Follow Up: A Survey on LGBT+ Representation on the BBC

Sorry everyone, I swear I will stop talking about this research report at some point. However, I need one last favour of you all. If you remember my previous post I’m doing a research report on LGBT+ representation on the BBC etc etc. What I recently realised is that I might need some data on people’s experiences of these programmes given that the last quantitative study was done by Stonewall in 2006.

My survey covers: geographical location, general opinions on BBC representation and then your opinions on the list of comedy & drama programmes I put together (with your input). If being named is a concern, this survey is totally anonymous. If you wouldn’t mind filling it out for me, I would be immensely grateful.

Click the link below to open the survey:

LGBT+ Representation on the BBC between 2006-2013.

Quick Question: The BBC and LGBTQ+ Characters.

I put the call out on Twitter earlier but, for some context, I’m writing a research report for my MA on the BBC Television and LGTBQ+ on-air representation from 2006 onwards. In between looking at various reports commissioned by the BBC Trust and Stonewall, I want to see if I can gather a list of programmes featuring LGTBQ+ characters  myself. Naturally, it’s not possible for me to see everything the BBC puts out (though I feel like sometimes I must do). The list I’ve got so far includes: The Night Watch, Lip Service, Doctor Who, Torchwood, In The Flesh, Heading Out, Consenting Adults, The Line of Beauty (thanks Tam!).

 If you can remember any others, could you comment below with the name of the programme in question? Remember, it must have aired in 2006 or later (so sadly neither Tipping the Velvet, nor my personal revelation Fingersmith count) and it must have aired in the UK. 

Please feel free to share this around as I’m sure we’re all likely to forget something. Thank you so much!

Sherlock – ‘A Scandal in Belgravia’ or The Fall of Irene Adler

As a fan of the last series of Sherlock (although not that second Orientalist mess of an episode, never that) the news of the second series reaching us on New Year’s Day was obviously exciting news. However, as someone who no longer trusts Steven Moffat with a television script, I approached it with some trepidation. I’d heard before watching that this adaptation’s Irene Adler has been updated from an opera singer who had dalliances with sundry members of nobility to the society set’s favourite dominatrix. I’d also heard, through various interviews and reviews, that this Irene was queer. Reader, my heart positively jumped at the prospect. Having watched the episode some hours ago, I can wholeheartedly say I really ought to have stuck with my trepidation.

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Black Mirror – ’15 Million Merits’

Black Mirror is a trio of satirical dramas produced by the magnificently furious Charlie Brooker with the final part airing last Sunday (though I have yet to catch up). The first part, ‘The National Anthem’, was a brilliant whirlwind dealing with decisions leading up to (and consequences of) a peculiar ransom request asked of the Prime Minister. Whilst excellent and very well-acted I have to admit that it left me a little cold. I could understand the message and I loved the way it engaged with the internet in particular, the way it held up an ugly reflection of ourselves. But something about it left me disengaged. The second part however, was a whole other ballgame. Thus far it’s my favourite of the trio, which really surprised me. In the week of promotion before it aired, the focus was primarily on the X Factor satire side of the drama; as a non-X Factor viewer that sort of talent show spoof holds no real enjoyment for me. I should have known that Brooker and Kanak “Konnie” Huq (his co-writer) had something else up their sleeves. What was advertised as a satire on the worthless inane nature of televised talent shows and the ritual humiliation it involves proved to be an entirely different beast altogether.

’15 Million Merits’ is set in a future where everyone, at the age of 21, is sorted into certain virtual facilities. Here, almost every facet of their lives is virtualised – from their surroundings, to the purchasing of their food, their currency and what they are able to spend it on. The currency in question is merits, earned by amounts of time spent on a pedal bike in the gym. As a fan of sci-fi and dystopian fiction in general, I was already intrigued. The basic plot is that Bing (Daniel Kaluuya) hears Abi (Jessica Brown Findlay) singing and offers to spend his accumulated credits on her entrance to Hot Shot, the talent competition du jour. The competition is judged by three judges: Judge Wraith (Ashley Thomas), Judge Charity (Julia Davis) and Judge Hope (Rupert Everett).

 

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