#unfortunately that's all bbc has to offer

[azamansource]

Assad Zaman & Georgia Landers as Florizel and Perdita in RSC’s 2021 production of The Winter’s Tale

[breadvidence]

Please mind the #wineposting tag. Regardless: are you asking, "Should I watch this adaptation of Les Misérables?" I'll give you advice, though I suspect if you are reading this blog post you have watched all of these anyway (and quite possibly a few more, besides!).

'25 (Fescourt): Probably! If you are a Brick fan none of the adaptation choices will startle you, but having visuals to go with key scenes is a treat. This is a loyal piece. Toulout as Javert, Gabrio as Valjean, Milovanoff as Fantine, and Nivette as Éponine all give excellent performances. Be prepared for a lukewarm Cosette. You might struggle with silent film conventions, length, and French intertitles.

'34 (Bernard): Probably! This is a fairly loyal adaptation of the Brick that makes internally consistent choices where it deviates from its source (sometimes it has goofy continuity errors—politely ignore). Baur as Valjean and Gaël as Cosette give fabulous performances. Moments of silliness do not detract from the quality. Another long haul.

'35 (Boleslawski): Probably not. As an adaptation of Les Misérables this film is bad. That being said, Charles Laughton is a lauded actor, and you can't say he didn't put his whole laughussy into his performance. Because it is accessible and prominent, a lot of LM fans will have seen this film, and you might benefit from shared context if you're in fandom. Speaking personally, I'm glad I saw it, but I'm not sure you will be.

'52 (Milestone): No. Most likely based on '35 rather than on the book, this film is also a bad adaptation of Les Misérables. There are no notable performances. Because it is accessible, this is another adaptation many fans are familiar with, but understanding jokes about Valjean's boyfriend Robert and Javert's sentient hat probably don't justify sitting through the movie.

'58 (Le Chanois): No. Not the English dub, at least. "Bland" is the word of the day. Contemporary French audiences wildly disagree with me per Wikipedia.

'72 (Bluwal): Strong maybe. If you are an intense fan of the Brick, yes. Its use of a narrator to draw from the novel directly and its focus on the Amis makes this adaptation unique on this list. You might not end up liking it but you will have had an experience. If you have zero investment in Les Misérables but are still reading this post for some reason: no, do not watch this.

'78 (Jordan): At some point I will talk about this film and not make a gay joke but today is not that day. If you are not queer, get off my blog, you cis straight, begone. Everyone else: yes, watch this movie, c'mon. Perkins. That performance. At some point I need to make a serious post about queerness and '78 but right now all I've got is Javert's literal on-screen boner. Jesus Christ. Not a great adaptation of the novel but a virtuoso example of unintentional homoeroticism.

'82 (Hossein): No. This is an odd little adaptation without the charisma of a '35 or '78, somehow not as bad as either of those but not as good either. The GIF of the Amis walking in heavy wind is the best this film has to offer.

'98 (August): No—but I stared into my wine glass for a long, long time before typing those two letters. If we are judging adaptations by how they handle the source material, this is a disaster. As a film? I'm sure entertained. I call it bitchslap Les Mis. I should note here I am also a huge fan of Uma Thurman. Possibly I should recuse myself. I don't know, pal. IDK.

2012 (Hooper): I dwell bitterly on the fact that this is our film version of the musical. Brick fans are restless, musical fans are restless. People who first encountered Les Mis via this version are making feral noises. I'm afraid. I'm moving on.

2018 (Davies): It's really unfortunate that I am at my most drunk while commenting on this adaptation. Sure, watch it, it's one of those BBC series that has watchability sheerly because of production value and proximity to contemporary narrative/film expectations/standards. Personally I hate it. My partner is so tired of the tone in which I utter the syllables "Oyelowo".

The Musical: yes c'mon. Bootleg that good bitch.

[aristidetwain]

“Legends of Earth”: The 2020s “Doctor Who” Anthology Which Never Was

Something very special today. Usually, when it comes to the production history of more or less Doctor Who-related fiction, I natter about the obscure and deuterocanonical — but did you know that around Summer 2020, Emil Fortune was working on creating an anthology of Doctor Who short stories riffing on “Myths & Legends” of Earth, whose title eventually settled as Doctor Who: Legends of Earth?

Due to the poor sales with which DWU books increasingly became saddled during the Chibnall era, it was ultimately canned. Had it happened, it would have constituted a rare case of an official Doctor Who book in the ear of NuWho opening up pitching calls to first-time writers, with the point of the book having been to reach out to beginning writers from outside the UK, to write about elements of their native cultures in particular.

As another reliable source explained: “It sounded really really cool, and [Emil] was trying so hard to do it right. Reaching out to all the right people. Getting totally new voices in. It would've been amazing.”

Perhaps more pitches will become known in time; for the time being, I have only been able to track down one of the prospective writers, S. Brennan, who submitted two pitches related to Irish folklore — archived here after the cut with permission.

(I was actually meant to do this months and months ago — my heartfelt apologies to S. for letting it slip through the cracks.)

Coat of Charms

S. Brennan's first suggestion was a Sixth Doctor story riffing on St. Bridget of Kildare.

The pitch was developed further after this initial offer, with it being confirmed to Brennan that an extended-universe companion such as Evelyn unfortunately could not be used for this project, and would have to be replaced with a TV companion.

With Coat of Charms eventually proving difficult to develop into something which fit the intended tone of the book, they pushed onwards with another pitch, this one featuring an even more prominent figure from Irish folklore.

The Way of Battle

Per S. Brennan's connection, however, this pitch was never discussed further, with them assuming that the book had already been “canned” by then.

A sad end to what would have been one of the most interesting offerings of the BBC-licensed EU of the 2020s. The only silver lining is that no exclusivity contracts or NDAs had been signed with prospective writers — meaning that those lost stories can be discussed, and perhaps brought into being through some other medium, whether it be something like BF's Lost Stories range (it would certainly beat scraping through Terry Nation's drawers for first drafts) or beyond the aegis of the BBC altogether.

At any rate, if anyone reading this post has more information on Legends of Earth and related stories-that-might-have-been, please get in touch!

[bi-bard]

Unreal Unearth - Hozier Writing Challenge Masterlist

Hello! Here's the writing challenge masterlist for Hozier's "Unreal Unearth".

This is easily one of the most beautiful albums I've ever listened to it. It is full of gorgeous lyrics and music. I hope that the stories I have constructed for it can reflect that.

I hope you guys enjoy these stories!

----------------------

De Selby (Pt. 1)

And Sit Unseen, With Only the Inner Upheld Jack Kline X Reader [Supernatural] Summary: Two Nephilims find themselves taking shelter with the Winchesters. However, no safety and security could match up to true connection and understanding.

De Selby (Pt. 2)

I Wanna Fade Away with You Dick Grayson X Reader [HBO's Titan] Summary: (Y/n) and Dick's connection was one to be envied. By friends and family and anyone who had known them. This connection is good until it seems to be turning Dick into someone different. Now, the biggest question is whether or not that change is bad.

First Time

Some Part of Me Came Must Have Died the Final Time You Called Me, "Baby" Joel Miller X Reader [HBO's The Last of Us] Summary: Joel is offered a rare glimpse of hope after the apocalypse had started. However, the universe can pull away signs of hope just as fast it can offer them.

Francesca

If I Could Hold You for a Minute, I'd Go Through It Again Sam Winchester X Angel!Reader [Supernatural] Summary: Love can lead to the sacrifice of many things.

I, Carrion (Icarian)

If I Should Fall, On that Day, I Only Pray, Don't Fall Away From Me Alina Starkov X Reader [Shadow & Bone] Summary: Alina never wanted to drag (Y/n) into a battle that should have been hers to fight. However, (Y/n)'s own stubbornness led to them being on the front lines when the time came. All that could be done was hope that they could find a way out of the darkness surrounding them.

Eat Your Young

It's Quicker and Easier to Eat Your Young Peaky Blinders X Child!Reader [Peaky Blinders] Summary: A new gang attempts to put down roots in Birmingham, much to the displeasure of the Shelbys. However, as tensions rise, more is revealed about this new gang... including some concerning cracks in the foundation.

Damage Gets Done

You and I Had Nothing to Show but the Best of the World in the Palm of Our Hand Daisy Jones X Reader [Daisy Jones & the Six] Summary: In which two dear friends find themselves face-to-face years after they lost contact with each other and it's as if a day had never truly passed. Except that it did. The only question will be what they will do now that it had and they were both such different people.

Who We Are

And the Hardest Part is Who We Are Nikolai Lantsov X Reader [Shadow & Bone] Summary: A long line of unfortunate events leads two old friends to learn more about each other and themselves.

Son of Nyx

Son of Nyx Crowley X Reader [Good Omens] Summary: Crowley is forced to find a newly fallen angel and ensure that they are brought down to Hell. Through the fear-induced chase, an act of kindness finds its place between Crowly and the new demon.

All Things End

And Just Knowin' that Everything Will End Should Not Change Our Plans Merlin X Reader [BBC's Merlin] Summary: A story of love, loss, and accepting the inevitable.

To Someone From a Warm Climate (Uiscefhuarithe)

And Darlin', All My Dreamin' has Only Been Given a Name Anthony Bridgerton X Reader [Bridgerton] Summary: When Anthony goes from perfectly friendly to all too distant, (Y/n) is left scrambling for some kind of explanation. The only question will be how long it takes for Anthony to provide such an answer.

Butchered Tongue

A Butchered Tongue Still Singin' Here Above the Ground Morgana X Reader [BBC's Merlin] Summary: Morgana escapes from Camelot after her attempt to tear apart the kingdom and kill Uther. Now alone, she finds some kindness in (Y/n), who may end up being far more important than Morgana would have ever considered.

Anything But

I Would Do Everything Just to Run Away The Corinthian X Reader [The Sandman] Summary: A dream is convinced to follow a nightmare out of the safety of the Dreaming. They learn just how much of a mistake that was... and how careful they must be to get home.

Abstract (Psychopomp)

All My Love and Terror Balanced Between Those Eyes Will Graham X Reader [NBC's Hannibal] Summary: A collection of nightmares that have been haunting Will the most recently.

Unknown/Nth

And There are Some People, Love, Who are Better Unknown The Master X Reader [Doctor Who] Summary: [End of Season 12] The Master was known for doing whatever was necessary to get what he wanted. However, after so much time together, (Y/n) wanted to believe that they would be offered some kind of mercy. Oh, how wrong they were.

First Light

But After This I'm Never Gonna Be the Same and I Am Never Going Back Again Eleventh Doctor X Reader [Doctor Who] Summary: (Y/n) had never known true peace like they did with the Doctor. They had never known such support, such acceptance, such love. What will happen when (Y/n) learns that their perfect existence isn't all that they thought it was?

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Navigation Guide

What I Write For

Some Original Characters

[scotianostra]

Happy birthday actress Daniela Nardini born 26th April 1968 in Largs.

Nardini was educated at Largs Academy school, then trained as an actress at the Royal Scottish Academy of Music and Drama in Glasgow. Her parents owned Nardini’s, an ice cream parlour and restaurant in Largs. She was on the point of giving up acting and training to become a drama teacher when she was offered the part of Anna in This Life.

Other roles for Danniela have been in Taggart, of course, Big Women and Waterloo Road. as well as Bob Servant, we last saw he in Sunset Song with Peter Mullen. Nardini currently lives in Glasgow with her partner, Ivan Stein, a former civil servant-turned-chef, and their daughter. She had previously lived in Notting Hill in London, but moved back to Scotland after the birth of her daughter.

Daniela has been a bit quiet on the acting front, apart from a couple of shorts in the last couple of years, we have to look back to 2015 and Bob Servant for anything regular. I poked around further and found she is narrating Priest School, a documentary on BBC Scotland that follows a group of seminarians for a year as they train at the Scots College in Rome. It’s the first time the college – Scotland’s oldest overseas institution – has opened its doors to TV cameras. The best part of the filming however has been left out. The footage featured the Holy Father Pope Francis accepting a bottle of Oban malt from some students and proclaiming it “the real water of life”

Following a feud, the big Art Deco Nardini’s ice cream shop on the prom in Largs is no longer run by the family. It was founded by Pietro, her great-grandfather, who came to Scotland from Barga in Tuscany. He ended up in Paisley and then moved to Largs to open the shop that still bares the family name, I think anyone who has visited Largs will have visited it, at least just admire the shop itself.

Daniela had a health scare a couple of years ago when abnormalities showed up following a mammogram, she said in an interview in The Sunday Post;

“It was a huge shock to be told I had breast cancer, and it was another shock to learn I needed to have a mastectomy. All these decisions that have to be made come at you, like whether or not to have reconstruction at the same time as the surgery.

“I was in shock. After all of it is done, you can get over the physical side, but mentally, well, you are just a bit off. Now I look at it and think I was very lucky. After the treatment I’ve had nothing – no other symptoms – and I’m in the clear.”

She admits to seeking professional help after the death of her father, and her divorce, but has come out of it and is now embarking on her own journey into counselling. She says it’s always been something that interested her, so she completed an HNC during lockdown and is now studying for a diploma.

In 2022 Daniella teamed up with fellow Scot David Tennant to play Lady Macbeth, David playing the title role.for the play, which was aired on BBC Radio 4. That's about all I could find of her recent work online unfortunately, Nardini currently lives in Glasgow with her partner, Ivan Stein, a former civil servant-turned-chef, and their daughter

[georgefairbrother]

In July 1957, BBC News reported that a strike by regional busmen had turned nasty.

"…There have been violent scenes around Britain as the strike by busmen in the English regions enters its fourth day. In some instances strike-breaking drivers were attacked and vehicles vandalised, including those with passengers on board. In Derbyshire one driver, Basil Flint, had to be taken to hospital after being hit in the stomach with an iron bar. Another driver, Harry Davies, said he was overpowered and pulled from his bus on the road between Hemsworth and Wakefield in Yorkshire…"

Mr Davies told the BBC that, having been dragged out of his bus, he was punched in the face and kicked in the stomach, and while he was lying on the ground, his attackers smashed the bus lights and windows.

A spokesman for the Transport and General Workers’ Union distanced the union from the violence, although perhaps not all that convincingly, stating, "I have no comment on that because I have heard it only from the Press but I am sure our members are not involved…"

Around 100 000 bus employees from provincial companies were demanding a one pound per week pay rise, however employers were offering three shillings, which, they argued, in light of recent pay rises, was keeping up with cost of living increases.

Unfortunately for the strikers, their actions appeared to have little impact. Train travel increased by 25%, there was an upsurge in carpooling, and many employers provided coaches to shuttle their workers to and from railway stations.

The Manchester Guardian reported,

"...The busmen's strike erupted into outbreaks of violence in towns and villages all over Britain yesterday but it had little effect on industry. Factories, offices, and mines were virtually fully staffed almost everywhere..."

The Guardian also took a strong editorial line against the violence;

"…The men employed to drive and conduct provincial buses have the right of all free men to withdraw their labour if they want to, but anyone who wishes to take a coach or lorry load of passengers through a strike-bound town has an equal right to go about his business peaceably. The violence with which the busmen's pickets in some places have tried, and in some cases succeeded, in driving other people off the road is not only unlawful but alien to every tradition of decent trade unionism. A strike gives no man or group of men a licence for banditry…British trade unions have a long and honourable record of conducting industrial disputes without violence, and it is as much in the interests of trade unionism as of the rest of society that attempts to use violence during a strike should be put down with the utmost firmness..."

The matter was referred to the Industrial Disputes Tribunal, which awarded the bus employees a rise of 11 shillings, and everyone went back to work.

[fishyfishyfishtimes]

I decided to ask around on all the fish/ocean blogs I follow: how do you learn more about the ocean?? I love the ocean and I really wanna learn more about my favorite sea creatures and beyond but I have no idea how to get started. Are there documentaries or shows your recommend? How do you go about doing research for fun (the American school system has failed me, go figure)? How do you even remember it all? I crave to learn but where I could possibly start is as vast as the ocean itself.

What a fun question! It is admittedly a bit difficult to go back to the beginning of my ocean-learning days, since I can't remember a time when I wasn't super into water and aquatic things, but I'll try! I think I started learning about oceans through books, I'd read and borrow a lot of fish and marine biology books at the library. I think they're the very best place to look to at first if you struggle with the paralysis of having too many things to do or too many places to look from! Libraries are really good sources of information, but unlike the internet, the resources are finite in some way, they're on physical paper, and tied to the place itself (until you take them home of course!), which at least to me makes it easier to start looking for what I want to know more about. Libraries make it easier for me to read things too, I get very distracted at home. Only when I am in the peace and quiet in between the bookshelves can I focus!

Another place that was no doubt a source of learning for me was natural history museums and aquariums. I was (..am) obsessed with the Finnish Museum of Natural History specifically, it was a must-visit every time we went to the capital city area up until the pandemic. Aquariums we went to less so, but the education they provide there is a gem! Sometimes you can even talk to an employee if you're lucky enough and learn extra bits of information about things. Not always free like libraries, but worth a shot if you get the opportunities to visit.

I've also watched and still watch marine/freshwater life documentaries and other educational shows! Usually I'd opportunistically go and watch them whenever one popped up on the TV, instead of going out to find them myself. This, and the fact that it's been many years since I saw some, I can't recall many of the names of the documentaries I've seen! There were some about dolphins and their fascinating behaviour and hunting habits, and this cool documentary series that divided its episodes into two parts with pure opposite climates and cultures with opposite lifestyles, but I can't seem to find the ones I'm thinking of!!! ...Ah, well. I can recommend you Planet Earth (2006), The Blue Planet (2001) and Blue Planet II (2017) from BBC, and Life on Our Planet (2023) which I'm currently watching on Netflix! Secrets of the Whales (2021) from National Geographic I didn't quite finish but it was still quite interesting, focuses on four species of whales.

As for doing my research... well, once I was old enough to get on the internet and I was super duper fixated on a specific species of animal or a group of animals, I'd do this thing where I look up the animal's name and slowly start going through every website that popped up, in order, bookmarking the websites with the most or most interesting information. I still do it. I don't know if it's the "correct" way, could there even be a correct way..? I doubt it, and it does give you many sources to reference with each other! I also like to look through videos of these animals, but, that's probably a given. If you're looking for fish info specifically, I like to fall back on FishBase, SeriouslyFish and A-Z Animals when I'm unsure about something (besides checking multiple sources), as far as I know they're trustworthy.

When it comes to remembering, I unfortunately cannot offer you any tips! I am fortunate in that I have naturally good memory and absorb information with relative ease, so I don't really have any tips for remembering things... though I do like to sort large batches of information into charts, like how I did when I was learning to take care of my shrimp! I looked through several websites and collected the suggested parameters from each, and compared them with each other. I did the same thing when I was making my informational comic about bigfin squids, I collected the depths and places in which squids were spotted in into charts. Perhaps that is helpful in some way!

So! TL;DR, libraries, documentaries, museums, aquariums, just plain old internet research. I hope this helps you in some way!!! <33 Well wishes from the fishes!

[toscanoirriverente]

Hannah Barnes’s book about the rise and calamitous fall of the Gender Identity Development Service for children (Gids), a nationally commissioned unit at the Tavistock and Portman NHS Foundation Trust in north London, is the result of intensive work, carried out across several years. A journalist at the BBC’s Newsnight, Barnes has based her account on more than 100 hours of interviews with Gids’ clinicians, former patients, and other experts, many of whom are quoted by name. It comes with 59 pages of notes, plentiful well-scrutinised statistics, and it is scrupulous and fair-minded. Several of her interviewees say they are happy either with the treatment they received at Gids, or with its practices – and she, in turn, is content to let them speak.

Such a book cannot easily be dismissed. To do so, a person would not only have to be wilfully ignorant, they would also – to use the popular language of the day – need to be appallingly unkind. This is the story of the hurt caused to potentially hundreds of children since 2011, and perhaps before that. To shrug in the face of that story – to refuse to listen to the young transgender people whose treatment caused, among other things, severe depression, sexual dysfunction, osteoporosis and stunted growth, and whose many other problems were simply ignored – requires a callousness that would be far beyond my imagination were it not for the fact that, thanks to social media, I already know such stony-heartedness to be out there.

Gids, which opened in 1989, was established to provide talking therapies to young people who were questioning their gender identity (the Tavistock, under the aegis of which it operated from 1994, is a mental health trust). But the trigger for Barnes’s interest in the unit has its beginnings in 2005, when concerns were first raised by staff over the growing number of patient referrals to endocrinologists who would prescribe hormone blockers designed to delay puberty. Such medication was recommended only in the case of children aged 16 or over. By 2011, however, Barnes contends, it appeared to be the clinic’s raison d’etre. In that year, a child of 12 was on blockers. By 2016, a 10-year-old was taking them.

Clinicians at Gids insisted the effects of these drugs were reversible; that taking them would reduce the distress experienced by gender dysphoric children; and that there was no causality between starting hormone blockers and going on to take cross-sex hormones (the latter are taken by adults who want fully to transition). Unfortunately, none of these things were true. Such drugs do have severe side effects, and while the causality between blockers and cross-sex hormones cannot be proven – all the studies into them have been designed without a control group – 98% of children who take the first go on to take the latter. Most seriously of all, as Gids’ own research suggested, they do not appear to lead to any improvement in children’s psychological wellbeing.

So why did they continue to be prescribed? As referrals to Gids grew rapidly – in 2009, it had 97; by 2020, this figure was 2,500 – so did pressure on the service. Barnes found that the clinic – which employed an unusually high number of junior staff, to whom it offered no real training – no longer had much time for the psychological work (the talking therapies) of old. But something else was happening, too. Trans charities such as Mermaids were closely – too closely – involved with Gids. Such organisations vociferously encouraged the swift prescription of drugs. This now began to happen, on occasion, after only two consultations. Once a child was on blockers, they were rarely offered follow-up appointments. Gids did not keep in touch with its patients in the long term, or keep reliable data on outcomes.

A lot of this is already known, thanks largely to a number of whistleblowers. Last February, the paediatrician Dr Hilary Cass, commissioned by the NHS, issued a highly critical interim report into the service; in July, it was announced that Gids would close in 2023. But a lot of what Barnes tells us in Time to Think is far more disturbing than anything I’ve read before. Again and again, we watch as a child’s background, however disordered, and her mental health, however fragile, are ignored by teams now interested only in gender.

The statistics are horrifying. Less than 2% of children in the UK have an autism spectrum disorder; at Gids, more than a third of referrals presented with autistic traits. Clinicians also saw high numbers of children who had been sexually abused. But for the reader, it is the stories that Barnes recounts of individuals that speak loudest. The mother of one boy whose OCD was so severe he would leave his bedroom only to shower (he did this five times a day) suspected that his notions about gender had little to do with his distress. However, from the moment he was referred to the Tavistock, he was treated as if he were female and promised an endocrinology appointment. Her son, having finally rejected the treatment he was offered by Gids, now lives as a gay man.

As Barnes makes perfectly clear, this isn’t a culture war story. This is a medical scandal, the full consequences of which may only be understood in many years’ time. Among her interviewees is Dr Paul Moran, a consultant psychiatrist who now works in Ireland. A long career in gender medicine has taught Moran that, for some adults, transition can be a “fantastic thing”. Yet in 2019, he called for Gids’ assessments of Irish children (the country does not have its own clinic for young people) to be immediately terminated, so convinced was he that its processes were “unsafe”. The be-kind brigade might also like to consider the role money played in the rise of Gids. By 2020-21, the clinic accounted for a quarter of the trust’s income.

But this isn’t to say that ideology wasn’t also in the air. Another of Barnes’s interviewees is Dr Kirsty Entwistle, an experienced clinical psychologist. When she got a job at Gids’ Leeds outpost, she told her new colleagues she didn’t have a gender identity. “I’m just female,” she said. This, she was informed, was transphobic. Barnes is rightly reluctant to ascribe the Gids culture primarily to ideology, but nevertheless, many of the clinicians she interviewed used the same word to describe it: mad.

And who can blame them? After more than 370 pages, I began to feel half mad myself. At times, the world Barnes describes, with its genitalia fashioned from colons and its fierce culture of omertà, feels like some dystopian novel. But it isn’t, of course. It really happened, and she has worked bravely and unstintingly to expose it. This is what journalism is for.

[drumlincountry]

I’m sorry you’re feeling so down about finding a community to write with. :( I’ve had some really similar struggles the past few years after moving to a new place—it’s SO HARD to know where to start (and unfortunately I’m still trying to figure it out, so this is more an ask to express sympathy than offer solutions).

If it’s not too weird to ask/you don’t mind talking about it, what kind of stuff do you gravitate toward for writing?

Thank you for this lovely message!!

uhhhh what DO I write. Well. In the spirit of Anne Boyer's Not Writing, currently:

I'm not writing a short story set in historical rural ireland which uses the tradition of lifting stones to explore themes about disability, masculinity, and (of course) transgenderism.

I'm not writing a two-person, one-room play called The Immortal Irishman which is about cowardice and trauma and the experience of living through Interesting Times.

I'm not writing a YA novel about a deeply closeted 17 year old figuring out she's queer during Ireland's 2015 marriage equality referendum. I particularly wish i was writing this one because I interviewed quite a few people who were queer teens not of voting age during the referendum & the experience fucking sucked. Plus, we're only a little over a year off All That being 10 years ago & wouldn't it be great to publish a book in time for that comemoration?

I'm not writing a post-post-apocalyptic coming of age/YA novel with the working title Whalefall about a small community living difficult lives in a harsh landscape, who are contacted by a "more developed" culture who want to "trade freely" with this community, and aren't like the old empires no sir we're sustainable now. Specifically this story follows the trainee doctor of this community, who would super love to have access to better healthcare technology, especially as she has a physical disability herself, but still can't quite trust these newcomers are as benevolent as they seem.

I'm not writing a short story or possibly novella about a haunted forest, a tween ghost, and a teenager from the city who doesn't really believe in ghosts but is in this situation anyway.

I'm not writing a BBC Being Human Season 3 Softer-and-kinder AU where Hal, Tom, and Annie get a year or two of peace and healing before the vampire prophesy shit kicks off, and Tom joins a parenting group at the nearby community centre.

I'm not writing the rest of my Good Omens/Daredevil crossover WIP, where Adam turns up.

I'm not writing a novel with the working title Slime Chunks which is about reconnecting with ur childhood best friend who has since got youtube famous. & she's now in legal trouble & possibly she did some very shady things, which should be unforgivable, except that you're realising with dawning horror that you would forgive her anything.

I'm not writing the rest of my Gilmore Girls series about Rory & Paris getting together while Rory figures out the whole pregnancy & motherhood thing, & Lane is being poly with her two husbands and many girlfriends in the background.

Those are the main things I'm not writing! There are other projects too, of course.

My work tends to deal with themes of:

queerness

disability

trauma

surreal shit, the supernatural, goth stuff, etc

[religion-is-a-mental-illness]

By: Rachel Cooke

Published: Feb 19. 2023

Hannah Barnes’s book about the rise and calamitous fall of the Gender Identity Development Service for children (Gids), a nationally commissioned unit at the Tavistock and Portman NHS Foundation Trust in north London, is the result of intensive work, carried out across several years. A journalist at the BBC’s Newsnight, Barnes has based her account on more than 100 hours of interviews with Gids’ clinicians, former patients, and other experts, many of whom are quoted by name. It comes with 59 pages of notes, plentiful well-scrutinised statistics, and it is scrupulous and fair-minded. Several of her interviewees say they are happy either with the treatment they received at Gids, or with its practices – and she, in turn, is content to let them speak.

Such a book cannot easily be dismissed. To do so, a person would not only have to be wilfully ignorant, they would also – to use the popular language of the day – need to be appallingly unkind. This is the story of the hurt caused to potentially hundreds of children since 2011, and perhaps before that. To shrug in the face of that story – to refuse to listen to the young transgender people whose treatment caused, among other things, severe depression, sexual dysfunction, osteoporosis and stunted growth, and whose many other problems were simply ignored – requires a callousness that would be far beyond my imagination were it not for the fact that, thanks to social media, I already know such stony-heartedness to be out there.

Gids, which opened in 1989, was established to provide talking therapies to young people who were questioning their gender identity (the Tavistock, under the aegis of which it operated from 1994, is a mental health trust). But the trigger for Barnes’s interest in the unit has its beginnings in 2005, when concerns were first raised by staff over the growing number of patient referrals to endocrinologists who would prescribe hormone blockers designed to delay puberty. Such medication was recommended only in the case of children aged 16 or over. By 2011, however, Barnes contends, it appeared to be the clinic’s raison d’etre. In that year, a child of 12 was on blockers. By 2016, a 10-year-old was taking them.

Clinicians at Gids insisted the effects of these drugs were reversible; that taking them would reduce the distress experienced by gender dysphoric children; and that there was no causality between starting hormone blockers and going on to take cross-sex hormones (the latter are taken by adults who want fully to transition). Unfortunately, none of these things were true. Such drugs do have severe side effects, and while the causality between blockers and cross-sex hormones cannot be proven – all the studies into them have been designed without a control group – 98% of children who take the first go on to take the latter. Most seriously of all, as Gids’ own research suggested, they do not appear to lead to any improvement in children’s psychological wellbeing.

So why did they continue to be prescribed? As referrals to Gids grew rapidly – in 2009, it had 97; by 2020, this figure was 2,500 – so did pressure on the service. Barnes found that the clinic – which employed an unusually high number of junior staff, to whom it offered no real training – no longer had much time for the psychological work (the talking therapies) of old. But something else was happening, too. Trans charities such as Mermaids were closely – too closely – involved with Gids. Such organisations vociferously encouraged the swift prescription of drugs. This now began to happen, on occasion, after only two consultations. Once a child was on blockers, they were rarely offered follow-up appointments. Gids did not keep in touch with its patients in the long term, or keep reliable data on outcomes.

A lot of this is already known, thanks largely to a number of whistleblowers. Last February, the paediatrician Dr Hilary Cass, commissioned by the NHS, issued a highly critical interim report into the service; in July, it was announced that Gids would close in 2023. But a lot of what Barnes tells us in Time to Think is far more disturbing than anything I’ve read before. Again and again, we watch as a child’s background, however disordered, and her mental health, however fragile, are ignored by teams now interested only in gender.

The statistics are horrifying. Less than 2% of children in the UK have an autism spectrum disorder; at Gids, more than a third of referrals presented with autistic traits. Clinicians also saw high numbers of children who had been sexually abused. But for the reader, it is the stories that Barnes recounts of individuals that speak loudest. The mother of one boy whose OCD was so severe he would leave his bedroom only to shower (he did this five times a day) suspected that his notions about gender had little to do with his distress. However, from the moment he was referred to the Tavistock, he was treated as if he were female and promised an endocrinology appointment. Her son, having finally rejected the treatment he was offered by Gids, now lives as a gay man.

As Barnes makes perfectly clear, this isn’t a culture war story. This is a medical scandal, the full consequences of which may only be understood in many years’ time. Among her interviewees is Dr Paul Moran, a consultant psychiatrist who now works in Ireland. A long career in gender medicine has taught Moran that, for some adults, transition can be a “fantastic thing”. Yet in 2019, he called for Gids’ assessments of Irish children (the country does not have its own clinic for young people) to be immediately terminated, so convinced was he that its processes were “unsafe”. The be-kind brigade might also like to consider the role money played in the rise of Gids. By 2020-21, the clinic accounted for a quarter of the trust’s income.

But this isn’t to say that ideology wasn’t also in the air. Another of Barnes’s interviewees is Dr Kirsty Entwistle, an experienced clinical psychologist. When she got a job at Gids’ Leeds outpost, she told her new colleagues she didn’t have a gender identity. “I’m just female,” she said. This, she was informed, was transphobic. Barnes is rightly reluctant to ascribe the Gids culture primarily to ideology, but nevertheless, many of the clinicians she interviewed used the same word to describe it: mad.

And who can blame them? After more than 370 pages, I began to feel half mad myself. At times, the world Barnes describes, with its genitalia fashioned from colons and its fierce culture of omertà, feels like some dystopian novel. But it isn’t, of course. It really happened, and she has worked bravely and unstintingly to expose it. This is what journalism is for.

==

When even the Guardian stops pretending it isn't real.

[anotheruserwithnoname]

A few thoughts about the Doctor Who 60th

I haven't been posting about the 60th anniversary of Doctor Who because the show lost me back in 2017 and it double lost me with The Timeless Children (I've read the script and had discussions with unfortunates who have seen it). So I've been observing the goings on related to the 60th anniversary essentially as an outsider. And as an outsider, I have a few observations now that the BBC, true to form, only this week confirmed that the 3 David Tennant/Catherine Tate anniversary specials will be airing as a 3-week mini-season on Nov. 25, Dec. 2 and Dec. 9 on the BBC (outside the UK you need to have Disney+ to see them now; I've seen no mention of cinema screenings, though that may be because there's no single production this time). Plus, Russell T Davies has been teasing an apparent 4th story (probably a mini-episode) that is speculated as being for Children in Need which is I think Nov. 17.

The first thing is, while 60 is not generally considered the same level of milestone anniversary as 50 anyway, I've noticed general apathy. Back in the 50th, you couldn't ignore the anniversary whether you were a Who fan or not. Hell, in the weeks leading up to the 50th even shows unrelated to Who snuck in references (I've forgotten most of them but Marvel's Agents of SHIELD had a toy TARDIS visible in one scene, etc.). There was a lot of promo for the cinema screenings worldwide. Books, audios, documentaries, the An Adventure in Space and Time TV movie. This time, you'd be forgiven for thinking "Oh, is that in November?" Most of the excitement I've seen has been coming not from general fandom but from fans of the actors (if Jenna Coleman was appearing in one of the specials, I'd be all over it).

I'll be very curious to see how the ratings numbers hold up. While numbers from Disney+ may be difficult to gauge directly, the numbers from the BBC will tell a tale. I expect them to be pretty good because Tennant and Tate are very popular, as is Neil Patrick Harris, so I would expect them to be higher than anything from the previous era - or, indeed, the Matt Smith and Peter Capaldi years (50th anniversary special not included). If they are not... I bet the BBC narrative changes, because if Tennant, Tate and NPH aren't enough to bring viewers back, then I don't know what will.

If things go well, I would still not take ratings success on the specials as any guide to future ratings once the Ncuti Gatwa era begins. Certainly, ratings after the 50th didn't really retain momentum. And that was before Moffat's successor ushered in the most fanbase-destroying era of any franchise (and I'm including Marvel Phase 4 and Star Trek Discovery in this). Between the casting decision to the Timeless Child retcon that turned away many who had cheered and supported the former - well, the BBC ratings tell the tale, right? It's been reported that the BBC was even going to cancel the series (that came from Chibnall, not some Youtuber, and while he couched it in claims that it was budget and logistics that nearly sank it, there was a time when the BBC was willing to shell out for the show; and lots of shows and films still got made during the pandemic, so that's no excuse). Likely the only reason it's still on is because RTD came back (plus the Disney deal likely helped too) and they threw a Hail Mary pass by having Tennant be a surprise buffer Doctor. They aren't just offering us a plate of memberberries by bringing him and Tate back - they're trying to make fois gras with them.

After the specials air ... then what? Will anyone catch that Hail Mary? Yes, we have the Ncuiti Gatwa era coming. All I have ever seen of Gatwa is the few seconds in the trailer. I have not seen any of his other work, nor does it interest me; it would be like me predicting how Peter Capaldi would play 12 based on Local Hero and listening to a Dreamboys record. So no judgement or assumption on how well or how poorly Gatwa will play the role; RTD chose well with Eccleston and Tennant and Gatwa could end up ranking alongside Tom Baker and Capaldi. And as with every new Doctor there will be a viewership spike from the curious. But if his era follows the same downward trajectory as his predecessor (+1) - and if the Disney+ ratings end up being low - I would expect the BBC to announce a series finale special to wrap it up and cut their losses. Especially if Disney - which is not averse to cancelling shows (try watching Willow: The Series) - pulls out.

[littlemuoi]

Queen Elizabeth II remembered by Sir Jackie Stewart (December 11th 2022)

It happened almost by accident. I was supposed to be shooting with the Princess Royal at Windsor. (We had become friends in the early 70s when we both won the BBC Sports Personality of the Year award.) At the last minute the princess was called away to another engagement and it turned out that the Queen would be hosting instead.

At the shoot we talked about my grandfather being a gamekeeper. I was good friends with one of the head keepers at Sandringham, Bill Meldrum, who looked after and trained the Queen’s dogs, and Her Majesty saw Bill as someone very special.

After that first meeting she often invited me to shoot, both at Sandringham House and at Wood Farm [a farmhouse on the Sandringham estate]. Wood Farm was a much more cosy environment – it was a great retreat for her and Prince Philip and very modest in every way. The Queen would cook there herself and do the dishes. They were so much more at home there than at any of the big houses.

In private she was wonderful. When I was due to receive my knighthood from her in 2001, she had to take another engagement, so Prince Charles stood in for her. Later that day I was due to be shooting with the Princess Royal at Wood Farm, so my wife, Helen, and I took a helicopter to get there on time. We landed about 30 metres away from the main door. Who was there but Her Majesty. She came out to meet us at the helicopter and her first words to Helen were: “Lady Stewart, wonderful to see you.” Which was rather sweet – and of course the Queen knew very well how sweet it was.

We stayed in contact over the years and met many times. She would come for lunch at our home in Buckinghamshire. The first time was with the Duke of Edinburgh, but latterly she would come on her own or with her policemen. Once, she called to say she would like to bring some friends, if we didn’t mind – it was the brother of King Hussein of Jordan and his family.

It wasn’t a problem wondering what to cook for the Queen. I would normally ask her in advance what she would like to eat – simple as that. She was a very comfortable guest. We’ve got a nice house in Buckinghamshire and she liked the grounds. We’ve got a lot of statues of stags and hinds, and she has always been keen on those sorts of things. I would take her around on my golf buggy. I think she liked the informality of it all.

We never discussed her official responsibilities. I tried to give her the most relaxed day when she was coming to our home. The last time she came was just a few months ago and she was in fine form.

The very first time I was at Sandringham with the Queen, I offered to drive her. She said: “Certainly not, but you can navigate if you like.” So she put me beside her and she drove me to the barbecue and back. She did that many times. She was a very good driver, as good as any I’ve ever sat beside. Never missed an indicator or a dipped beam at night. Motor racing was not something that interested the Queen, however: she said it was very noisy.

When I turned 80, I arranged to have my birthday party at the Royal Automobile Club, and the chairman of the RAC wrote to the Queen, as she was patron, to see if she would be able to come. The palace replied to say unfortunately not. A weekend later, at Sandringham, I said to her: “Well, Ma’am, so sorry that you’re unable to attend my 80th birthday at the RAC.” She said: “Oh no! I didn’t know it was your 80th birthday.”

Two days later, the RAC got a message from the palace to say Her Majesty would be very happy to attend after all. That was a great privilege for me, a very unusual privilege. Obviously there were people of high rank who would quite often be seen by the Queen, but for Helen and me it was an unusual friendship.

I was supposed to be going to Balmoral just three days before the Queen died, because she wanted to see the film that has been made about me by my son Mark. We had arranged that Mark and I would go up to Balmoral to screen it for her. Sadly, the day before, her health deteriorated and they called me to say it wouldn’t be possible.

I’ve met presidents and heads of state around the world, but there was no one to match the Queen. She carried her responsibilities with such dignity and style. She adored her country. I don’t think there’s a person who’s had the privilege of meeting her who wouldn’t have been totally enthralled by her presence, her manners and her warmth. She was an extraordinary lady. I don’t think we’ll ever see her like again.

[numetaljackdog]

what i'm listening to 10/5/2022 (song notes under cut)

spot. link//yt link

Laura Les - Haunted: haunted. by laura les

Nirvana - Something In The Way (Live at the BBC): when listening through last month's album ranking, this performance caught me. something in the way is one of the more underrated tracks from nevermind (or at least it was before the new batman movie lol). truthfully there's nothing too out of the ordinary with this performance but i like how kurt's voice sounds on the chorus especially <3

Umphrey's McGee - National Loser Anthem: i LOVE mashups that are actually recorded by someone else instead of sticking the tracks together (both kinds are good but this type is underappreciated). this is the opener to this album and it introduces the mastercraft on display so well...

Papa Roach - Scars: i don't even have anything nice to say about this song other than that it's super catchy. i actually got it in my head bc i had been listening to the laura les remix lol

Europe - The Final Countdown: okay everyone SHUT UP. i know this is a fucking sports stadium anthem but i dont give a shit about that!! when i was 11 years old and only just starting to listen to music, this was one of the only songs i knew. everyone only knows the chorus (which is really good) but if you actually listen to the lyrics it's this heartwrenching power pop track about leaving earth and dealing with the complicated emotions that would come with that...... you wouldn't get it................

Luscious Jackson - Naked Eye: heard it on the radio. struck me as a very genre-bending band, with rock and hip hop and a bunch of other shit mixed in. cool stuff! apparently the drummer was the original drummer for the beastie boys?? crazy

Vanilla Ice - Hooked-Live/1991: i've been writing a ranking of all of vanilla's albums, which led me to relisten to some significant tracks. hooked was one of the stronger tracks from his debut album (the original release of which was even named after it) but it always fell a little short for me. the live version, on the other hand, has a lot more energy and hype

They Might Be Giants - Hide Away Folk Family: tmbg was one of the first bands i ever listened to (explains a lot tbh) but i only knew a little bit of their stuff from like the 90s and 00s, so i wanted to go back and check out some old school material. i liked this album a lot, and the chorus to HAFF stuck in my head big time

Jethro Tull - Aqualung: i've been getting into some more prog rock recently for no. particular... reason...... and i already kinda knew i would like this album. my dad had recommended "up to me" a while back, which i really liked, so i had high hopes. they were met! good fucking album! the title track is really only a standout bc of my love for opening tracks

ANGEL_TECH - whats up with u??: new angel_tech album out now!! once again, the opening track thing is big for me. i love an album that makes a good first impression. it was unfortunate that i couldn't make the release party but oh freaking well!

Huey Lewis & The News - I Want A New Drug: i think i've properly memed myself into enjoying huey lewis lmaooo i found sports in those old cassettes i mentioned i've been going through and was like "lol i should listen to this bc funney american psycho reference" and then an hour later i was adding a bunch of huey songs to my playlist...

Mind-Body Problem - Flesh and Blood (Ephesians 6:12): found this band through their hand crushed by a mallet cover, but honestly i think i might like this original track better. metalcore and hardcore and all that are severely lacking some fresh faces and new takes on the genre, so i'll be keeping an eye on what else this band has to offer!

August is Falling - August Is Falling: really great new ep from an absolute classic pop punk emo band. definitely not tied to any kind of internet inside joke bullshit. remember seeing them on warped tour

Girls Rituals - Idiot punk tetratogenic perma-decline (at the end of your bed): i've been enjoying all devi's new singles but this one's the one i keep coming back to. nothing much more to say it's just good tunes

Spin Doctors - Little Miss Can't Be Wrong: i've been just ever so slightly abnormal about these guys since the trainwreckords episode, but this one is not really that interesting? it's just a really good pop song 👍

Cry Baby - Singing For You: y2k throwback pop rock recommended by skatune network. i've become such a pop girlie and this one has a big catchy chorus. great stuff :)

[bethl8765]

under the gorse - interior location

Finding a Location

As a co-producer on this film, one of my agreed responsibilities was to search for an interior location, whilst Sam and Jack focused on exteriors.

My family live in a small village called North Queensferry and I knew instantly that this would be an ideal setting for the interior section of the film. I asked family friends who live around the village if they would be open to allowing us to shoot in their homes and got a positive response overall with several of them more than happy to help. There was one in particular that stood out due to its unique location and interiors and has also been seen in several BBC dramas beforehand. It is positioned directly underneath the Forth Road Bridge and has an amazing view over the River Forth.

We had offered payment as we would be using the whole house and facilities for several days, however, they were very kind in refusing the payment which we very much appreciated.

The location was ideal as the owners were not in the house for the duration of our shoot which gave us the freedom to use it as we wished. I was very cautious about certain rooms being used as there were a lot of precious items belonging to the family, but thankfully the production design team were very respectful of this and helped me to keep track of everything that we moved so it could go back to the appropriate place.

Shoot Days

The day prior to the shoot, I met with the production designers, Cara and Antony, and dressed the main rooms with the numerous props they had gathered. The rooms looked great and it was clear that they both had put a lot of thought into how they could represent each character with the production design.

Unfortunately the living room, despite being dressed and lit, was not used due to scheduling issues. However, the shots in the final film that feature the house are visually stunning. Aside from the house, we also shot some scenes in the surrounding area of the village.

Whilst the rest of the crew departed for Glencoe, I took down all production design and made sure the house was back to its original state. I would have appreciated more help with this take down, but it was made difficult due to time restraints and the fact that the remaining crew on the final day of the interior shoot needed to collect a prop (the bathtub) very last minute, leaving me to clear the set around 10pm.

In terms of the actual shoot, it was chaotic and we unfortunately did not get all of the shots that we needed. I had stated clearly prior to my departure to Poland for my main shoot that I would not be able to assist with scheduling. When I came back I was disappointed to find that there was not a realistic schedule in place. This meant that there was a lot of tension between some of the crew, especially the 1st AD and director. I felt it was crucial to keep this tension away from the girls and their chaperone as it would not be a good idea to start the shoot with the crew presenting themselves as dysfunctional, considering they had committed to what ended up being a 7 day shoot. We were able to pick-up the shots we needed in Edinburgh in a different location that Sam secured, however, I feel disappointed that such a strong location was partly wasted.

[spogwam]

Professional Development 4 - Job Research (MG Alba, BBC, ITV, Channel 4)

I’ve been researching jobs through MG Alba (Gaelic Media Service), the statutory organisation responsible for the majority of BBC Alba’s programming. They offer an annual training scheme in partnership with Screen Scotland and the BFI, with successful applicants offered paid full-time on the job training on work placements across various Gaelic and English language productions on scripted Film and TV, factual programming, and other projects within the creative digital media sectors. Unfortunately, the deadline for applications for 2024 was the 8th of April this year, so I’ve missed this year’s entry deadline. This is quite a shame as the first placement this year will be on set with Black Camel Pictures on the previously mentioned new high-end Gaelic TV drama An T-Eilean, filming on Harris & Lewis and in Glasgow.

Black Camel Pictures was founded by Arabella Page Croft and Kieran Parker, and is one of Scotland’s leading production companies. Previously they made the hit musical Sunshine on Leith, and are currently producing the thriller Annika for UKTV and PBS overseas. They have delved into animated series as well, and were awarded a BAFTA for The Brilliant World of Tom Gates in 2021. With their new series An T-Eilean, they are breaking new ground with the first high end television programme in the Gaelic language, and seem to be moving from strength to strength. Now that I am aware of these major players in the industry, I will keep an eye on any opportunities to work with them on an exciting television or film project, perhaps even my own.

The training scheme through BBC Alba is worth keeping in mind for future reference, however, as I feel I’d be particularly qualified with my fluency in Gaelic and my practical film making skills. I wasn’t able to find any other active opportunities offered by MG Alba, but I’ll keep an eye out for anything that pops up. I’ve also been researching Astar Media, the Gaelic projects agency responsible for organising the FilmG short film festival every year since last year. The company’s managing director, Murdo MacSween, is my contact for all things in the Gaelic film scene, and gets in touch with me when it comes to any opportunities. He gave me a paid job on FilmG 2023 as a runner, which was a great experience. I recognised so many people from the Gaelic world, and made many new pals.

I’ve researched Astar Media through Insider, and found an interesting quote: “The Gaelic language finds itself at a peculiar crossroads - unprecedented intrigue meets uncertain sustainability. Despite the soaring interest, funding stagnates, unchanged for a decade and a half.” This lack of funding in the Gaelic industries has been a consistent theme throughout my research, and is only now seeing change as outside money from corporations like Netflix are required to fund new projects. This is good, also unsettling to have American producers working in the Gaelic language of my heritage – ideally our own government would have the budget to fund these projects independently. As intrigue is spurred on by this new investment in Gaelic, hopefully the government takes notice and follows suit by increasing funding. Astar are proud of their work in revitalising the Gaelic sector and working expressly for the language, handling projects swiftly and effectively with a dedicated team from across Scotland contributing to its operations. I’d have to reach out to Murdo personally to inquire about any vacancies at his relatively new company, only formed in late 2021, and this couldn’t be necessarily relied upon, as its team seems committed and steadfast currently. I plan to get in touch with Murdo to inquire about work following my graduation.

Production company Young Films has been another area of my research. They are an award-winning Film and Television production company based on Sleat on the Isle of Skye, and was founded in 1986 by Christopher Young. It has been established for over 30 years, and have produced a wide range of feature films and TV. They produced the highly successful The Inbetweeners and their first feature film, as well as Gaelic Drama Bannan, as well as the only feature length Gaelic film Seachd: The Inaccessible Pinnacle. Young Films are pioneers, making equally impressive programming in English and Gaelic. Working with this company would be ideal for me, as although I’m keen to utilise my fluency in Gaelic, I don’t want that to limit my work in English either. Tony Kearney, the director of Gaelic Dramas like Bannan and An Clò Mòr, was my case study last year, meaning I have a contact connected to Young Films, which could prove fruitful.

Young Films run a talent development scheme called the Young Films Foundation that aims to find and aid a new generation of Scottish screenwriting talent, connecting them with key players in the UK film & TV industry including mentors, inspiring experts and commissioners. The programme provides the successful Scottish screenwriters a paid script commission from an established UK broadcaster for a feature film or TV drama or comedy. Each participant will be mentored by an experienced scriptwriter during a year of script development (supplemented by a programme of in-person events and online masterclasses) with the broadcaster and delivers a first draft script ahead of an intensive week’s residency on Skye in September 2024.

This seems ideal to me, as a budding screenwriter, as it would give me the opportunity to pitch to experts and commissioners which the broadcasted could take into production or go into turnaround, retaining the rights to my script. This opportunity seems brilliant, as the worst case scenario entails that I produce a highly polished script supervised by industry professionals and get to produce myself independently. Best case scenario, I get a programme/film written by myself adapted into a programme for the BBC or another broadcaster, which would be a dream come true. The programme this year has been running from September 2023 and will run through until November 2024, so I would have to apply for next years entry. I plan on getting in touch with them to inquire about deadlines for this application, and how I can be in the best position possible for application.

I’ve researched careers with Channel 4, and found two appropriate apprenticeships based in Glasgow, one as a Commissioning Apprentice working on Daytime and Features, and the other is working as a Commissioning Operations Apprentice. They start in January 2025, and offer a salary of £23,170 for the year, as well as many employer benefits. The deadline for applications is soon, on the 29th of April this year, so I’ll have to put my application for both of these opportunities together quickly if I want to undertake this opportunity. These jobs offer a lot of experience in admin, office skills, and the problem solving often associated with business, and would be another great opportunity to help me get my foot in the door of the UK film industry. Downsides of this option is its lack of a creative role, which is primarily of interest to me, but I’m also certain there is a lot of creativity needed when responding to certain problems that arise. Another downside is that these are Glasgow based opportunities, and I plan on remaining in Edinburgh for at least another year. Plans can change however, and given the benefits of this apprenticeship, and Glasgow’s booming Film and Television industry, I’m sure this would be a minor caveat. I have many pals in Glasgow, and wouldn’t mind relocating there, if only temporarily, to undertake an apprenticeship like this.

I’ve also been researching opportunities with STV, but have found little luck with opportunities currently as they stand. They are currently offering a job as a Trainee Broadcast Television Engineer, which I am certainly not technically qualified enough to apply for. The deadline has as expired now, but they were also offering a part-time role for Roku Developer, a streaming TV service that is partnered with STV. Currently there don’t seem to be any open opportunities with STV for entry this year, but their careers page is certainly worth keeping in mind for future reference.

I am going to conclude my final post with some thoughts on a screening I attended recently in Glasgow, and how it reflects on the Gaelic film industry as a whole.

On the 16th of April I attended the premiere screening of the short film “Le Chéile” at the Centre for Contemporary Arts on Glasgow’s Sauchiehall Street. This is the first film to include both the Scottish and Irish Gaelic, and tells the tale of a Rangers and Celtic fan becoming friends on a bus journey to their remote countryside homes. I thought this film was fantastic, especially given its budget of only £850. It looked great, was well performed, and told an unconventional tale of two characters bridging a cultural gap without delving into the mire of sectarianism. Following the film screening there was a Q and A with the film’s director, Róise Nic an Bheatha, and I asked her how she came up with the narrative device of the bus, which I found to be a liminal, dreamlike space and perhaps a character in itself. Róise gave me a great answer, giving me insight into her creative process as well as describing the difficulties of gaining access to a bus on such a small budget.

Róise’s film is another example of the exciting directions Gaelic Film and Television is going in, with many firsts still possible in this relatively new industry. This is encouraging for me, as I hope to be one of these pioneers like Róise, taking my Gaelic films in interesting directions that haven’t yet been explored. I made some pals at this event, using my somewhat rusty Gaelic (Gàidhlig mearachdail) to discuss the Gaelic media industry as it stands. We discussed An T-Eilean (The Island), as previously mentioned, which went into production on the 22nd of April. Surprisingly, I was in the runnings to be cast in a main role in this series, budgeted at over 1M per episode, but I withdrew my application when I realised my Gaelic was not strong enough to speak the language and act simultaneously. This indicates to me that I need to prioritise re-learning my Gaelic language skills beyond the simple, conversational level it is currently at, as it’s vital to be more proficient than I am in this industry.

I had a Zoom call with Lana Pheutan on the 28th of April in regards to the Gaelic Film and Television industry, and she provided me with valuable insight on its shortcomings, recent developments, and requirements for positive change. We discussed the new Gaelic series by Black Camel, and agreed that the script read a little strangely. My reasons for withdrawing my application to act in the series was my inability to act while delivering the lines, as the script included many obscure, "old-gaelic" words and odd rhythm. Lana informed me that this may not have been my fault alone, as she has found that the script, instead of being written in Gaelic from the outset, was translated from a fully English script. Gaelic is famously difficult to translate directly from English unless completed by a native speaker, so this was encouraging to hear. We agreed that all considered, this high budget series was a positive development for Gaelic media, as it could promote funding to other areas of Gaelic Film and Television.

Lana gave me insight into her work on sketch shows like OMC, and we agreed that the humour and target audience were far too localised and niche to possibly reach a wider audience. We agreed that these kind of series needed to take more risks to appeal to a wider audience. Lana told me of old executives that were stuck in their ways, and a need for a new generation to get control of this industry in the coming years. This has been reflected in the response to Lana's own Gaelic language work. Her FilmG project 5.3 was the first Gaelic film tackling trans issues, and the wide reaction to it as pushing the envelope unsettled Lana. Lana believes that the Gaelic Film and Television industry were way behind the social politics of today, and such a reaction to what should be more normalised was unjust. Lana has experienced this were her latest show Glan-Fhein, with two female protagonists, which also was said to push the envelope for Gaelic media. This demonstrates how far behind the Gaelic industry is, and the wider reaction represents other people's will to take responsibility for progress that was ultimately Lana's.

We discussed the only Gaelic feature-length film, Seachd: The Inaccessible Pinnacle, which was released in 2007, prior to the start of BBC Alba. Lana says this is no coincidence, and that the primary fixation for those working in the Gaelic industry is now firmly in Television. We agreed that to speed up Gaelic's progression into current politics, there needed to be a new feature-length film in the Gaelic language that dealt with contemporary issues in a compelling way. I have now made it my intention to be the producer of this film.

This was a very helpful and informative conversation with Lana, and I feel confident in my insight into the inner workings of the Gaelic Film and Television industry, and fundamentally its need for a fresh start.

To summarise my final post on my Professional Development thoughts, it is clear there are many potential doorways into the industry for me to investigate. I am mainly interested in the 2 -year Master’s courses offered by NFTS, as well as the Gaelic and English language production companies like Young Films and Astar Media. The process of narrowing down to a shortlist, compiling cover sheets and CV’s, and demonstrating how my work over the four years of my BA (Hons) in Film could help me undertake some of these opportunities, is now up to me in my Portfolio submission. Looking for jobs in Film and Television in Scotland has been an enlightening process, and I feel informed enough to move forward with what I know and put it into action.

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VPN blocking BBC iPlayer

Title: How to Bypass VPN Blocking on BBC iPlayer

BBC iPlayer is a popular streaming service offering a wide range of TV shows, movies, and documentaries. However, accessing BBC iPlayer from outside the UK can be challenging due to geographical restrictions. Many users turn to VPNs (Virtual Private Networks) to bypass these restrictions and enjoy their favorite BBC content from anywhere in the world.

Unfortunately, BBC iPlayer has implemented measures to block VPNs, making it difficult for users to stream content anonymously. VPN blocking by BBC iPlayer occurs when the service detects and restricts access from IP addresses associated with VPN servers. This crackdown is aimed at preventing users from circumventing regional restrictions and accessing content meant for UK viewers only.

So, how can you bypass VPN blocking on BBC iPlayer and regain access to your favorite shows? Here are some effective strategies:

Choose a Reliable VPN: Opt for a VPN provider known for regularly updating their servers and employing advanced encryption protocols to evade detection by BBC iPlayer's blocking mechanisms.

Use Dedicated IP Addresses: Some VPN services offer dedicated IP addresses that are less likely to be detected and blocked by BBC iPlayer.

Switch Servers: If BBC iPlayer has blocked access to a specific VPN server, try connecting to a different server within the same VPN network to bypass the restriction.

Clear Browser Cookies and Cache: Clearing your browser's cookies and cache can sometimes help in evading VPN detection by BBC iPlayer.

Contact VPN Support: If you encounter persistent VPN blocking issues with BBC iPlayer, reach out to your VPN provider's customer support for assistance and guidance on accessing the service.

By following these strategies, you can bypass VPN blocking on BBC iPlayer and enjoy seamless streaming of your favorite BBC content from anywhere in the world.

BBC iPlayer geo-restrictions

Title: Understanding BBC iPlayer Geo-Restrictions: What You Need to Know

BBC iPlayer stands as one of the most popular streaming services, offering a plethora of captivating content ranging from gripping dramas to insightful documentaries and everything in between. However, accessing BBC iPlayer content isn't always straightforward due to geo-restrictions imposed by the platform.

Geo-restrictions are limitations placed on accessing content based on the user's geographical location. BBC iPlayer enforces these restrictions to comply with licensing agreements and copyright laws. As a result, users outside the UK may encounter difficulties accessing certain content or even the entire platform.

So, why does BBC iPlayer impose these restrictions? The primary reason lies in content licensing agreements. BBC iPlayer secures rights to stream shows and movies within specific regions. Therefore, to prevent unauthorized access and potential copyright infringement, they employ geo-blocking technology to restrict access to their content based on the user's IP address.

For those residing outside the UK, circumventing BBC iPlayer's geo-restrictions may seem appealing, but it's important to understand the implications. Engaging in methods like VPNs (Virtual Private Networks) or proxy servers to mask your IP address and bypass geo-blocks may violate BBC iPlayer's terms of service and could lead to account suspension or legal consequences.

However, for UK residents traveling abroad, there's a temporary solution. BBC iPlayer offers a 'Download' feature for select programs, allowing users to download content onto their devices before traveling. While this doesn't provide access to live streams or all content, it allows users to enjoy downloaded shows or movies offline during their travels.

In conclusion, BBC iPlayer's geo-restrictions serve a crucial purpose in protecting content rights and ensuring compliance with licensing agreements. While navigating these restrictions may pose challenges for international viewers, it's essential to respect the platform's terms and explore legal alternatives for accessing content.

VPN detection by BBC iPlayer

Title: Understanding VPN Detection by BBC iPlayer

BBC iPlayer, a popular streaming service, has implemented sophisticated measures to detect and block users accessing content through Virtual Private Networks (VPNs). VPNs are often used to bypass geo-restrictions and access content from different regions. However, BBC iPlayer, like many other streaming platforms, actively works to prevent VPN usage to comply with content licensing agreements and ensure fair distribution.

The detection process employed by BBC iPlayer involves several techniques. Firstly, it scrutinizes IP addresses associated with incoming connections. VPN services typically route traffic through servers located in various countries, masking the user's true IP address. BBC iPlayer maintains a database of known VPN server IP addresses and promptly blocks access from these sources.

Moreover, BBC iPlayer employs deep packet inspection (DPI) to analyze the data packets exchanged between users and its servers. By examining specific patterns and characteristics of VPN traffic, such as encryption protocols and server response times, the service can identify VPN usage and block access accordingly.

Additionally, BBC iPlayer continuously updates its detection methods to counter evolving VPN technologies. It monitors for anomalies in user behavior, such as sudden changes in location or connection speed, which may indicate VPN usage.

For users attempting to bypass BBC iPlayer's VPN detection, the options are limited. While some VPN providers claim to offer solutions to evade detection, BBC iPlayer remains vigilant in blocking such attempts. Users may encounter difficulties in accessing content or face account suspensions if caught using VPNs.

In conclusion, BBC iPlayer employs robust techniques for VPN detection to uphold content licensing agreements and maintain regional restrictions. While VPN usage offers privacy and access benefits, users should be aware of the risks and limitations when attempting to bypass geo-blocks on platforms like BBC iPlayer.

Bypassing BBC iPlayer VPN ban

Title: How to Successfully Bypass the BBC iPlayer VPN Ban

The BBC iPlayer has long been a popular streaming platform for those looking to catch up on their favorite British TV shows and documentaries. However, accessing it from outside the UK can be a challenge due to geographical restrictions. Many users resort to VPNs (Virtual Private Networks) to bypass these barriers, but the BBC has implemented measures to block VPN access, frustrating viewers worldwide. Nevertheless, there are strategies to circumvent this VPN ban and enjoy unrestricted access to the BBC iPlayer content.

One effective method is to use a reputable VPN service that regularly updates its servers and IP addresses to evade detection by the BBC. Look for VPN providers with a large server network in the UK and a strong track record of bypassing geo-blocks.

Another approach is to utilize dedicated IP addresses offered by select VPN providers. These IP addresses are less likely to be flagged by the BBC since they are not shared among multiple users, reducing the risk of detection and blocking.

Additionally, users can try connecting to different VPN servers within the UK to find one that is not yet blacklisted by the BBC. Some VPN services offer specialized servers optimized for streaming, which may offer better performance and reliability when accessing the BBC iPlayer.

It's also essential to regularly update your VPN software to ensure you have the latest security features and protocols. VPN providers often release updates to improve their service and stay ahead of detection methods employed by streaming platforms like the BBC iPlayer.

In conclusion, while the BBC iPlayer VPN ban presents challenges for viewers outside the UK, it is still possible to bypass these restrictions with the right approach. By choosing a reliable VPN service, utilizing dedicated IP addresses, experimenting with different servers, and staying updated with software upgrades, users can enjoy seamless access to the BBC iPlayer from anywhere in the world.

BBC iPlayer access with VPN

BBC iPlayer is a popular streaming platform that offers a wide range of TV shows, movies, and documentaries. However, accessing BBC iPlayer from outside the UK can be a challenge due to geo-restrictions. One way to bypass these restrictions and access BBC iPlayer from anywhere in the world is by using a Virtual Private Network (VPN).

A VPN works by routing your internet connection through a remote server, masking your actual location and assigning you a new IP address. By connecting to a VPN server in the UK, you can trick BBC iPlayer into thinking you are accessing the service from within the country, thus allowing you to stream your favorite content.

When choosing a VPN for accessing BBC iPlayer, it is important to select a provider that offers servers in the UK and can reliably bypass geo-blocks. Additionally, fast connection speeds and strong encryption are crucial for a seamless streaming experience.

It is worth noting that while using a VPN to access BBC iPlayer is not illegal, it may violate the platform's terms of service. Users should exercise caution and adhere to the streaming service's guidelines to avoid any potential issues.

In conclusion, using a VPN to access BBC iPlayer can provide users with the flexibility to enjoy their favorite shows and movies from anywhere in the world. By selecting a reputable VPN provider and following best practices, viewers can unlock a world of entertainment at their fingertips.