be educated. 

"People offer all sorts of reasons why they don’t want a Gypsy site near them,” said Le Bas. "You’ve referred to it as old-fashioned racism, and your mother compared it with the situation in the South of the United States of America."

The man replied: “It was definitely prejudice. It was really, really nasty. My mother had a lot of hate mail and people were rude to her, but she persevered. She was not one to be deterred, my mother, in any way. She stuck to her guns."

Her name? Barbara Cartland.

When I told someone who I was writing this column about, they dredged up Clive James’s description of her on television in old age:

Twin miracles of mascara, her eyes looked like the corpses of two small crows that had crashed into a chalk cliff.

But then if Barbara Cartland is remembered at all today, it is for this late eccentricity of appearance. 

Matthew Sweet, who is writing her biography, has observed that, though you would expect her romantic novels, of which there were hundreds, dictated from a chaise-longue to relays of secretaries, to be a staple of charity shops, but they have not lasted. Not lasted physically, that is: they were cheaply produced and fell apart in the hands of a vigorous reader.

So, though Barbaraville Camp, a permanent site for Gypsies on the outskirts of Hatfield named in her honour, is still open, we have to look further back to pay Barbara Cartland her due.

******

The hero of The Glamour Boys, Chris Bryant’s study of the group of gay – if that’s not an anachronism – MPs who opposed appeasement in the run up to World War II, was meant to be Major Ronald Cartland, who died at Dunkirk aged 33. But doesn’t his sister keep breaking into the story?

Their father’s death had left Barbara and her two brothers in straitened circumstances, but they weren’t for long once she started writing. First there was a racy High Society novel with a fair amount of sexual innuendo, Jig-saw (1923), then a column for the Daily Express and risqué plays, one of which was initially banned by the Lord Chamberlain.

Bryant writes:

Barbara was no prude. She wrote wry and naughty copy for Bystander under the pseudonyms Miss Hamilton or Caviare, she turned out gossipy pieces for Tatler as Miss Scott and passed on titbits of society news as Miss Tudor in the Daily Mail. The copy she filed was invariably bubbly and enthusiastic, with no hint of the prim coyness that was so common at the time. Her advice to young women in her book of modern morals, Touch the Stars: A clue to happiness, was remarkable: 

Remember that you are not a miserable sinner… nor were you born in original sin; the sex instinct is one of the most beautiful things in the world. It is sent to inspire us, and help us understand Nature and the workings of the Divine. It is the nearest approach we get to the beauty, the intensity and the power of Life.

And in between all this writing, she found time to be the darling of the fast set at Brooklands motor racing circuit and a pioneer of gliding.

******

What first made me take Barbara Cartland seriously were her wartime memoirs, The Years of Opportunity, as they showed her to be a notably sensible voice in welfare work.

She defended servicewomen, saying the remarkable thing was how few unwanted babies there had been, given wartime conditions. And when women did become pregnant:

It was nearly always a case of being brought up in ignorance, of being given a new and exciting freedom in the Services, and often of being “stood a drink” for the first time in their lives! Many of them didn't know what was wrong with them, and when the Medical Officer told them they were going to have a baby they were stunned and astonished.

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Not that the men were much better informed:

I know one RAF padre who had a straight talk with every man on his station who came to him wanting to get married or in domestic trouble. He said the abysmal ignorance of the average man about women and love was appalling.

She also wrote with understanding and compassion about the needs of children, particularly those in public care. In 1945, the death of Dennis O’Neill, a 12-year-old foster child, on a farm in Shropshire had scandalised the nation:

How many Dennis O’Neills who don’t actually die are living a life of cruelty and torture, of privation and utter hopeless misery? How many little boys and girls are existing in filth and degradation in Public Institutions without any knowledge that there is love and kindness in a world which to them is only harsh and horrible?

She remembered a little boy who had come from a public institution to live in the cottage next to hers:

He was three years old, but he had never seen a toy of any sort, and when my boys gave him some of theirs, he didn’t know what to do with them. 

One of those boys was Ian McCorquodale, who was interviewed by Damian Le Bas.

And Cartland writes of her friend Lady Allen of Hurtwood, who deserves a column of her own: 

As chairman of the Nursing School Association she visited homes and institutions and what she found was appalling.

It wasn’t all words either. In this volume of memoirs Cartland describes bursting into a stranger's hotel room to stop a little girl being beaten.

******

The moral of this story is that someone who ends their days on television in a pink chiffon ballgown and caked with make-up – as I fully intend to do – can still be worthy of your respect.

"Like trying to do geometry with blancmange": My Liberator article on Blue Labour

Move over Lord Bonkers: I have an article in the new Liberator (issue 344). You can download the whole issue for free from the magazine's website.

Nor for the first time, I am led to reflect on how hoary my cultural touchstones are growing. The first series of Reggie Perrin was originally screened 50 years ago - it's as though there had been a Liberator contributor when I first joined the editorial collective whose articles relied upon his readers having knowledge of comedy from the early Thirties.

But don't blame me: I've been waiting for a new generation of young Radicals to sweep us to one side since at least 1990, but they have never appeared.

A Better Yesterday

I’ve finally worked out who it is that Blue Labour reminds me of: it’s Doc Morrisey from The Fall and Rise of Reginald Perrin. In the classic sitcom written by David Nobbs, Perrin, deep in the throes of a midlife crisis, seeks help from Sunshine Desserts’ company doctor. They have the following conversation.

Doc Morrissey: Do you find you can't finish the crossword like you used to, nasty taste in the mouth in the mornings, can't stop thinking about sex, can't start doing anything about sex, wake up with a sweat in the mornings, keep falling asleep during Play For Today?

Reginald Perrin: That's extraordinary, Doc! That's exactly how I've been feeling.

Doc Morrissey: So have I. I wonder what it is? Take two aspirins.

Blue Labour, though some MPs claim to owe allegiance to this tendency, is largely Maurice Glasman, and Maurice Glasman is entirely Blue Labour. And the only coherent thread running through the pronouncements of Maurice Glasman (Lord Glasman – he was made a peer by Ed Miliband in 2010) is an ill-focused, Perrinesque nostalgia for the past of his country and party.

Even that is being kind to him when you consider the misshapen catch that comes up when you trawl for his recent media appearances. Among the views he has expressed are that “in order to be truly radical, Labour must recognise its debt to Jesus Christ”; that the UK’s 2050 net zero emissions target is a fantasy that should be abandoned in favour of new fossil fuel extraction while the national grid is taken over by the Ministry of Defence; and that Shabana Mahmood is like Elizabeth I – “She’s devoted to her job. She’s unique.” If Glasman were a social media account, you would have muted it long ago.

Visit the Blue Labour website in search of more intellectual substance and you will be disappointed. The featured post there is What Is to Be Done, which dates from October 2025 and is written in a semi-apocalyptic style: “The hour is late.” Nevertheless, there is something in its analysis that Keir Starmer won a “loveless landslide” and came to power without much of a legislative programme or analysis of the country’s problems behind him.

The trouble with What Is to Be Done is that it’s full of grand statements like “We should bring public services like rail, utilities like water, and critical industries like steel, back into public ownership,” but short of any practical proposals for how such ideas can be put into action. And when it does get close to making such proposals, what we get is an agenda that will be familiar to anyone with a very online Conservative MP: “drastically” reduce immigration, curb the powers of the courts, tell the police to concentrate on repeat offenders. Explore the Blue Labour website and you will find the same high ambitions and shortage of detail in other documents, even its Plan for National Reconstruction. 

All of which makes it a surprise to find Compass publishing a document billed as making “the case for a new Soft Left/Blue Labour politics”. It’s Soft Skills, Hard Labour by Frances Foley, who was until recently the group’s deputy director. A surprise because, though it is affiliated to the Labour Party, Compass’s emphasis on cross-party working and support for proportional representation has meant that Liberals tend to feel quite warm towards it. So sensible is it that it’s chair Neal Lawson has been threatened with expulsion from the Labour Party.

Enter Compass

Lawson, incidentally, shares Glasman’s sense that Keir Starmer lacks direction. In a recent Guardian piece, he suggested that Starmer was promoted as Labour leader by people who decided he was the man to drive Corbynism out of the party. They assumed there was no chance of the Conservatives being defeated in 2024, so didn’t worry about his shortcomings as a future prime minister. He would be gone before Labour got in again. Yet so rapid was the Conservative collapse that Starmer found himself in Number 10. It’s a neat mirror image of the Labour left-winger who said in 2015: “If we’d thought we had a chance of winning the leadership then Jeremy Corbyn wouldn’t have been our candidate.”

There is no such clarity to be found in Soft Skills, Hard Labour. Foley’s method is to look at different tendencies within Soft Labour and Blue Labour and then map how they complement each other or conflict across the divide. So we have chapters titled “Postliberal Democrats’ challenge to the Rules-based Majoritarians” and “Democratic Communitarians’ challenge to the Rights-based Liberals”. It’s a brave effort, but her two main concepts are so diffuse to begin with that it’s like trying to do geometry with blancmange.

It may be that Blue Labour has more to it than Glasman’s eccentricities – his other recent contributions to debate include apologising to Nigel Farage live on GB News after Keir Starmer said the Reform leader’s immigration policy was “racist and immoral” and claiming that progressive liberals “don’t want you to enjoy anything, not even sex with your wife!” There is an essay collection edited by Ian Geary and Adrian Pabst – Blue Labour: Forging a New Politics – but it was published in the very different world of 2015, where it billed itself as seeking to “move beyond the centrist pragmatism of Blair and Cameron”.

Iconoclasm

Frances Foley is attracted to the appetite she sees in Blue Labour for iconoclasm, which is an attraction I imagine anyone who works in the very on-message world of pro-Labour think-tanks is likely to feel after a while. She may even be demob happy: her brief biography in Soft Skills, Hard Labour reveals she is leaving Compass “to set up a new programme matching young people with jobs in climate, whilst training them in political organising,” which sounds more valuable than what most think-tanks produce.

Whatever the reason, she is right to say:

The word “progressive” strongly implies that change is always for the better, rather than to be questioned or resisted. It also suggests that “progress” is a meaningful – and crucially agreed upon – political concept.

That is why I try to avoid using this concept, though a stronger reason is the argument put forward by Simon Titley, late of this parish: 

"Progressive." What does it mean? The only discernible meaning is "not conservative" or "not reactionary"... negative definitions. The "p" word is a lazy word, so give it up. It will force you to say what you really mean. We need real politics not empty slogans.

Similarly, when Foley writes of what she terms “Rights-based Liberals”:

They tend to assert the primacy of rights as a priori, not as social constructs created by citizens, but as a first order framework that sets the parameters for what is politically viable. In this sense, Rights-based Liberals see rights as trumping pure democratic sovereignty, setting limits on what democratic societies can decide. 

she is right about the attitude of many on the left towards rights: we should never forget they are human inventions and not somehow ordained by nature. 

There is a better, more pragmatic argument for human rights: by inventing them we increase the chances that government will treat us well. A good example of this is the right to petition for a writ of habeus corpus – a right hoary enough, surely, to win the support of even Maurice Glasman. Nor is it clear how the working class will benefit from any abolition of rights: it’s the powerful who benefit in a free-for-all, as we see in news reports from the US every evening.

But then it’s often hard to see how the working class will benefit from any Blue Labour policies. The only mention of education you’re likely to come across in Blue Labour circles is vocational education: you rarely get the sense that they are much interested in the number of working-class university students or entrepreneurs. What they are telling working-class young people is that somewhere there is a lathe with your name on it and I remain unconvinced that is what all of them want.

Nostalgia

It's easy, and it’s largely justifiable, to dismiss Blue Labour as offering nostalgia for a vanished industrial world, but too much comment on social media from people who like to think they are on the left treats the past as something to point at and laugh. Such comment is all about the performative adoption of approved cultural opinions: nowhere will you see it mentioned that the Fifties saw full employment and record levels of trade union membership or that the Seventies saw the greatest income equality Britain has ever enjoyed. 

One thing Blue Labour has got right is that many self-styled “progressives” aren’t much interested in the working class: it’s just that I’m not convinced Blue Labour is much interested in the working class as it exists today either. Maurice Glasman’s target voter is a white working-class man in a manual job in the North of England in 1957.

Treating the past as a reminder that our current economic and social arrangements are not set in stone and things could be and have been different is sensible. But demanding we return to this past, and demanding it without so much as making a gesture towards providing a route map, is ridiculous. I didn’t get where I am today without knowing the difference.

The Joy of Six 1463

Schuyler Mitchell talks to Mark Bray, a Rutgers University professor and expert on Fascism, who has fled the US with his family after being targeted because of his work: "The next day, we managed to leave – but not before being searched and interrogated by federal officers, despite facing no charges whatsoever. I’m not suspected of any crimes. I’m just a professor."

"Ofcom has repeatedly allowed GB News to broadcast biased news. Ofwat allows water companies to jack up prices enormously whilst pouring shit into our rivers and sometimes not even delivering water. And Ofgem allows electricity companies to charge some of the highest domestic and industrial electricity prices in the world." Chris Dillow on regulatory capture – the tendency of big corporations to take control of the regulators supposed to police them.

JP Spencer looks the success of the Manchester Mill news website and the potential of its model across Britain: "With the decline of many news titles, it is welcome that local democracy is getting the attention and scrutiny it deserves. ... As a big believer in the power of local decision making, we are going to need new forms of media to report on key decisions and other issues that will keep the public informed and grease the wheels of democracy."

"They didn’t poll residents about whether they felt 'interested but concerned' about automobiles. They showed them the future and made them want it. Today’s planning profession has inverted that approach. Instead of selling a vision, we survey people about their willingness to adopt one. People self-identify based on current conditions, reflecting limited beliefs about what’s possible. ... The results are predictable." Andy Boenau says campaigners should aim make freedom of mobility so compelling that people demand it.

"These files make it clear that Our Friends in the North's path to transmission would make a drama in and of itself. It had taken more than a decade for it to be successfully adapted by Peter Flannery from his own Royal Shakespeare Company play of the early 1980s." Paul Hayes digs into the BBC's archives to uncover the production history of the award-winning political drama.

Hyungwon Kang explains how 5th-century Roman glassware came to be found in high-status burials in Korea.

The Joy of Six 1460

"Governments and taxpayers fund universities not because they are efficient 'businesses', but because they are essential public institutions. They generate research that underpins economic growth and cultural life. They educate professionals on whom society depends. They are meant to be spaces where difficult questions can be asked and discussed. They are fundamental institutions in a democratic society." Monica Franco-Santos fears that in trying to 'fix' universities, we are quietly unmaking them. 

Emma John reminds us that England has ruthlessly privatised cricket, while Australia still embraces it with constant public displays of affection: "In the parks and pubs, cricket remains the dominant summer pastime and subject of conversation. In the Grampians of western Victoria, whose peaks are better known for their world-class climbing, I constantly witnessed pick-up games in the backyards and paddocks of the cafes and restaurants, or mums and dads tossing up hit-mes to tiny toddlers holding miniature bats."

Lee Elliot Major on a Cambridge college's plans to target elite private schools in its student recruitment: "Alumni LinkedIn feeds and social media threads quickly filled with outrage, as many Cambridge graduates interpreted the move as class prejudice rearing its ugly head once again. One angry fellow at the college said it amounted to a 'slap in the face' for their state-educated undergraduates."

"I first watched the film this year, on moving to the West Midlands, but I’ve been haunted by screenshots of the production circulating on social media for a decade: a burnt severed hand looming over the Worcestershire countryside, a terrifying claymation-style succubus sitting on a bed, an androgynous William Blake-inspired golden angel reflected in a lake." Samuel McIlhagga discusses the enduring influence of David Rudkin's 1974 television play Penda’s Fen.

"Three women are being released from Holloway Prison on the same morning. They come from vastly different backgrounds and each has plans for what they want to do on their first day of freedom, but they have all agreed to meet for dinner that evening. This simple story, told with warmth and empathy, follows the lives of these women during the span of that one day and the touching and tragic events that take place before and after this dinner." Silver Scenes finds Turn the Key Softly (1953) is an underrated British gem.

Steve Parissien charts the rise and fall of Babycham.

Hurdy-gurdy player unveils plans to restore Norfolk's former whaling HQ

The Eastern Daily Press wins our prestigious Headline of the Day Award.

I have been asked by the judges to emphasise that they are sure the hurdy-gurdy player in question is nothing the like the vengeful ghost of a Gypsy child.

While I'm at it, the headline comes via Yahoo! because the Press has changed it to something more prosaic since the story went up.

And the music in the video, which is the very recording used in Lost Hearts, is not of a hurdy-gurdy at all. It's a variety of zither from the Vosges region of France.

Reader's voice: You don't think you're in danger of taking this feature too seriously, do you?

The Joy of Six 1459

"For all their youthful modishness, this group is actually more conservative than their older counterparts. Many TheoBros, for example, don’t think women belong in the pulpit or the voting booth – and even want to repeal the 19th Amendment. For some, prison reform would involve replacing incarceration with public flogging. Unlike more mainstream Christian nationalists ... many TheoBros believe that the Constitution is dead and that we should be governed by the Ten Commandments." To understand JD Vance, you need to meet the TheoBros, says Kiera Butler.

Martin Barrow finds that Labour's reforms of the care system are an admission that privatisation of children's homes and foster care is here to stay: "Now responsibility for where children in care live is to be removed from local councils altogether and handed to a regional body with tenuous local roots tasked with negotiating the best financial terms with private providers."

"We talk endlessly about 'local pride', yet whenever regions like Cornwall, the north east, or Yorkshire try to express that pride politically or administratively, someone in Westminster clears their throat and steers the conversation back to something safer: 'Englishness'. As if being Cornish, Geordie, or Yorkshire were a distraction rather than part of the story." Regional identity still matters, argues John Hall, but without power and respect risks being reduced to a souvenir.

Eleanor Grant reports that lawfare is stifling student politics at Oxford: "One scandal after another, each matched by an internal, quasi-legal tribunal, has now threatened to sink the Oxford Union and a series of student articles chronicling these escapades have mysteriously vanished after short-lived publication."

Casmilus watches Rock Follies, the Seventies television series about an all-woman band that starred Charlotte Cornwell, Rula Lenska and Julie Covington.

"It’s got one of the most famous opening lines of any Murdoch novel, which takes a lot from Austen: 'Dora Greenfield left her husband because she was afraid of him. She decided six months later to return to him for the same reason.'" Miles Leeson chooses Iris Murdoch's five best novels.

Julie Covington: Only Women Bleed

Julie Covington's version of this Alice Cooper song reminds me of a foggy day at Rugby station just before Christmas 1977, but I realise that may not be true for everybody.

That year Covington had a number one with Don't Cry for me Argentina and starred in the highly regarded TV series Rock Follies. 

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"What the US needs to understand is that hybrid warfare isn’t simply a weapon used between and against states. It’s a strategy being deployed by your very own government. This is both kinetic warfare – bombs and missiles – and information warfare – false constructs, false narratives, false justifications." America is not our enemy, but it's a danger to itself and the world, says Carole Cadwalladr.

Rowan Williams reminds us that migrants are at the heart of our culture: "Many of the most characteristic forms of western medieval architecture ... owe their development to the to-ing and fro-ing of engineers and architects between western Europe and the Middle East during the Crusades. And we find it easy to forget that most of the stylistic repertoire of modern western popular music would be unthinkable without the Black American tradition that itself adapted and reshaped African idioms in the new and terrible world of enslavement."

"Decades of research have demonstrated that our political beliefs and behaviour are thoroughly motivated and mediated by our social identities." David Roberts argues that the cure for misinformation is not just more information or smarter news consumers.

"Norwich, contrary to the county town image that some may have of it (though that too was true), was a densely-settled, industrial city which came under Labour control in 1933. The Council built over 7500 houses in the 1920s and 30s (twice the number of new private homes built in the same period) and rehoused some 30,000 people – almost a quarter of the population. Mile Cross was the finest of its new estates." Municipal Dreams on the history of a Norwich housing estate.

Francis Young reviews Chasing the Dark by Ben Machell: "[Tony Cornell] was wary of supernatural explanations but was open to a complex view of human psychology in which people who simulated paranormal phenomena were not always aware they were doing so, or did not necessarily see a distinction between their own agency and that of the supernatural power they believed in."

Petra Tabarelli explains the appeal of Midsomer Murders: "The characters are not merely bizarre, eccentric or exaggerated; they are condensed allegories, just as the Midsomer backdrop is itself an allegory for the idealised English landscape."

Attend the tale of Sweeney Todd

I posted a video of the South Bank Show film on the staging of Sweeney Todd a few days ago and have been obsessed with Stephen Sondheim's musical ever since. I didn't see Sweeney in 1980, but I have strong memories of watching that film about that production, with the result that I cannot quite accept anyone but Denis Quilley and Sheila Hancock in the lead roles.

Someone has made the video above by pulling out some of the scenes of the finished show from the film, and if you are as obsessed as me you will want to listen to the audio recording of the whole of the closing performance of that first London production.

The closing performance came after four months, and a lot of money was lost. It was an expensive production, including a full orchestra, and the Theatre Royal Drury Lane was a huge venue to fill.

Stephen Sondheim was not then, at least in Britain, the acknowledged master of musical theatre that he became. Side by Side by Sondheim had recently been a success in the West End, but it was a revue and had been staged in a theatre less the half the size of Drury Lane. Nor was Sweeney Todd's subject matter calculated to bring the coach parties in.

But it was the lukewarm response of the critics that got most of the blame - you can hear Quilley mention them in his brief speech at the end of the audio recording. And even in the ecstatic response of Michael Billington, you can make out the factors that helped keep the crowds away:

Sweeney Todd is the reversal of everything we traditionally expect of a musical. It has a powerful and gripping story, hardly a single extractable tune, a fierce sense of social justice. Yet, after seeing it on Broadway 18 months ago and now at the Theatre Royal Drury Lane, I would call it sensationally effective. 

Indeed, burning a boat or two, I would say it is one of the two (My Fair Lady being the other) durable works of popular musical theatre in my lifetime.

Even if that was going it a little, he was a better predictor than most of his colleagues. Sweeney Todd is now accepted as a stone cold classic.

A true story?

In one of his few narrator's incursions into the South Bank Show film, Melvyn Bragg says that the legend of Sweeney Todd is based on a true story that happened in Paris around 1800 and first appeared in print in Britain in 1846.

But The Singing Organ-Grinder has found a version of the legend that sets it in 17th-century Calais. And Charles Dickens assumes in Martin Chuzzlewit (1843-4) that his readers will know and smile at stories of people being turned into pies in London:

Tom's evil genius did not lead him into the dens of any of those preparers of cannibalic pastry, who are represented in many standard country legends as doing a lively retail business in the Metropolis.

So I suspect that Sweeney Todd and his Continental equivalents are urban legends with a long history.

Not the first musical

Searching the British Newspaper Archive, I discovered that Sondheim's was not the first musical about Sweeney Todd to be staged in London. In 1959, a musical called The Demon Barber was staged at the Lyric, Hammersmith.

The Stage didn't much like it:

A pompous introduction to the programme of "The Demon Barber," at the Lyric, Hammersmith, states that this new musical has roots which "reach to 'The Beggar's Opera', the music hall, and D'Oyley (sic) Carte". Be that as it may, the result is a feeble adaptation as a musical of the Sweeney Todd story, the blood and thunder gone and replaced by burlesque which flies wide of its mark.

It seems no one else much liked it either, as a member of cast recalls:

My first theatre job in London was in 1959 at the Lyric Hammersmith. I was Jonas Fogg the madhouse keeper (who else?) in Donald Cotton and Brian Burke’s The Demon Barber. It was quite an elaborate little musical about Sweeney Todd which Stephen Sondheim had never heard of. Sondheim didn’t know of this version when he composed the 1979 musical/opera Sweeney Todd: The Demon Barber of Fleet Street.

It closed on Christmas Eve after 14 performances. Not very long after, this exquisite theatre was demolished at a time when borough councils felt it was their duty to continue the work of Reichsmarschall Goering in the destruction of London. They brought a new ferocity to the task, and many of London’s theatres that had survived the Blitz were gleefully pulverised by the advocates of Progress.

The Lyric was cynically reconstituted, but it was never the same.

The writer is Barry Humphries. At least the swift demise of The Demon Barber left him free to appear in Oliver! the following July.

Don't worry. I'll have found a new rabbit hole soon.

Dennis Mallard: The boy who ran away to Ealing to be a film star

If an American child dreamed of being a star, they would run away to Hollywood. In the Britain of 1958, children had to make do with Ealing.

Here's a story from the Chatham, Rochester and Brompton Observer for 17 January of that year that came up when I was searching for something else:

The boy who ran away to be a film star 

His adventure proves to be far from glamorous

Twelve years old Dennis Mallard, who appears very briefly in the new Harry Secombe film "Davy," thought his film career was not developing fast enough. 

He ran away from home on Monday night, aiming to get to a film studio.

While his family thought he was asleep in bed, he was trudging through the cold night wearing only jeans, shirt and blazer, to Dartford, six miles from his home, 119, Milton Road, Gravesend. 

There he hid in the back of a lorry which took him to London. 

He stowed away on another lorry and found himself in Ealing.

Then the glamour of finding the limelight the hard way wore a bit thin and he became frightened. 

He went to a church for help and a clergyman informed the police.

But that was not the end of Dennis Mallard.

I can't find any mention of him having appeared in Davy, which was one of the long tail of inferior Ealing comedies and designed as a star vehicle for Harry Secombe. 

But I have found a page that has him making an uncredited appearance in a Children's Film Foundation production, One Wish Too Many, as early as 1956. 

And the British Film Foundation has him making a similarly unacknowledged appearance in The Violent Playground later in 1958. As this film's premiere was in March 1958, it must (as Flashbak suggests) have been filmed in 1957, before the boy ran away to Ealing.

So it looks as though young Dennis Mallard was already appearing in films by the time he ran away, but as nothing more than an extra.

Researching him is difficult because he does not have an IMDb entry, so I was pleased to find that the British Film Institute has a page for the 1959 BBC adaption of Great Expectations, which lists him as having played Pip, along with the slightly older Colin Spaull and much older Dinsdale Landen.

Yet a clip of the young Pip encountering Magwich in the churchyard from this serial looks nothing like the photo of Dennis Mallard in the local newspaper report that sent me down this rabbit hole. And, sure enough, IMDb has a photo of the encounter, with the boy playing Pip named as Colin Spaull. As this scene is as young as Pip gets in the book, what did Dennis Mallard do?

The answer is on BBC Genome, where he is billed as playing Pip Gargery. Over to Dickens, and the scene thee a sadder and wiser adult Pip returns to the forge, only to find that Biddy, who he has resolved to marry, has wed Joe Gargery:

There, smoking his pipe in the old place by the kitchen firelight, as hale and as strong as ever, though a little grey, sat Joe; and there, fenced into the corner with Joe’s leg, and sitting on my own little stool looking at the fire, was – I again!

"We giv' him the name of Pip for your sake, dear old chap," said Joe, delighted, when I took another stool by the child’s side (but I did not rumple his hair), "and we hoped he might grow a little bit like you, and we think he do."

And if you think Dennis was too old to play this part, he's not. Because Nostalgia Central helpfully tells us:

One major narrative change has Joe Gargery’s proposed marriage to his housekeeper Biddy taking place before Pip goes to London (this revelation occurs much later in the novel and is the last nail in the coffin of Pip’s disillusionment as he was planning to marry Biddy himself).

Let's cut to the chase. Here's a report from the Kent Evening Post for 27 June 1975:

Few people meeting the quiet and unassuming Dennis Mallard at his Leysdown china shop would ever dream of his past. For the man who compared last night's Evening Post search-for-a- star show was once a star of stage and screen himself. 

Dennis. now married and a father of three living in Poplar Avenue, Gravesend, started his carcer at the age of five. 

He went to stage school at Upton Park till he was 11 when he landed his first mal part in a BBC production of Great Expectations. 

After numerous theatre and TV appearances in plays and adverts he landed his own ITV show in which Una Stubbs (remember her as the screen daughter of Alf Garnett in Till Death Us Do Part) was a dancer. 

That was all in the days of early commercial TV – and before Dennis’ 16th birthday. 

"Then I for some reason felt I'd had enough of showbusiness and decided to try and make some money instead. 

"I thought being a market trader was next best thing and began selling china." 

He still keeps his hand in however by doing occasional compering slots and has accepted an invitation to be MC at all the talent competition evenings.

I've not so far found any trace of his ITV series or of an ITV adaption of A Christmas Carol starring Stephen Murray as Scrooge in which he is said to have appeared. But the upturn in his career does seem to have happened soon after he ran away to Ealing.

And there is one thing we know he was doing in 1960: he was in the first performance of Oliver! as a workhouse boy and member of Fagin's gang. Because his name is on the credits for the original cast recording.

Take it away boys...

Sweeney Todd: Scenes from the Making of a Musical

Here's a holiday treat: a South Bank Show documentary from 1980 that follows Stephen Sondheim and Hal Prince as they rehearse the first West End production of Sweeney Todd. It had opened on Broadway the year before.

Sweeney Todd and Mrs Lovat are Denis Quilley and Sheila Hancock – look out for wine expert Oz Clarke and Michael Staniforth (Timothy Claypole from Rentaghost) in supporting roles.

Festive Francis: Frankie Howerd in Up Pompeii!

It was a mark of my mother's liberal parenting that. aged 9 and 10, I was allowed to stay up late on a school night to watch Up Pompeii! I later found from a Twitter conversation with the novelist Jonathan Coe that he was granted the same dispensation.

In my case, at least, it worked. I passed O level Latin, despite receiving free school meals and having Allison Pearson in the same class.

Watching Up Pompeii! today, it stands up pretty well, notably the clever formal device whereby Howerd is constantly breaking the fourth wall to criticise the script or the audience, but none of the other characters ever does.

And the show was comforting in that it was the same every week. Poor Lurcio never got far with the prologue before Senna the Soothsayer came along, and then there was Nausius with his ode and inability to find a rhyme.

Throw in an element of plot involving high Roman politics or Lurcio's master Ludicrous Sextus's love live and you had your show.

There were a lot of nubile young women on show – a reminder that the permissive society came before feminism – but I think they were safe with Frankie. 

Note the contemporary jokes about Waggoners' Walk and decimalisation. And note Pat Coombs enjoying herself immensely as the sorceress – you never knew who would turn up in the cast.