They’ve never done the 70s and 80s TV themes prom they know is possible and that is why I DISKARD THEM.

https://www.theonion.info/

a man with curly hair and a scarf around his neck looks at the camera ALT: a man with curly hair and a scarf around his neck looks at the camera

Might do a Broken Veil OnlyFans, which is exclusively the location recordings of us talking about Doctor Who (Series 18) before we knuckle down to business. You know. The hardcore shit.

It’s psychologically similar to performative victimhood with these guys. And probably narcissistic at root. “Poor us. We can’t afford this work. Boo hoo. It should be free. And if you do demand rights, that’s quite triggering, in fact, actually.” Bullies all the way.

Remember saying this to the BBC once when I was horrendously underpaid for a job years ago. “Where do I go once this loose change gig has got me ‘exposure’? Who’s the bigger employer I move into after you? No. You’re the ones who pay.”

I could argue that most of my one- and two-hander creative operations struggle to ensure watertight legal clearance sometimes while making a few pennies. The biggest companies on earth have got zero excuse. Contracts is all they fucking do. They’re the ones *meant* to pay. Who else?

Yeah. The two sets of rules and standards are not any use. But we should start with insisting that of all the usages that might possibly be loosely policed or “free”, supplying unlimited content to the richest most lawyered-up shitbags on the planet is not one of them.

I started out doing work in the internet Wild West. It was fun. No rules. The moment we got picked up by a big corporation to publish our work, we got a short sharp lesson in rights and restrictions.

And that’s entirely sensible.

Can’t stand these massive tech babies. Grow the fuck up or fuck off.

Making stuff in both spheres, I feel the only excuse for being legally loose with copyright or ownership or permissions is when YOU HAVE NO MONEY. Guerilla outfits? Fine. Fan art? Fine. Microbudget work? Hell yeah.

If you’re the planet’s most powerful billionaires; BE THE GROWN UP.

We still do. It’s a major pain that traditional legally watertight media is bound to sensible rules that disruptor media has lobbied to ignore. Then disruptor media starts boasting about how much more nimble and efficient it is than old media. And old media panics that it’s being outclassed.

Someone asked AI to paraphrase an official 1930s Reichstag statement on degenerate art. Which is handy.

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It’s a visualised podcast when you ask if you’re being paid your regular TV rates to write on it. I tell you that.

the tip is always so fucking coy about it. "lucas heights resource recovery park" bitch you are the tip. shut up

Always good to hear while I’m sitting struggling with an edit. Hahaha.

Fantastic! Thanks!

When Star Wars starts production, George Lucas has only just made American Graffiti, which aches with nostalgia for (checks notes) eleven years ago. It’s Lucas’ big obsession: a small while ago, in a galaxy where I live.

Watched Chinatown last night, which is only a few years before Star Wars, and it opens with fake 30s “sepia” titles. Nobody connects Star Wars’ 30s nostalgia with the Sting / Gatsby 70s retro fad. But it’s there.

Loads of wild garlic as far as the eye can see.

The Garlic Invasion Of Earth (1964)

She plays Faye Dunaway’s Chinese maid. Just checked the end credits. But that doesn’t make this any less weird.

It’s hugely enjoyable. And terrible. And wonderful. That’s my copy.

Er.

Chinatown appears to star… the Status Quo film.

What?

That’s not a diss for LGClark and MR James. I just mean: it’s a filmed Play For Today at the very peak of the authored TV drama, and the hinge of the sixties into the seventies… rich as hell.

I couldn’t believe how many registers it was working on. I watched it for the first time about 20+ years ago on a bootleg, around when I was getting into BBC ghost stories etc, and was expecting something in that key. It’s so much more. An invigorating tonic.

I once asked David Rudkin whether he expected the TV audience to be able to penetrate the depths of this play on a single viewing, before video tape and arthouse screenings.

“Of course!” he said. And I felt very small indeed.

“Child be strange.”

Bloody hell. Always good to see a pristine copy of Framley changing hands…

(Royal Court podcast w/ Bob Odenkirk. How lovely!)

It’s in the Wonderful World of Ladybird Books For Grown Ups.

A Blu Ray box containing Penda’s Fen (1974) with a spooky grinning demon face (or something) on the cover.

Time for a glass of Vimto and a watch of this (hat tip: @gralefrit.bsky.social )