When the new franchises were advertised at the end of 1966 the general assessment was that the new company, Yorkshire, was being introduced to dilute the power and profitability of the four major companies, and perhaps to make life more difficult for them; thereafter, change for the sake of change would bring in two or perhaps three new regional contractors.

The real problem facing us at ABC Television was how to find a new area to replace our ‘lost week-end’ as Peter Black of the Daily Mail called it. The company’s reputation stood high with the Authority, but it would now be homeless. London was our objective. Like the other companies, we thought that the Authority would be content with simply weakening Rediffusion by lopping off the Friday evening. We at ABC therefore decided to apply for the London two-and-a-half day week-end contract, and, as second choice, the seven-day Midlands contract. The boards of directors of all the companies had studied their potential revenue and costs figures before reaching decisions. There was little difficulty in convincing our own Board that although the extra evening’s programme in London would be costly, the resulting revenue for the week-end would provide a profit at least equalling ABC’s current £3,000,000 [£55,000,000 today, allowing for inflation] and perhaps more if we worked hard enough at it.

The Authority had been doing its own arithmetic. It was on the assessments of their canny Director of Finance, Tony Curbishley, that the Authority had divided the five contracts as evenly and as fairly as they could. Curbishley, who had access to all the details of every company’s finances, had worked out the potential revenue of each area, deducted the running costs, and he calculated that the net profit on each of the four major companies would be £3,000,000, with smaller Yorkshire below this level. It was Curbishley who had been responsible for re-dividing London’s revenue and he calculated that the total income would be evenly split if the London week-end contract began at 6 p.m. or 7 p.m. on Fridays. According to his figures both of the London companies should show a profit of £3,000,000. This confirmed the figures we had worked out and presented to our own Board. The fact that London Weekend failed to achieve such profits in the early years reflected their early difficulties and miscalculations.

And perhaps now was the opportunity for new blood to be infused? It soon began to leak out that certain BBC executives were being nominated by would-be new contractors and were, in fact, appearing at the Authority’s Brompton Road hearings alongside the new applicants. Then, ominously, Michael Peacock resigned from his job as Controller of BBC1 to join Aidan Crawley’s London Weekend Television consortium. Whilst other BBC executives were known to have allowed their names to go forward, to be revealed only to the Authority, we decided that some sort of assurance must have been given to Peacock before he would venture from security into the unknown. It was discovered that he had been nominated as Managing Director of the proposed company, and other BBC names began to emerge: Humphrey Burton (music and opera), Doreen Stephens (head of BBC children’s programmes), Frank Muir (supervisor of comedy shows) and also John Freeman and David Frost. Such expertise and renown would be almost irresistible to Lord Hill.

By this time there was confusion and suspicion in the ITV boardrooms and on the third floor at the BBC. For everyone concerned, the final pronouncement by Lord Hill could not come too soon. The Authority reached its final decisions on the new contractors at their meeting towards the end of May and it was decided that the Chairman would make the announcement two days later, on a Sunday, to avoid Stock Exchange reactions.

On the fateful Sunday morning the Chairmen of the three London contenders returned with their cohorts to Brompton Road for their final interviews with Lord Hill and Sir Robert Fraser. Thus it was that London Weekend was awarded the programme contract it had sought, while John Spencer Wills, Chairman of Rediffusion Television, was told by Lord Hill of the Authority’s decision – which was to merge Rediffusion with ABC Television and to award the London weekday contract to the new joint company. There would be an equal sharing of profits but fifty-one per cent of the voting shares and the control of the new company would go to ABC, who would provide the managing director and the controller of programmes. Lord Hill described John Spencer Wills’ reaction as ‘deeply shocked, if not flabbergasted, but courteous throughout’.

Next it was ABC Television’s turn and I went with my Chairman, Sir Philip Warter and the deputy-chairman Robert Clark. We were given the same formula, with the addition that Lord Hill and Sir Robert Fraser congratulated me on my appointment as Managing Director of the new London company. It was only on the day after the meeting with Lord Hill and Bob Fraser that I began to realise fully the enormity of the task upon which I had been so suddenly embarked. My first thought was for the staff; nearly three thousand men and women employed by both companies were now reading in their newspapers that something had happened to their jobs. To operate the new company (and what should we call it?) for four-and-a-half days in London would need fewer staff than Rediffusion employed and more than had worked for ABC. There would be jobs for little more than half of the total payroll of the merged companies. Lord Hill had already tried to quell rising apprehension among the ITV workers by a promise that there would be a job for everyone – somewhere.

It was important too to retain the most valuable programme executives and I had to make rapid decisions as to who should be in control of the six programme departments, bearing in mind the equal division between the two original companies and the knowledge that some people had committed themselves already to new contractors.

The post Shotgun marriage appeared first on THIS IS THAMES from Transdiffusion.

My other objective was of course to break down those barriers created by any merger when it brings together executives from rival companies of totally different philosophies. This was only the beginning of a long and tortuous process, for the loyalties of Rediffusion staff were deep and it took several years to overcome their natural resentment of ABC control being forced upon them. I knew that total integration of the two companies could only be attained by joint achievements, when everyone would be proud to work under the banner of the new company, Thames. Therefore this was a further inducement (if any were needed) for Thames to emerge as the leader in current affairs and informational programmes, in addition to its acknowledged strength in entertainment and drama.

The highspot, I decided, would be The Life and Times of Lord Mountbatten which had been a Rediffusion creation. Once having decided to play this as a trump card and break away from the ITV network practice of putting on documentary series at off-peak time I tried to induce ATV, Granada and Yorkshire to follow Thames’ lead and run the series at 9 p.m. This proposal was gently supported by the Authority (although not made a ‘requirement’) but it was not found acceptable, and others slotted the programmes for 10.30 p.m. directly after News at Ten, athough eventually one or two of the regions did follow our lead.

In a despairing effort to coax the two most powerful executives, Cedi Bernstein and Lew Grade, into nine o’clock networking with us I harnessed the driving force of the dauntless Lord Mountbatten. During one of the social events we cornered Lew and Cecil, and Lord Mountbatten went straight into the attack. Lew was immovable: ‘Howard must be mad, putting on your programme against the BBC at nine! That’s when the BBC put on all those sexy plays with bad language. You’ll get slaughtered. Now when I put on the programmes, after the news at 10.30, there’ll be no opposition.’ (No opposition, I thought, only football matches and feature films.) Lord Mountbatten did not withdraw from his attack until Lew Grade told him: ‘I guarantee, Lord Mountbatten, that ATV will get better ratings than Thames. In fact, I’m so sure I’ll bet on it. If Thames get higher ratings than ATV I’ll pay you five hundred pounds.’ In fact, Thames did achieve higher ratings at 9 p.m. than ATV at 10.30 p.m. and I reminded Lew Grade of this bet. ‘I know, I’ve already sent Mountbatten my cheque.’ He lit a new cigar and added ‘Cheap at the price, wasn’t it?’

Thus when Thames next offered a series of equal importance – The World at War – the companies all agreed to follow our lead and network this at 9 p.m. The programmes were rarely out of the top ten. For once, we did bring out the brass band to launch The Life and Times of Lord Mountbatten with a flourish of trumpets and drums, for this series clearly had the stamp of success. We decided to have three ‘premieres’ at the Imperial War Museum, which had been such a valuable source of material for us. The first showing was for Lord Mountbatten’s military colleagues, the other for the Queen and her family, and the third for the press. The premiere for Her Majesty was probably more royal than any previous occasion, attracting the entire royal family with the exception of the Duke of Gloucester who was ill.

I found with Lord Mountbatten that in spite of his forceful personality he was susceptible to reasoned resistance, and there were several occasions when he gave in to determined argument. Our opinions differed about the values of various episodes depicting his career. For the press screening he wanted to show the episode he had selected for the Queen, his magnificent days in India. I agreed that nothing could be better for the Royal screening but it was not the right episode for the press. I wanted the second of the series, The Kings Depart, which told the story of his marriage to Edwina Ashley and their honeymoon in Hollywood, where they had made a picture which was preserved in his astonishing collection of Mountbatten films. The honeymooners had stayed at the home of Douglas Fairbanks and Mary Pickford and taken part in a film Nice and Friendly, with Charlie Chaplin and the ‘Kid’, Jackie Coogan. It was funny and touching and was inevitably a hit with the newspaper men. Lord Mountbatten agreed afterwards that it was the correct decision. Our sales organisation went on to distribute the series on behalf of his Trust throughout the world.

For the first time we were able to break into French television. Only Mountbatten could have gone direct to De Gaulle to have the series shown in France. He then proceeded to re-record the commentaries in French, and indefatigably went through the same process to record a German version when German television also took the programmes. Our only failure was in the United States, where in spite of all the pressures and efforts the networks once again refused to find time for a series of British documentaries. Lord Mountbatten had Henry Ford as his house guest at Broadlands, for what I anticipated would be the most expensive outing of Mr Ford’s life, to sponsor the series in America. Although Mr Ford was willing, the American network concerned would not accept the programmes because they thought it would be disadvantageous to their ratings.

This series helped to consolidate the network, as well as Thames. Weekdays were now firmly established, partly because of the variable performance of the week-end schedules. The unpredictability and unreliability of Friday evening and week-end programmes disturbed the advertisers, who always wanted to be sure that their commercials would reach a known and countable audience. This could be guaranteed only on weekday television.

Thames could now claim leadership of the network, for the most effective programmes were concentrated from Monday to Thursday, based on Thames’ formula of the best of ABC and Rediffusion, plus new programmes, reinforced by the cream of the output of the three major regional companies. All this we celebrated at our first staff dance in January 1969, symbolising the union of the two companies. We had to take the huge Lyceum ballroom in the Strand to accommodate the staff of 1,600 plus their wives, husbands and friends, jubilant and secure after two years of doubts and hazards. All this gave me some satisfaction – not least that after twelve years of journeying from London to Manchester and Birmingham it was a joy to have my travels limited to Teddington.

Thames had moved into its new building on the Euston Road, which had been designed for the next phase of television, and we went forward with confidence into the world of colour. Now we set ourselves new sights with large-scale programmes which would take two or three years to mature.

Yet all was not well in the pastures of Golden Square. For years there had been trepidation about the inevitable sale of Warner Brothers’ share interest in ABPC; with Jack Warner’s advancing years speculation and rumour had opened up all sorts of possibilities. Then came a stranger at the door. At the end of January 1968 Electric & Musical Industries Ltd, had informed the Associated British Picture Corporation that they had agreed to purchase from Warner Brothers four million Ordinary Stock Units and thus acquired twenty-five per cent of the issued Ordinary Capital of the Corporation. Sir Philip Warter announced that the two companies had agreed to co-operate in the ‘full development of their combined resources in the field of entertainment at home and overseas. To this end the Board of the Corporation has invited EMI to nominate two directors for the Board of the Corporation.’ The two directors were John Read and Bernard Delfont.

Now the solid Associated British Picture Corporation began to feel the tremors of changes ahead. But Thames Television was consolidating its position in the television industry.

The post Consolidations appeared first on THIS IS THAMES from Transdiffusion.

There was little accord at the top. The brilliant lawyer, Eric Fletcher, as Deputy Chairman, was an imaginative appointment by Warner Brothers and his strong personality influenced the Chairman, Sir Philip Warter, who was in a role where confidence, drive and leadership were essential. The combination of the Chairman and Deputy Chairman, backed by the might of Warner Brothers, made it almost impossible for the main survivor of the original John Maxwell team, Robert Clark, to produce important British films at Elstree studios or to expand the Corporation beyond cinema exhibition. The power struggles at the summit kept the Board of the Corporation occupied with its internal affairs whilst in the City ABPC became regarded as dormant, ripe for take-over.

Over the years many bidders had been rumoured and as the fortunes of Warner Brothers themselves fluctuated in the United States, and the ageless Jack Warner began at last to grow venerable, approaches for the Warner holding in ABPC were openly discussed in the United States. British Government regulations controlling the ownership of British cinemas and studios had tightened up since the original wartime transaction, and American film organisations regarded some of the difficulties as insurmountable. The financial success of the Corporation’s only important subsidiary, ABC Television, had made the prospect more valuable but correspondingly more difficult, because of the strict limitations on foreign control of a British commercial television company. At least one of the American networks had studied ABPC’s financial structure primarily for the possibility of gaining ABC Television but the Government’s safeguards effectively protected British ownership.

The Board of ABPC did surprisingly little to defend its vulnerability or to expand its activities. Robert Clark, who had become a millionaire through his dealings in the property market, was understood to be anxious to acquire all or part of the Warner shares if they were offered for sale, but if this was his ambition it was never fulfilled. Meantime his expertise in property values had steered the Corporation towards its wealth in the ownership of cinemas occupying valuable central sites in hundreds of towns and cities.

The Corporation squatted on its mountain of cinemas like a sitting hen. Detailed reports were prepared for them on other industries, other companies, other ventures. Bulky grew the portfolios but the decision was almost inevitably a rejection or a postponement. It took me long years to push, nudge and coax the Corporation into Independent Television. When ABC Television became their most important asset, apart from the properties they owned, I did my best to urge them further into associated fields of opportunity. As the profits from television multiplied these were diverted into the ailing cinema business. The cinema executives, who predominated on the Board, were campaigning for the television profits to be invested in bowling centres on the basis that it was a fad which America had adopted and Britain would follow. It was also a practical way of using empty cinemas which had ceased to pay their way.

I was the only director arguing that we should diversify into by-products of television, particularly wired television. Granada had started up in this activity, as well as in music and publishing. ATV was in records, music and theatres. Rediffusion had not only expanded its wired television business but had acquired Wembley Stadium and was investing in other branches of entertainment.

I almost lost heart after I had brought to the boardroom an attractive opportunity for them to acquire an interest in one of the most promising television relay companies, Telefusion Ltd. This was the outcome of a relationship I had developed with the solid John Wilkinson who had started this company from his first shop in Blackpool and built up Telefusion into a powerful force in our northern area. He had a further asset in his equally hardworking and highly efficient son, and it was obvious that this company had a future. Together we worked towards a share deal between Telefusion and ABC Television. This was the flaw, because the Corporation wanted no partners, only cast-iron safe investments. I was depressed by their eventual and embarrassing rejection, because they lacked the vision to recognise the classic situation of a growing business with inbuilt management prowess.

Instead, the profits from ABC Television were poured into the conversion of a dozen cinemas into bowling centres. The venture collapsed and, a few years later, as the bowling centres were closed down, one after another, I watched Telefusion climb to a leading place in the wired television market, and eventually become successful applicants for the Yorkshire programme franchise.

The post Inside ABPC appeared first on THIS IS THAMES from Transdiffusion.

It is hard to assess what mergers do to people. After the machinations of boards of directors, merchant bankers, lawyers, financial wizards; after the battle has been lost and won, there remain the staff, the workers, the executives, and all their families, who have suffered so much worry, apprehension and, sometimes, sorrow. EMI could not have been more thoughtful and helpful in their care of the thousands of men and women who had worked so loyally for the old firm. Yet, as in any other merger, the middle-aged executives suffered most. The very qualities of devotion to a company and its bosses, often at the expense of rejecting other job offers, becomes a handicap when new, younger executives cast a cold eye upon the comfortably established men in their forties and fifties who have, perhaps, begun to take things a little too easily.

A merger certainly hurts. This one was too much for the ascetic Sir Philip Warter. Besides the feeling of inadequacy in that he had allowed his father-in-law’s business to succumb, he had the additional agony of losing his only daughter Shirley after a painful illness. When the merger became inevitable Sir Philip refused to remain on the Board and chose to retire to the West Country. He did not live for very long.

Even the sturdy, resolute Scotsman, Robert Clark, was disconsolate after the take-over, and probably felt secretly that his old master, John Maxwell, would somehow have saved the situation and held on to control. A tremendous worker, dedicated to his company in spite of disheartening experiences, Robert Clark took a year or two to recover and then began to enjoy the pleasures of getting closer to his family. Some day a sympathetic writer will have to analyse the effect of mergers – and there are hundreds of them – and the impact they have upon the people concerned.

At Thames Television our immediate assignment was to find a new and ‘independent’ Chairman.

On the EMI Board were several distinguished non-executive sectors and it seemed to us that the quest could begin there. One possibility was Lord Shawcross, a controversial and undoubtedly independent figure. When the Authority asked my opinion I said I considered he would make a prestigious Chairman of Thames. Thereupon Sir Robert Fraser said that I had better go around to Lord Shawcross and invite him to become Chairman of our Board of Directors. I had never met Lord Shawcross until I faced him across the desk of his small office in the Morgan Guaranty Trust in Lombard Street. Stern, lined, handsome, he sat like a judge before me and when he asked, unsmilingly, why I thought he should become Chairman of Thames Television, I decided to tell him the disadvantages. As a director of a commercial television company he would not be allowed to appear on ITV; for the same reason the BBC would be unlikely to ask him to appear on their television programmes; as a constant contributor to The Times letter page he would be seen to be writing more as a chairman of a television company than as a vigorous independent.

Lord Shawcross accepted the invitation, additional to his other directorships, and we began a five-year association from which I was to learn a great deal. Not an easy man to get to know, his personal swing from left to right had made him extremely critical of the political element which he was convinced would disrupt Britain. Lord Shawcross was also on very friendly terms with another cross-bencher, Aidan Crawley, Chairman of our rival, LWT, and the two Chairmen often found themselves in the same club comparing the very different performances of the two companies. At first they tried to find ways of working harmoniously together, but as London Weekend’s audiences and revenue slumped there began talks of a possible working collaboration. As the LWT situation deteriorated discussions between the companies ended, for there was doubt whether the week-end company could survive its internal and external troubles. There was indeed a point where I began to prepare for an emergency situation and plan a weekend programme service if requested by the Authority.

By this time Sir Robert Fraser had retired and Brian Young been appointed Director-General. 1970 was a difficult year to enter Independent Television and Brian Young, coming from the directorship of the Nuffield Foundation and the Headmastership of Charterhouse, soon found at the SCC meetings that he had inherited an awkward squad of prefects. He supported the principle of limited collaboration between the two London companies but he was opposed to any kind of merger or take-over. With Lord Aylestone he battled on through the firings and mass resignations of London Weekend executives, resisted the onslaught of Rupert Murdoch in his bid to popularise week-end programmes in the Australian pattern, and was relieved to support the appointment of John Freeman to stabilise the company.

Brian Young’s first experience of this turbulent industry was not confined to company survival. A Director-General has the final voice on whether or not a controversial programme should be transmitted. When his staff found themselves unable to reach agreement on, for example, the script of a play, the last stage would be a confrontation between the Director-General and the Managing Director of the company concerned. Outstanding playwrights were in short supply and Thames had been delighted to commission a play from an actor who had become increasingly successful as a dramatist, Colin Welland.

Say Goodnight to Your Grandma, was a modern North Country play about an independent young wife determined to hold on to her weak husband against a possessive mother and the pals of his bachelor days. When one of the friends, Ray, had banteringly propositioned her, Jean had flabbergasted him by suggesting they should adjourn to his car outside. As Ray retreated in embarrassment the husband asked Jean whether his friend had said anything to upset her. She replied: ‘No! Just asked if he could screw me!’ The writer and director argued that such a dramatic line was only a modern successor to Bernard Shaw’s ‘not bloody likely’ for Eliza Doolittle. The author wanted to use a more Anglo-Saxon four-letter word than the American ‘screw’ and the producer informed us that the two different versions had been recorded.

I believe it was the first such decision Brian Young had to take, and he wisely sought further opinions from the Authority. There was no question about the dramatic value of the line but the final decision on the actual verb to be used rested with the Authority. Brian Young telephoned me to say that if we used the word ‘screw’ there would be no objection and the play could go on at normal time, 9 p.m. On the other hand, if the company felt very strongly that the four-letter word was essential to the play then it could be used, but at a later hour; that was, at 10.30 p.m. following the ITN news. I settled for the normal time and the word less likely to offend viewers. The play eventually reached the West End stage unexpurgated and had a profitable run.

The post Exits and entrances appeared first on THIS IS THAMES from Transdiffusion.

11.30 Cricket
and at 3.5
The Fourth Test Match
from Headingley
England v. Australia
commentary by
Ian Woodbridge ∙ Michael Parkinson
with summary by
Sir Leonard Hutton
and Bobby Simpson
television direction by
GEOFF HALL
Yorkshire Television Outside Broadcast

1.30 Close-down till 1.55

1.55 Thames Television
See panel

A New Service for London
Inaugural Luncheon at
The Mansion House

The distinguished guests celebrating the beginning of the new Service are eminent in London’s Government and business, in London’s music, art and sport, and in the Nation’s Press and Parliament which reflect the life and power of the Capital City

Speakers include the Rt. Hon. The Lord Mayor, Lord Aylestone, Chairman of the ITA, Sir Philip Warter, Chairman, and Howard Thomas, Managing Director of Thames Television

commentator
ANDREW GARDNER

television direction by
JIM POPLE

Thames Television Outside Broadcast

2.45 Racing from Redcar
and at 3.20
Outside Broadcast cameras visit Redcar racecourse, where the racing team gives you a complete service, with starting prices, Tote returns and results from other courses
3.0 South Gare Sweepstakes (6f.)
3.30 North Sea H’cap (1½m.)
4.0 Sand Dune Stakes (1½m.)
commentators
in the grandstand Tony Cooke
in the paddock Ken Butler
on the rails Peter Moor
interviewers
John Rickman of the Daily Sketch and George Dobbie discuss form and crash helmets old and new
television direction by
ROY LOMAS
Tyne Tees Television Network
Outside Broadcast

4.10 Driveway
Episode 1: Meet the Major
cast in order of appearance

Major Alan Brock	Anthony Newlands
Miss Fisher	Judy Liebert
Shirley Pickering	Marjie Lawrence
Harry Weeks	John Trigger
Company Sergeant Major	Edwin Brown
Pamela Brock	Margaret Ashcroft
Julie Brock	Sandra Bryant
Mrs. Armstrong	Moyra Fraser
Mr. Brough-Morton	Maurice Hedley
Mrs. Brough-Morton	Dorothy Black
The maid	Anne Woodward

series devised by peter dacre
script by basil dawson
designer michael bailey
produced by CECIL PETTY
ATV Network Production

4.40 CHILDREN’S TELEVISION
The Sooty Show
– it’s that bear again and of course, Sweep and Soo
presented by
HARRY CORBETT
today’s special guest
GERRY MARSDEN
musical director alan braden
designed by alex macintyre
produced by
DAPHNE SHADWELL
Thames Television
Network Production

5.10 Magpie
One for sorrow
Two for joy
Three for a girl
Four for a boy
with
TONY BASTABLE
PETE BRADY
SUSAN STRANKS
and including the return of The man from Do Not Adjust Your Set
Captain Fantastic
(produced by daphne shadwell)
directors
DAVID HODGSON
ROBERT REED
producer SUE TURNER
Thames Television
Network Production

5.50 News

6.4 Today
with
EAMONN ANDREWS
casting a quizzical eye on London, and everything else
directed by TERRY YARWOOD
produced by
ELIZABETH COWLEY
ALEX VALENTINE
Thames Television Production

6.30 The Laughter Makers
Carry On Nurse
For the first time on London’s television screens, one of the hilarious Carry On films
starring
KENNETH CONNOR
KENNETH WILLIAMS
CHARLES HAWTREY
WILFRED HYDE WHITE
BILL OWEN
LESLIE PHILLIPS
cast

Bernie Bishop	Kenneth Connor
Oliver Reckitt	Kenneth Williams
Hinton	Charles Hawtrey
Ted York	Terence Longdon
Percy Hickson	Bill Owen
Jack Bell	Leslie Phillips
Bert Able	Cyril Chamberlain
Henry Bray	Brian Oulton
Colonel	Wilfred Hyde White
Alec Lawrence	Ed Devereaux
Matron	Hattie Jacques
Sister	Joan Hickson
Ginger	Michael Medwin
Nurse Dorothy Denton	Shirley Eaton
Nurse Georgie Axwell	Susan Stephen
Nurse Stella Dawson	Joan Sims
Nurse F. James	Susan Beaumont
Nurse Helen Lloyd	Ann Firbank
Nurse Nightingale	Rosalind Knight
Nurse Rose Harper	Marita Stanton
Mick	Harry Locke
Jill Thompson	Jill Ireland
Mrs. Janie Bishop	Susan Shaw
Mrs. Marge Hickson	Irene Handl
Meg	June Whitfield
Norm	Norman Rossington

written by norman hudis
produced by PETER ROGERS
directed by GERALD THOMAS
Matron’s nurses have a hard time keeping amorous patients under control at Haven Hospital

8.15 Cooper King-size!
starring
TOMMY COOPER
An hour of Tommy’s classic comedy routines
with
special guest star
FRANKIE VAUGHAN
and
Deryck Guyler
Julie Rogers
Richard Caldicot
Felix Felton
Hugh Morton
Totti Truman Taylor
Len Lowe
Tony Fayne
Jay Denyer
Gladys Whitred
Max Howard
Louise Canine Review
and
Surprise guest stars
We know who they are but we’re not telling Tommy
special material eric merriman
bob sharples and his music
designed by robert macgowan
produced by MARK STUART
Thames Television
Network Production

9.15 What Shall We Tell the Children?
ROBERT KEE
introduces a
Report
by sally vincent
Sex Education in Britain Today
What should you tell your children about sex? How frank should you be? What words should you use? Tonight’s programme reports on how haphazardly too many children still learn the facts about sex. It shows that schools can help with sex education. Most importantly, for those who still find the subject a difficult one, it shows how some parents have answered the questions their children ask
produced and directed by
FRANCIS MEGAHY
Thames Television
Network Production

10.0 News at Ten
with
Andrew Gardner
Reginald Bosanquet
Leonard Parkin
Half and hour of up-to-the-minute news from ITN
The Weather Forecast

10.30 The System
ANTHONY BATE
JAN HOLDEN
in
The Flea Pit
by anthony skene
cast

Bull Atherton	Anthony Bate
Leo Atherton	Jan Holden
Dr. Gillie	Norman Scace
Peter Tolchard	Simon Lack
Jeremy	Norman Eshley
James	Tim Wylton
Carol	Fay Sparks
Rosa	Judi Bloom
Superintendent Baldwin	Hugh Cross
Paul Pevney	Robert Powell

designer peter caldwell
executive producer
H. V. KERSHAW
producer JOHN FINCH
directed by MICHAEL COX
‘Soldiers have to be strong. Do things we won’t do. Things we can’t approve of. You don’t have a guard-dog and blame it for biting’
Granada Television
Network Production

11.30 London’s New Television Service
EAMONN ANDREWS
introduces recorded highlights of today’s luncheon to mark the opening of Thames Television
ANDREW GARDNER
describes the scene and talks to some of the distinguished guests present at the Mansion House
directed by JIM POPLE
Thames Television
Outside Broadcast

11.50 Carry On Curate
KENNETH ROBINSON introduces the first of a series of six programmes about the image of the clergy as depicted by the mass media
arranged by SIMON BUXTON
Thames Television Production

and

Close-down

The post Tuesday 30 July 1968 appeared first on THIS IS THAMES from Transdiffusion.