#bbc tv code

[stevencameron16]

How can I access BBC TV channels using the code in March 2024?

To access BBC TV channels using the code in March 2024, visit bbc.com/tvcode on your browser. Once there, enter the provided code to authenticate your access. This code ensures that you're authorized to view BBC TV channels through their online platform. After entering the code, you'll gain access to a wide range of BBC TV content, including news, entertainment, documentaries, and more. Enjoy the diverse programming offered by the British Broadcasting Corporation from the comfort of your device. Stay updated with the latest news, immerse yourself in captivating documentaries, and indulge in quality entertainment through BBC's extensive television channels.

[davidgraham78]

Exploring Discounts and Promotions for BBC TV Code Subscriptions

In the realm of television consumption, the British Broadcasting Corporation (BBC) holds a venerable status, known for its diverse and high-quality programming. For those considering a subscription to the BBC TV Code, the prospect of discounts and promotions can be a compelling factor. This article aims to delve into the world of BBC TV Code subscriptions, uncovering any available discounts or promotions that might make the experience more accessible and economical.

Understanding the BBC TV Code Subscription

The BBC TV Code Subscription, commonly known as a TV License, is a legal requirement for individuals in the United Kingdom who watch or record live TV, including BBC channels, or use the BBC iPlayer service. This subscription fee plays a pivotal role in financing the production of a wide array of content that caters to the informational, educational, and entertainment needs of the public.

While the TV License is mandatory for those consuming live TV or utilizing the iPlayer service, there are exemptions and considerations for specific demographics. Understanding the legal obligations and the application process is crucial for anyone seeking to access BBC programming within the confines of the TV Code.

Discounts for Specific Demographics

The BBC recognizes the diversity of its audience and, historically, has made provisions for discounted or free TV Licenses for certain groups. Individuals who are blind or severely sight-impaired, for example, may be eligible for a 50% discount on their TV License. Additionally, residents of care homes may qualify for discounted rates.

To explore potential discounts for specific demographics, individuals are encouraged to check the official BBC website or contact the TV Licensing authority directly. Eligibility criteria may evolve, and periodic reviews ensure that the BBC remains responsive to the needs of different segments of the population.

Promotions and Bundle Offers

While the TV License is a statutory requirement, the BBC and its authorized partners may periodically offer promotions or bundle deals that enhance the value of subscriptions. Collaborations with internet service providers or streaming platforms could result in promotions that bundle the TV License with other services, such as broadband or streaming subscriptions.

For individuals seeking added value, staying informed about official announcements from the BBC or checking with authorized partners is essential. These promotions might present an opportunity to access a comprehensive suite of services while enjoying the benefits of the BBC TV Code Subscription.

Seasonal Discounts and Special Events

Seasonal promotions and special events are common in the world of television subscriptions, and the BBC is no exception. During holidays or anniversary celebrations, the BBC may introduce limited-time discounts or special offers for both new and existing subscribers.

To capitalize on potential seasonal discounts or special events, individuals should follow the official BBC social media accounts, subscribe to newsletters, or regularly visit the official website. Proactive engagement ensures that subscribers stay informed about exclusive offers during these promotional periods.

Student Discounts and Educational Offers

Given the budget-conscious nature of many students, inquiries about discounts or educational offers related to BBC TV Code subscriptions are common. While the TV License is generally required for students living away from home and consuming live TV or using the iPlayer service, there may be discounted rates or special promotions available.

Students are advised to check with their educational institutions, as some universities or colleges may have arrangements or partnerships that offer discounted TV Licenses to students. Additionally, periodic promotions targeted at students may be announced through official channels, providing an opportunity for this demographic to access quality programming at a more affordable rate.

Community Initiatives and Support Programs

Community engagement is a core value for the BBC, and this is sometimes reflected in initiatives or support programs designed to enhance accessibility to TV Licenses. Community-based discounts or programs may be introduced to address specific needs or challenges faced by certain groups within the population.

To stay abreast of community initiatives and support programs, individuals are encouraged to connect with local community organizations, government initiatives, or social support networks. These channels may serve as conduits for information about special programs or discounts associated with BBC TV Code subscriptions.

Navigating the Application Process

For individuals seeking a TV License and potentially eyeing available discounts or promotions, understanding the application process is crucial. The official TV Licensing website provides a user-friendly interface that guides individuals through the necessary steps to apply for or renew a TV License.

During the application process, individuals can explore options for payment plans, check eligibility for discounts, and receive information about any ongoing promotions or bundle offers. The website serves as a valuable resource for staying informed about changes to regulations, upcoming events, and special initiatives that may impact TV License subscriptions.

Legal Implications and Penalties

While the quest for discounts and promotions is certainly enticing, it's imperative for individuals to remain cognizant of the legal implications associated with the BBC TV Code Subscription. Failure to possess a valid TV License when required can result in penalties, including fines and legal action.

Understanding the terms and conditions, eligibility criteria for discounts, and the legal obligations associated with the TV License is fundamental for subscribers. By staying informed and compliant, individuals can enjoy the benefits of quality programming without risking legal consequences.

Conclusion

As technology advances and the landscape of television subscriptions continues to evolve, exploring the potential for discounts and promotions within the realm of BBC TV Code subscriptions becomes increasingly relevant. The TV License is not just a legal requirement but also a gateway to a world of diverse and enriching content.

Discounts for specific demographics, promotional offers, seasonal discounts, and community-based programs are avenues that subscribers can explore. Staying connected with official channels, community organizations, and educational institutions can provide valuable insights into potential savings and exclusive offers.

Ultimately, the BBC may continue to introduce innovative approaches to make its programming more accessible to a diverse audience. By staying informed and proactive, subscribers can maximize their BBC TV Code experience, enjoying quality content while potentially benefiting from available discounts and promotions.

[ur-fav-is-autistic]

The Captain from Ghosts (BBC) is Autistic!

[thedoctorwhocompanion]

Reviewed: The Teeth of Ice Starring Paul McGann's Eighth Doctor

Reviewed: The Teeth of Ice Starring Paul McGann's Eighth #DoctorWho

Seeing how Big Finish are pretty much dominating the market with original Doctor Who content, it’s hard to miss if anyone else is attempting the same thing. After all, I don’t see much chatter on X (nee Twitter) about BBC Audio Doctor Who releases apart from audiobooks of Target novelisations. Thus, it was quite a surprise, when in Bluewater’s Waterstones’ audiobook section (when I say…

[winterdaphne2]

Gay Easter Eggs in BBC Sherlock

(I trust the above requires no explanation.)

Perhaps someone has done this before, but I wanted to put together a compilation of gay easter eggs in the show that I’ve seen other people point out and/or have thoughts on myself. So here it is!

When I say “easter eggs,” I’m thinking of small clues that the show creators included in the set designs, music choices, and other details of the show to reference that Sherlock and John are in love. I’m thinking of things you could miss at first, especially little clues that often require a bit of extra information or require observations across episodes to understand.

Of course, there’s also lots of subtext woven into the show, moments where interpreting the dialogue or visuals in a certain way tells us something about Sherlock, John, and/or the state of their feelings for one another. I’m not sure if I can clearly define “subtext” versus “easter eggs” and explain what distinguishes them, but at least to me, several of the things I’ve listed here seem a bit different from what people often refer to as subtext. Maybe subtext is about uncovering the layers to a piece of dialogue or an action that takes place in plain sight and seeing how that impacts our interpretation of the story, but easter eggs are about spotting smaller, hidden details. I’m not trained in literary or film studies, though, and I’m not trying to be doctrinaire about this at all! This list is just for fun, anyway. (The above image might not actually count as an easter egg, but I couldn’t resist including it here. Indulge me.)

The more I read about this show and the harder I look, the more I think that hardly anything is there on accident. All these easter eggs must have been included on purpose. The creators knew they were telling a love story all along.

I’ve linked to the posts where I initially saw people point these out or to other good sources, and for some of these I’ve added my own commentary/observations/interpretations. I’m sure there are many other easter eggs that I’ve missed! What have you spotted?

John’s PIN in TBB – When John tries to pay for his groceries at the beginning of the episode, we see that his PIN is 743. In ASIB, Irene’s code to unlock her phone is SHER, which would be 7437 on a phone keypad. So, John’s PIN is a clue that he is or will be in love with Sherlock. Source: @loudest-subtext-in-tv, here.

Shaftesbury Avenue, 20m from Piccadilly Circus in TBB – While investigating in Chinatown, Sherlock and John bump into each other at what used to be a cruising spot for gay men in London. Source: @the-signs-of-two, here.

Archer the American in ASIB – In the scene where the American CIA agents try to get Sherlock to open Irene’s safe, the head CIA agent pressures Sherlock by threatening to have one of his men shoot John. The agent says: “Mr. Archer, on the count of three, shoot Dr. Watson.” Ordering someone named “Archer” to shoot John could be a reference to Arthur Conan Doyle’s poem “The Blind Archer,” which is about Cupid and describes Cupid shooting two men who sound an awful lot like Sherlock and John. Source: couldntpossiblycomment, here.

“¿Dónde Estás, Yolanda?” in TEH – The song that plays during the scene with John and Sherlock’s disastrous reunion at the Landmark restaurant is a cover of the song “¿Dónde Estás, Yolanda?” performed by the band Pink Martini. The Spanish lyrics to this song are about searching for a long-lost lover, which is fitting for the scene where John sees Sherlock again for the first time since his fall. Notably, the creators didn’t use the first of the two versions of this song that Pink Martini has released. The band’s first version appears on their 1997 studio album Sympathique and features a man singing about a woman. Instead of using that version, the creators used the version from Pink Martini’s 2011 compilation album A Retrospective, in which China Forbes performs most of the vocals. So, the creators deliberately chose a remade version of the song in which a woman sings about a woman. They chose a gay song about searching for a long-lost lover for Sherlock and John’s reunion. abrae (@tea-and-liminality on tumblr) has a meta with more to say about the use of this song here.

John’s “oscillation on the pavement” in TEH – In TSOT, John observes a potential client standing outside 221B and trying to make up her mind as to whether to come in. Sherlock tells John “I’ve seen those symptoms before. Oscillation on the pavement always means there’s a love affair.” In the previous episode, John came to visit Sherlock at 221B but hesitated on the pavement outside, staring at the door and trying to decide whether to go in. Sherlock’s comment, “I’ve seen those symptoms before,” is a hint that we, the audience, have also seen those symptoms before—with John in the previous episode. Source: @bidoctor, here. (I saw someone else point out that last part about Sherlock’s hint to the audience, but I can’t find that post, sorry!)

Lilac dresses in TSOT – While planning John and Mary’s wedding, Sherlock chooses lilac-colored dresses for the bridesmaids. When John tells Sherlock that he likes the bridesmaids in purple, Sherlock pointedly corrects him by stating that the dresses are lilac. Apparently, “In Victorian times, giving a lilac meant that the giver is trying to remind the receiver of a first love.” So by dressing the bridesmaids in lilac, Sherlock is trying to remind John of his first love: himself, Sherlock. My heart breaks. Source: @asherlockstudy, here.

Putting the horns on Mary and Janine in TSOT and HLV – In TSOT, there’s a shot where Mary gives Sherlock and John a thumbs up before they head out on a case. The way Mary is standing, the horns on Sherlock’s cow skull thing on the wall behind her are placed right over her head. (I always thought this shot looked pretty weird, but now I see that it must have been intentional!) In the HLV scene with Janine at 221B, there’s a moment when Janine steps in front of John in the frame to kiss Sherlock, and her movement positions the horns right over her head. “Putting the horns” on someone means cheating on them. So in both cases, placing the horns right above Mary’s and Janine’s heads indicates to the audience that Sherlock and John are the real relationship in this show. Source: this post from multiple users on the @sherlockmeta blog.

The architecture of Sherlock’s mind palace in HLV – In the mind palace scene after Mary shoots Sherlock, the architecture of Sherlock’s mind palace is based on locations from ASIP. Sherlock literally built his mind palace out of places from his first case with John, illustrating that his relationship with John is what grounds him and that it means everything to him. abrae has some very helpful screencaps of this here (and I would recommend that whole meta, btw!)

The glasshouse scene in TAB – In TAB, the Victorian John tries to ask Sherlock about his sexuality and sexual history while they’re sitting in a glasshouse. In Victorian Britain, “glasshouse” was another term for a military prison. So John, a military veteran, asks Sherlock about his sexuality in a setting that represents where he would have been sent if he had acted upon his homosexual desires at a time when homosexuality was criminalized. Source: @haffieliesel, here.

What do we say about coincidences? The universe is rarely so lazy.

[crazykuroneko]

So, Where to Watch AMC Interview with the Vampire?

Surely you have seen gifs of AMC Interview with the Vampire and wonder where you can watch it. Of course you can 🏴‍☠️, but unfortunately in the world of streaming, numbers matter to keep the show afloat. So, here is Where to Watch IWTV aka WtW IWTV. This list will be updated from time to time 😉

WATCH PILOT EPISODE ON YOUTUBE FOR FREE (USA or with 🌐)

Listing STREAMING services only. Sorted by the alphabet. Ctrl+F to find your country (or pick your country on JustWatch)

Free (ad-supported or otherwise): 🆓

VPN-friendly: 🌐

Need to make free account (with fake address): 📝 (details under the cut)

All have two (2) seasons available unless otherwise stated

IWTV also has an Uncut version. It means no cuts for commercial breaks (✂️) or censored curses(🙅🏼‍♀️).

Trigger warnings for IWTV can be found here

• AMC+ : USA 🌐✂️🙅🏼‍♀️ (Every Sunday at 3 AM ET), Canada, Australia, New Zealand, Spain, India

You can sign up to AMC+ with VPN, non-American CC and American zip code. They'll fail to bill you, but you'll still get the 7-day free trial to binge watch. OR you can do this email trick to get more trial.

AMC+ is also available as a "channel" on Amazon Prime (USA, UK, Canada, Australia, New Zealand), Apple TV or iTunes (USA, UK, Canada, Australia, India), Roku or YouTube TV in some countries, so try to search there first

• Amazon Prime ✂️🙅🏼‍♀️ (w/o having to buy AMC+ subs): Latin America, India

• Amediateka: Russia, Belarus, Kazakhstan (censored)

• ABC iview 🆓 🌐📝✂️ : Australia

• BBC iPlayer 🆓 🌐📝✂️🙅🏼‍♀️: UK

• Canal+: Austria, France, Switzerland (only Austria gets 2 seasons)

• CosmoteTV: Greece

• Crave: Canada (S1 only)

• Hoopla 🆓: USA, Canada, Australia, New Zealand (Library card needed)

• MagentaTV+ : Germany

• Moviestar+ : Spain (S1 only)

• Netflix: USA (S1 only)

• OSN+ : Middle Eastern and North Africa

• Paramount+: France

• Sky Go: Ireland, UK

• Sky Show: Switzerland

• Streamz: Belgium

• TVNZ+ 🆓 📝 (haven't tried with 🌐): New Zealand

• U-Next: Japan

Disclaimer: I don't condone the use of VPN and fake address. HOWEVER, the series isn't available in almost most part of this world 😭. So, this is done with the purpose of giving the series the views it deserves instead of giving them to 🏴‍☠️. If your country is listed above, please support the show 🙏

For BBC: UK VPN on, sign up, Google UK zip code and add it, yes to TV license. You can turn VPN off after the episode loads.

For ABC iview: Australia VPN on, sign up, pick Overseas. You can turn VPN off after episode loads. Works on the app as well.

Check reply for VPN I used.

Feel free to reply or message me if you fail to stream it and if there's any info I missed or got wrong. Also, feel free to share this list with anyone!

Special thanks to Ari for always keeping us updated with the news on the show

[merlincersei]

Merlin BBC UK TV Show - Opinion Piece Part 23 - Who Is Arthur Really Talking About In This Scene?

Time and again when I revisit this particular scene between Arthur and Merlin (referenced below) I can't help but notice how much "Merthur" has been implicitly queer coded in this show.

______________________________________________________________

The scene I am talking about is in the Season 2 Episode 4 titled "Lancelot and Guinevere" .

This episode can be summarized as follows:

Gwen is mistaken for Morgana and is kidnapped by Hengist. Uther refuses to pay the ransom or send a rescue party to save a servant. Arthur defies his father and sets out with Merlin to rescue Gwen. ______________________________________________________________

After Arthur and Merlin escape from the Wilddeoren, they have the following scene:

While the casual viewer will look at this scene and state it is Arthur confessing his love for Gwen, however LISTEN CAREFULLY TO WHAT THEME PLAYS FROM 0:55 SECONDS ONWARDS IN THE BACKGROUND OF THIS SCENE.

The theme it plays is Merlin's Arrival to Camelot:

Now ask youself why would the show put in "Merlin's Arrival to Camelot" theme in the background of a scene where Arthur is confessing his love for Gwen?

Especially when Arthur and Gwen already have a theme song called Gwen & Arthur Romance Suite.

Shockingly, the Gwen & Arthur Romance Suite is actually played in the background of a scene between Gwen and Lancelot when they kiss for the first time and Gwen states " As long as I live, my feelings for you will never fade."

Refer scene at 1:22 in the clip below:

____________________________________________________________

Going back to the scene between Merlin and Arthur, dont you think Arthur's description of Gwen can also be used for Merlin.

[EXT. FOREST, STREAM – DAY] [Arthur and Merlin wash off the Gaia berries by a stream.]

ARTHUR Gaia berries worked. Huh.

MERLIN You didn't know if they worked?

ARTHUR Not for sure.

MERLIN Now you tell me?! Oh! Oh, what's that Wildren eating? It's all right. It's just Merlin. You trying to get us both killed?

ARTHUR I'm sorry. I shouldn't've risked your life like that.

MERLIN Well, they do say love makes you do strange things.

ARTHUR What are you talking about?

MERLIN Why can't you just admit your feelings for Gwen?

[Arthur scoffs.]

MERLIN It's so obvious. A blind man could see it. Is it really that hard to admit you like her? Just say it. (MERLIN THEME STARTS TO PLAY)

ARTHUR I can't! How can I admit that I think about her all the time. Or that...I care about her more than anyone. How can I admit that...I don't know what I'll do if any harm comes to her?

(DID ARTHUR NOT RISK HIS OWN LIFE FOR MERLIN IN SEASON 1 EPISODE 4 THE POISONED CHALICE.

DID ARTHUR NOT FOLLOW MERLIN TO EALDOR IN SEASON 1 EPISODE 10 THE MOMENT OF TRUTH FOR A MERE SERVANT)

MERLIN Why can't you?

ARTHUR Because nothing can ever happen between us! (HOW TRUE! BBC SIMPLY WOULD NOT HAVE ALLOWED MERTHUR TO HAPPEN!) To admit my feelings knowing that...hurts too much.

MERLIN Who's to say nothing can happen?

ARTHUR My father won't let me rescue a servant. Do you honestly believe he'd let me marry one?

(IN SEASON 1 EPISODE 4 THE POISONED CHALICE. UTHER FORBADE ARTHUR TO RESCUE MERLIN AND EVEN HAD HIM IMPRISONED WHEN HE BROUGHT BACK THE CURE FOR MERLIN)

MERLIN You want to marry Gwen?

ARTHUR No! No...I...I don't know...It's all talk, and that's all it can ever be.

MERLIN When you're King, you can change that.

ARTHUR I can't expect Guinevere to wait for me.

MERLIN If she feels as you do, she'll wait for you.

(IN THE END OF THE SERIES, IT IS MERLIN WHO HAS BEEN WAITING FOR ARTHUR FOR THOUSANDS OF YEARS!!)

ARTHUR We don't even know if she's still alive.

MERLIN No, she is. We will find her.

ARTHUR Come on. We've got a long trek ahead. Oh, and Merlin...if you dare tell anyone about this, I promise I will make your life a living hell.

MERLIN You mean, more than you already do?

ARTHUR Yeah.

MERLIN We could talk about your feelings while you walk.

ARTHUR Shut up, Merlin.

______________________________________________________________

I also managed to get a snapshot of a commentary Bradley James and Colin Morgan did for this particular episode and it is available on the DVD. Bradley's commentary is indeed very telling.

I REST MY CASE !!!

[frenchy-wino-jerkface]

So, I was a queer teenager about fifteen years ago. Fifteen years doesn't seem like much, but in TV History, fifteen years is not even BBC Sherlock times yet. So, in Queer TV History, it's basically like comparing modern times to the XVIIIth century : there was the beginning of an idea of equality and justice, but we were clearly not there yet.

The sort-of-gay pairings I saw on TV didn't end up together, or only in some niche content I couldn't get my hands on on national television - and that was where we watched shows at the time. Sometimes they were gay-coded, but what happened most of the time was : the queerest one of the pair ended up alone, living his best quirky-lonely life, while the most straight-passing found a spouse and a respectable straight marriage.

At the same time, I was falling in love with my very queer best friend. These were scary times, we were kids. When she ended up rejecting me and running off, not speaking to me again and going into straight relationships, I felt like I deserved it. That experience, plus the way I saw myself on television, shaped the way I saw my love life. Like I couldn't truly get one.

Now, shows have changed. Shows are queer, and watched by everyone. There isn't just one sort-of gay relationship on the screen, there are several in the same show! And they fall in love, and kiss, and break up, and get back together, and are shown being gentle and loving and couples! Actual couples. I still have to pinch myself sometimes. Before they get together, and despite the entire show screaming at me that it's gay, I still feel like I'm getting queerbaited. I brace myself, I wait for the unavoidable rejection and pain and loss. And yeah, sometimes it's dramatic. But it's always real now. They kiss. They love each other. There's no shame in that anymore.

Damn.

I wonder what it would have done to me and my best friend if we'd seen these shows fifteen years ago. How different I'd be today. I'm a bit sad that I didn't get that, that I was shaped so differently by contents that wanted to make me feel like I didn't quite belong, that I didn't quite deserve to be happy.

I'm sure excited for you younger lots, though. Have fun <3

[hot-on-my-watch]

Final Script- Sherlock S4- The Six Thatchers

I may have fallen down a new rabbit hole, and this time it's reading bits of BBC Sherlock scripts different from the episodes.

Last night on here I saw a post purporting to show a cut scene from the series, and began looking up more. Lots of fun.

However, there were still rumours of a scene about John and Mary's marriage that I not yet found, so I decided to have a look at the Six Thatchers script on the BBC website.

Delightful!

Here I should say that I know very little about how tv programmes are made, so was rather titilated to find that many of the scenes were in a different order to that in which they appear in the episode, and to have the joy of reading stage directions and whatnot.

Anyway, a few notes:

Formatting

Firstly, a lot of scenes have been moved around. Clearly season 4 goes in for a lot more visual hijinks, flashbacks and ambitious transitions between scenes than we've generally seen previously, but the script describes characters walking, running and looking between scenes almost constantly. Whether this was too ambitious to pull off practically or ultimately considered too confusing for the viewer I don't know, but to a this utter novice the transitions in the script do sound a lot harder to film!

"Love"

In the script, we don't get the codenames (Love, Porlock etc.) in the 'doctored footage' scene. The first time "love" is highlighted is when we see the torturer laying into Ajay while crying not "ammo/amo" but "I love you" and "love", and we only find out Lady Smallwood's codename when Mycroft questions her.

Personally I think this was a good change. It gives the viewer the opportunity to pick up the codename clue first (if they know a bit of latin, mind, which obviously most of us don't). I still find it a bit weird to repeat any kind of phrase over and over while torturing someone- but then I find it strange to gain entertainment from torturing someone at length at all. Mostly, I think that the original line was a bit on the nose - we get it, love hurts! People hurting and being hurt by the ones they love is everywhere in this season. And yet, I had failed to put two and two together on that before.

Sealife

I noticed an additional example of the 'whale' motif- within the greater 'ocean' theme of course, which is bloody everywhere.

In the swimming pool scene, the script describes whale sounds being heard as the father relaxes in the jacuzzi and the girl swims, then returning along with music when Sherlock and Ajay crash into a control panel during their fight. Frankly I'm terrible at noticing these kinds of things, and my attention never does very well with action scenes at the best of times, let alone now that I have severe ME/CFS! I will be rewatching the scene soon to check if the whale sounds made it in!

Just FYI the other whale references in TST: the black fish/killer whale mobile above Rosie's cot/crib, what looks like part of a whale skeleton in the beginning aquarium scene, a poster at the bus stop behind E that says "KILLER WHALE". Obviously we also have the sharks at the aquarium that SH compared to Magnussen in HLV, the scene where John and Sherlock discuss the fact that you can't arrest a jellyish, and more jellyfish behind Sherlock during the confrontation scene in the aquarium- thanks to Erik Voss for New Rockstars on Youtube for this!

Of course Vivian Norbury makes her own comparison between the sea creatures and intelligence agents, and her code name Langdale seems to come from Langdale Pike in the ACD stories. Pike, as well as being the name of a fish, was apparently a high society gossip that helped SH with cases occasionally- just like a receptionist, she knew "everything". We see what you did there, Mark Gatiss.

"M" for Mycroft

In the script, Mycroft's look to Sherlock when accused of lying about ignorance of Mary's true identity says 'Really?' I was never quite sure whether that was the case, or a look of 'worth a try', but I had decided to believe that Mycroft genuinely didn't know, and would have had a closer eye on things if he had, so was pleased to be vindicated there. Of course this also goes back to Mary working for Mycroft in Sherlock's Victorian trip trance, implying that either consciously or subconsciously Sherlock correctly suspected Mary of working for "the British Government".

The Mystery of Man Meeting DCI

Similarly, following the scene in which Lestrade converses with Hopkins the Interpol officer outside the flat about how he met Sherlock and is cut off, we get this:

Damn you Gatiss! I love it.

'Miss Me?' Post

There were a couple more things explained in the script that didn't make their way into the episode. Firstly, SH deduces that the post containing Mary's "miss me?" DVD seemed to have come from a lawyer who had two dogs in the office (always with the dogs!) Personally I never took issue with The DVDs from Beyond the Grave as this is the kind of thing solicitors and friends can actually do for you, but I know it irritated some fans.

"There's somewhere she goes."

Secondly, there's a brief scene in which someone at the MI6 office explains to Sherlock that "she" i.e. Norbury always goes somewhere i.e. the aquarium on Friday nights and that they keep it open late for her. I have been a bit confused in the episode when suddenly we're headed back to the aquarium, probably when it's closed, and Sherlock's commenting about her having nothing better to do on Friday nights. This explains it, and that Sherlock didn't expect Norbury to be carrying a gun. Edit: on rewatch, a voiceover announces that it's "five minutes til closing time" at the aquarium and Sherlock greets Norbury with "your office said I'd find you here." So really it was just my tricky brain misfiring! Of course in the UK we don't typically expect people to be carrying guns and certainly not little old ladies anyway. And, this continues the "whale" motif of something considered serene and unthreatening but is more powerful and dangerous to us than is usually perceived.

Missing Scene: Curry and Fears

There's also an extra scene between John and Mary, which is what I was looking for. They're in an Indian restaurant, their first time out without Rosie, and worrying about her the whole time even though babysitter Hudders assures them that she's fine. I see why they cut this as it adds nothing to the plot. However, there are a couple of interesting bits here.

John talks about not wanting to paper Rosie's room with clown wallpaper, because clowns are scary. We've already had the hyperbolic blog post The Inexplicable Matchbox which mentions John's utter delight at Sherlock dressing up as a clown for a case as well, as Mrs Hudson being pushed put of a helicopter. Now we're about to get a scary clown in The Final Problem during the "pantomime" that John helped design. So John has now developed a fear of clowns. Mary, however, isn't afraid of clowns, but of the sea:

This comes back later in the episode when the trio (let's face it, that's what they are now) are on the plan heading back to London; the sea is visible from the window, whereas in the finished episode we get an image of E superimposed onto it. Perhaps the showrunners thought at this point that there were quite enough references to THE BLOODY SEA. It also comes back in The Final Problem when we see "the girl on the plane" flying in an unpiloted aeroplane over the sea- and Mycroft announces that they will have to get her to crash it there.

Anyway, as someone who was never that invested in John and Mary's marriage (knowing that she was going to die shortly) but wasn't against it either, I do like this conversation in the restaurant as a waypoint between the couple's classic bickering, banter and Mary's statement that the danger was the fun part, and her rather contradictory claim as she dies that her life as Mrs Watson was the only one worth living.

John, on the other hand, is not necessarily checking on Rosie or even Sherlock when they both compulsively ("surreptitiously" in the script) check their phones, even after Mary's declaration. Oh dear.

Mrs Hudson, meanwhile, is busy with her knitting, sudoku AND a Fifty Shades DVD, according to the script. She not only tells Mary this, but begins to talk about when her husband brought some blindfolds home. Is she purposely bringing these things up to get rid of people at this point?

Childhood Flashback

Something else notably changed is the flashback from Sherlock's childhood: the script describes it containing three children all along, as well as a dog. Something must have changed here - delaying the Eurus reveal or deciding they were making it too obvious, perhaps.

I had wondered if the flashback we do see was part of Sherlock's recurring dream that the therapist refers to near the end of the episode, and here it is shown again just before she asks about it, so I take that as confirmation too.

"We tried!"

Conversely, there are however a couple of bits that made it into the final episode that I didn't clock in the script. Firstly, there's no sign of the brief scene in which John jokes about trying to arrest a jellyfish. I'm aware that people have since said that's (one of/) the only bit of their usual banter we get in this episode, perhaps even this season, and I'm glad it was included.

"If you want the rattle..."

I didn't see the best scene of the episode in the script either: the one where Sherlock gives he famous "you see, but you do not observe, Watson" speech, and gets hit in the face with a rattle. Obviously. I'm in favour of virtually any scene having been cut in favour of this, and especially the ones listed above! There is a part in the script where Sherlock says he's doing his best but it (dealing with babies) is not really his area, and I'm glad the writers seem to have gone for Sherlock being a little more interactive with Rosie in the end.

John's JPEG

Finally, I don't think there was any mention in the script of John typing into his blog. It seems that was added as they were moving scenes around, perhaps explaining the minor fiasco of the nonsensical JPEG. Personally I think that was a gaffe and the repetition in BBC Sherlock canon of a Six Thatchers case similarly a cock-up. It's a real shame because the blogs are otherwise fantastic, and I would have liked them to continue through season 4 where reasonable. I am fascinated by the various theories that season 4 was not meant to be taken at face value (blog, trance, Sherlock's dying brain etc.), but am yet to be convinced by any of them. Still, if anyone thinks they can change my mind, I'd be open to letting them try!

My Overall Impression

Of course this delve into a whole new set of texts has made me want to read ALL the scripts, but I do feel my limited energy should be spent doing something useful sooner or later. So we'll see! But surely they can't all be THIS different from the finished episodes and thus drive me to Tumblr? Can they?

To be continued...

[heliza24]

It’s been a while since I’ve really been enamored by a tv show. @bluedalahorse and I have been plagued by a lot of disappointing followup seasons recently, and a lot of things that felt aro coded to us unsuccessfully embracing romance plot lines that devalue community, thus robbing them of some of their sparkle. This is a problem for me, lover of all things poly and aro/ace and queer platonic coded, and relier upon catharsis delivered via television in order to exist happily in this horrible world we live in.

But I am happy to report that I just spent the last 20 minutes sobbing through the end of Miss Austen in the best way. I am cleansed. I am made new!

I love historical fiction and the regency era and this was a really well done example I think, but the main selling point of this story was the way Jane Austen is portrayed as an aromantic writer to her core. I know that woman! In many ways I am that woman! (Not to say I am as talented as Jane obvs. But in archetype, we are similar). And I expected the fact that Jane never has a love to be treated as a tragedy, and it is not. Actually the whole point of the show is her sister protecting Jane’s story from being made into a tragedy. And while Cassie is not aro herself, she chooses Jane over romantic partners and while it is sad it is also not sad. It’s a love story. It made me so happy and emotional.

Also the performances and the writing is good. Highly highly recommend. It’s on BBC iplayer now and will be on PBS shortly.

[davidgraham78]

Unveiling the BBC TV Code: A Closer Look at Broadcasting Standards

The BBC (British Broadcasting Corporation) has long been a cornerstone of the broadcasting world, known for its commitment to impartiality, accuracy, and high-quality content. To uphold these principles and maintain the trust of its audience, the BBC adheres to a comprehensive set of guidelines and standards, collectively known as the BBC TV Code. In this article, we will explore the key aspects of the BBC TV Code, shedding light on the principles that govern the content broadcasted on the BBC.

The Foundation of the BBC TV Code

The BBC TV Code serves as a comprehensive framework that guides the creation and broadcast of content across all BBC channels. The primary objective is to ensure that the programming aligns with the BBC's values of accuracy, impartiality, diversity, and editorial integrity. The code is not only a set of rules but a commitment to providing a service that is informative, educational, and entertaining.

Key Principles

Impartiality

The cornerstone of BBC journalism and programming is impartiality. The BBC TV Code emphasizes the importance of presenting a wide range of perspectives and opinions, providing fair and balanced coverage of news and current affairs. This principle extends beyond news programming to encompass all genres, ensuring that diverse viewpoints are represented.

Accuracy

Maintaining accuracy is paramount in BBC content creation. The code stipulates that the BBC must strive for the highest standards of truth and fairness, ensuring that information presented is well-researched and verified. Corrections are promptly made if errors are identified, reaffirming the commitment to accuracy.

Fairness

The BBC TV Code emphasizes the need for fairness in content creation, both in terms of representation and treatment of individuals or groups. It encourages content that reflects the diversity of society and avoids any form of discrimination, stereotyping, or bias.

Privacy

Respecting individuals' privacy is a crucial aspect of the BBC TV Code. The guidelines ensure that content producers obtain proper consent and handle personal information with sensitivity, balancing the public's right to know with the need to protect individuals' privacy.

Editorial Integrity

Maintaining editorial integrity is central to the BBC's reputation. The code requires that the editorial decisions are free from political or commercial influence, ensuring that content is driven by a commitment to public service rather than external pressures.

Harm and Offense

While the BBC encourages bold and innovative programming, the code also sets limits on the potential harm or offense that content may cause. Striking a balance between creative expression and responsible broadcasting, the BBC aims to avoid content that could be deemed gratuitously offensive or harmful.

Conclusion

The BBC TV Code stands as a testament to the BBC's commitment to providing a public service that is both informative and entertaining while upholding the highest standards of journalism and content creation. As technology and society evolve, the code continues to adapt to new challenges, ensuring that the BBC remains a trusted source of information and entertainment for audiences worldwide. Through the adherence to these principles, the BBC sets a benchmark for broadcasting standards that other media organizations aspire to emulate.

[ur-fav-is-autistic]

Lady Fanny Button from Ghosts (BBC) is Autistic!

[fuckyeaharthuriana]

mordred through time (full post and video) (movies, tv shows, opera and musicals)

This is the condensed video and list!

If you want to watch the single parts (with longer clips) which have a bit more information on each single media, the actor playing Mordred and his role:

Part 1: From 1949 to 1981 -> here Part 2: From 1982 to 2002 -> here Part 3: From 2002 to 2010 -> here Part 4: From 2014 to 2017 -> here Part 5: From 2018 to the present -> here

Long post under cuts. Here I just added the list of media with essential information (color coded: antagonist or protagonist?, Arthur`s son?, does he have a lover?, queer content?).

1949 The Adventures of Sir Galahad: Antagonist, not related to Arthur.

1953 Knights of the Round Table: Antagonist, not related to Arthur. He has a lover (Morgana, who is not his relative either).

1956 The Adventures of Sir Lancelot (s01e03): Mordred assumes the role of Melagant, so he plays the antagonist. Once more, Mordred is not related to Arthur.

1960 Camelot: He plays the part of the antagonist, and notably for the first time he is Arthur’s son (as he is in White's book).

1962 Sword of Lancelot: Mordred is not only the antagonist but also Arthur’s son for the first time in a movie. In the movie he also has a female lover (a new added character).

1967 Camelot: David Hemmings plays Mordred. Same role as the original musical (antagonist and Arthur's son from Morgause).

1974 Lancelot du Lac: Mordred acts like the antagonist. He is not Arthur’s son or relative.

1979 The Legend of King Arthur: An 8 BBC episode tv show that faithfully tries to adapt Morte d'Arthur. Mordred is one of the main antagonist (alongside Morgana), he is Arthur's son.

1979 Unidentified Flying Oddball: Mordred is the antagonist (in the book he is Arthur’s nephew).

1981 Excalibur: Mordred is here Arthur and Morgana’s son for the first time, as in other adaptation Morgause was Mordred’s mother. He plays the antagonist.

1982 Camelot: This is a stage adaptation filmed live of the Broadway musical (so Mordred is antagonist and Arthur's son).

1984 Morte d'Arthur: He is antagonist and Arthur's son.

1985 Merlin and the Sword: Mordred plays the role of Arthur’s son (from Morgana) and a kind of minor comedic fumbling villain and antagonist.

1988 New Adventures of a Yankee in King Arthur’s Court: He is Morgana and Arthur's son and he is killed by Hank in a treacherous duel (Hank shoots him). He plays an almost martyr role instead of the usual antagonist.

1989 A Connecticut Yankee in King Arthur’s Court: Mordred is a comedic-like antagonist.

1989 Doctor Who Battlefield: Mordred is an antagonist.

1995 Mordred’s song by Blind Guardian: Song about Mordred (from his pov), implied as sympathetic antagonist and he is Arthur's son.

1998 Merlin: Mordred is Morgana and Arthur’s son and the antagonist.

1998 Camelot (animated musical): Mordred is the son of Morgause (not Arthur's sister) and Arthur's son. He is both the antagonist and a redeemed sympathetic character.

1998 Camelot: The Legend: Arthur's son by his siter (through magic) and main antagonist.

2001 The Mists of Avalon: Mordred here appears once more as Morgana’s son, but he is a adopted by Morgause and raised to hate Arthur. He is Arthur's son. Mordred is the main antagonist in the second part.

2002 Justice League: Mordred is a kid, Morgana's son and both are antagonists who use magic.

2002 Merlin the Return: Antagonist Mordred.

2003 Gary Hughes’ album “Once and future king”: The song is “The Hard Way”, one of the two songs sung by Mordred (the other being “Demon Down”). We do not know if Mordred is Arthur’s son but he is the antagonist.

2003 recording of Albeniz’s “Merlin” opera: Mordred is the main antagonist alongside his mother Morgana. I am not sure, but he might be Arthur's son.

2003 Camelot, Papermill Playhouse: The usual Broadway musical (antagonist and Arthur's son).

2005 Camelot, Bad Hersfeld (Germany): The usual Broadway musical (antagonist and Arthur's son).

2007 Perceval (short): Mordred is Arthur's son (and Morgana's) and one of the two main antagonists (the other being Galahad).

2008 Camelot (Live from Lincoln Center): The usual Broadway musical (antagonist and Arthur's son). This is probably the first time we have a Mordred that is so obviously queer coded in his presentation.

2008 Merlin (BBC): This is an instance of a sympathetic turned antagonist Mordred. The show makes a point to explain his reasons. Mordred is not related to Arthur or Morgana. Also, Mordred has a lover in S5 as he is in love with a woman named Kara.

2009 Merlin and the Book of Beasts: Mordred is the antagonist and Arthur’s son. He also kidnaps his half-sister to marry her and continue the Pendragon dynasty.

2010 Avalon High: Mordred is the secret antagonist.

2010 Merlin and Arthur the Lion King: Mordred is a kitten and one of Arthur’s friends, he first betrays Arthur but then changes his mind. This might be one of the few iterations of a completely redeemed Mordred in movies/tv!

2014 High Noon Over Camelot album by The Mechanisms: This is also the first time we have an explicitly queer Mordred (outside of novels), as Mordred is a trans man in this retelling. Another case of a sympathetic Mordred - this time Mordred is more overtly sympathetic and even reconcile with his father Arthur at the end.

2011 recording of Albeniz’s “Merlin”: Another recording of the “Merlin” opera with Mordred as antagonist.

2015 recording of “Le Roi Arthus”: A recording of the Ernest Chausson's opera created between 1886 and 1895. Mordred is an antagonist and in love with Guinevere.

2016 Rex, youtube webseries: Mordred assumes the role of Arthur's jerk friend but he is not a full antagonist. Not related to any other character.

2017 Fate/Apocrypha: Mordred is here a Servant, they are the cloned-son of Saber (Arthur/Arturia, who is a woman) and Morgana. They are a protagonist. They are born as the close of a woman (Saber) and often referred with female pronouns through the series, they hate being called “a girl”, and also hate being called “a boy”. While I do not think the series was making an effort to actually depict a non-binary character, I do believe Mordred can easily be read as one.

2017 King Arthur and the Knights of the Round Table: Sympathetic antagonist and Arthur and Morgana's son.

2017 King Arthur: Excalibur Rising: Antagonist and Arthur's son (from Morgana).

2017 Legend, youtube webseries: Mordred (Morty) is the overly joking, friendly guy who is hiding some deep hatred and jealousy towards Arthur (so he is a secret antagonist). Unfortunately I do not remember if Mordred is Arthur’s half-brother or just a friend.

2017 Mordred La Revolte: Unfortunately I cannot really tell how arthurian the series is, but the plot does not mention other arthurian characters. If I am not wrong, la Revolte is simply S2 turned into a movie.

2017 Fate/Grand Order The stage - Divine Realm of the Round Table: Camelot: Part of the Fate saga so protagonist/not-antagonist Mordred, non binary Mordred and they are Arthur's child.

2018 Arthur et les enfants de la Table Ronde: Mordred is Morgause's cousin and not Arthur's son. He plays a comedic antagonist.

2018 The Campaign for Camelot (webseries): Mordred is one of the main protagonists and he is introduced in episode 7. He is Arthur's son. Over the series he also develops a romance with Izzy (Iddawg, from “The Dream of Rhonabwy”). To clarify, in the clip Mordred is the guy without the glasses and the darker shirt! I do not remember if he is gay, pan or bisexual but he is attracted to men and in a relationship with a guy.

2018/2019 OSK’s Knights of the Round Table musical: Mordred is Arthur's son and an antagonist.

2020 Arthur and Merlin: Knights of Camelot: Mordred is Arthur’s son and the main antagonist of the story. He often uses threats of sexual violence towards Guinevere.

2020 Fate/Grand Order the movie: Camelot: Part of the Fate saga so protagonist/not-antagonist Mordred, non binary Mordred and they are Arthur's child.

2021 Fate/Grand Order: The Grand Temple of Time: Part of the Fate saga so protagonist/not-antagonist Mordred, non binary Mordred and they are Arthur's child.

2021 Le Roi Arthus opera: A recording of the Ernest Chausson's opera created between 1886 and 1895. Mordred is an antagonist and in love with Guinevere.

2023 Camelot Revival: The return of the musical Camelot! So as usual Mordred is Arthur's son (from Morgause) and an antagonist.

[mandarinmoons]

wait don't kill me right hear me out. this theme is very very sexy and this is not encouragement to change it...I just need you to know that I think about that winnie the pooh banner everyday.....

anyways. songs recs!

Honey (pun intended yes) I know you love that theme to death and do not worry as I have the color codes to the theme screenshotted and in a folder in my albums so maybe one day I'll be extra kind to you and return to it for a little bit ❤️

Ahh song recs are one of my favorite love languages - also I apologize that I haven't given you any in return (I'm scared to be judged for the songs I recommend as stupid as that sounds lol)

I already know the first and last one! I've loved James Blake for years and the album that song comes from is just 👌

Gonna go and listen to everything else now <3

Also please go sleep now

[peachjagiya]

https://x.com/mistytaevi/status/1855949861956231328

I'm sorry (not sorry) but I agree with this person. Like how is Army so blind to the glaring 🏳️‍🌈🏳️‍🌈🏳️‍🌈 with Tae. It has to be straight up ignorance at this point if ambiguous lighting and lyrics is what counts as undeniable proof but a whole history of Tae associating himself with queer art and media, friends, role models, niche queer references, the list goes on and on, is just him being a good ally (please some of them don't even think he is a good ally they think he is straight up queerbaiting 😭😭😭). And you know what, it's okay if you think he is just a good ally but why get mad and defensive towards other people for seeing that goes deeper than that???

Because fundamentally, people still think gay is kind of an insult and heteronormativity runs deep.

"he's not even a good ally, he's queerbaiting" is just Tae anti language. He demonstrably is a person who places allyship over personal gain.

Real people can't queerbait. It's a cynical function of media in countries where the queer audience is powerful and loud. TV shows usually might code a character queer, take the audience on a queer coded tour, let queer enthusiasm build up, reap the benefits of queer rep in media and the audience that comes with that... and then drop that they were hetero all along.

Or if you wrote BBC's Sherlock, do all that to an extreme then have the creators and cast actively sneer that the fandom are weird for thinking it was gay in the first place. 🙄

Fanservice is quiiiite close to queerbaiting if you squint, I guess, but that implies the queer audience holds power. In a conservative country where homosexual content is still protested, I do not think you can queerbait. Maybe that's controversial thing to say, I don't know. Because all you gain is protestors, not profit. See the furore around Love In The Big City.

To think he isn't taking a stand by even talking about this stuff is to be privileged not to live in a country AMNESTY INTERNATIONAL noted as having a poor policies on same sex relationships, queer soldiers and queer humans.

On a different-ish note, I don't think it's good practice to assume an interest in queer media, no matter how intense and well-documented, means someone is gay. It's a safe-ish assumption but it is worth reminding yourself that if you're going on media alone, it really is an assumption.

But I also don't think it's good practice to assume straightness EITHER. Generally just don't assume. Queer media isn't only for queer people and queer people aren't contractually obligated to enjoy queer media either.

Based on what I/we believe to be true about Taekook though, COMBINED with the queer media... the assumption becomes even safer.

Ultimately, who he is having sex or romancing with is not that important in this particular conversation. What's really beautiful is that he's a safe space for queer people and we see ourselves in him and the things he enjoys.

[lady-of-ithilien]

top 6 farawyn coded songs according to my completely subjective opinion:

6. Careful You by TV On The Radio (lyrics)

houses of healing angst and pining coded IMO

honestly from both of their perspectives

5. Still Life by The Horrors (lyrics)

maybe a more abstract choice, but I think this song is about love that comes after a long period of despair and waiting, and to me that is very farawyn coded

Also the sky/sun imagery feels fitting

4. Love In The Age of War by Men Without Hats (lyrics)

sillier choice

mostly focused on the chorus here

I imagine this as part of a big 80s style musical number immediately following the kiss on top of the walls scene

3. Twist of Fate by Olivia Newton John (lyrics)

speaking of 80s dance numbers (which live rent free in my head)

this musical number immediately follows "Love In The Age Of War"

lyrics are self explanatory

I think the 80s BBC radio play really missed an opportunity here

2. Eclipse (All Yours) by Metric (lyrics)

yes it's from the twilight soundtrack

no i don't care

it was my farawyn hyperfixation song circa 2012

1.Talk To Me Slow by Springtime Carnivore (lyrics)

this is basically every Farawyn fanfic I've ever read ok; this song speaks for itself

I will just copy some of the lyrics here:

" Thinking bout cities where kissing is a sin / Are there others just like us about to give in?"

" I never knew I need you most/ Standing at a double-triple crossroad /It's such a long ride home, will you keep talking to me slow/ Your sympathy comes and goes but it's a guard rail on my road"

" When I was stranded in a foreign land/ You were speaking in a language I could understand"

I mean!!!! self explanatory!!!!