HOW TROLLS LIKE THESE ARE DESTROYING FANDOM

Interview by Brian Grant 

*British toilet paper brand famed for it’s advertisements featuring Labrador pups.
*A ‘Bob’: British colloquialism for a Shilling in pre-decimalised UK currency.

“Don’t worry, Prime Minister. When it goes t*ts up, it’s the idiots in charge of the quango who’ll take the blame!”  “Sir Humphry, you’re a genius!”

*’Strictly Come Dancing’. BBC television show.
*British colloquialism for a police informant.

 And…      

*Incitatus was the notorious Emperor’s horse.
*Tetley’s: British tea brand.

*A Brew: Colloquial English for a cup of tea.
  • 1: I couldn’t be a**ed and,
  • 2. The prospect of him responding with another dose of electronically delivered anesthetic was not at all desirable, regardless of its comic value.”

“He was from the tip of South-West England, which isn’t exactly the end of the world, but you can probably see it from there. With his severe buzz-cut and Japanese sniper specs which looked as if they’d been fashioned from secondhand reentry shields, he had all the charisma of a lavatory brush.”

While he’d make a number of very serious allegations about Tina and Thomas via social media, rather than put his real name to these claims, he instead adopted the name of someone from Tina’s book, ‘Peter Wyngarde: A Life Amongst Strangers‘ to secrete himself behind.       

*Marks and Spencer. A well-known British fashion, homeware and food retailer.

“Most people would find it difficult to make sense of the types that join online hate mobs, but then idiots like those spoken of here simply don’t have the same emotions and feelings as the rest of us. The individuals that chose to leap aboard Mr. W’s rickety three-wheeled bandwagon were sad, middle-aged men with beer bellies and comb-overs whose wives probably paid them to go out. There was, however, at least one woman amongst them – namely Ms. Z (delegated Minister for Paperclips): an old boiler with the voice of a Klaxon and a face as hard as a dressed crab. She’d been prowling the touchline for some time with shades of a KGB agent eavesdropping at a Leningrad bus stop. I wouldn’t describe her as a dung beetle exactly – more something a dung beetle might eat! She came across as the type that no one had ever taken the slightest scrap of notice of her entire life, including her ‘partner’ – a keen fisherman by all accounts – who’d apparently rather sit dangling his tackle into a freezing canal than spend time with her. Now suddenly she was a great white shark in a goldfish bowl. For the first time in her pointless existence there was a group of mindless clowns who were not only willing to acknowledge her, but who were actually prepared to listen to what she had to say.   

“Tina’s life story of Peter is a must-read from the one who knew him best.” Sam J. Jones

*Arthur Daley and Terry McCann – the two main characters in ‘Minder’.

“They obviously expected us to come crawling, cap in hand, while declaring unconditional surrender. Again, this demonstrated their boundless conceit. These people had written themselves into our story, then felt we owed them something. It seemed their collective egos required someone to bend the knee to them, when what they really needed was the Wizard of Oz! ”   

Thank you to Ryan Church for the above. Sent to him by Google after he lodged a complaint about the contents of ‘The Covens’ website.

Despite the horrendous abuse and harassment, there were a few moments of hilarity. I suspect that most right-minded people would find the following both hilarious and pitiful in equal measure, if only for the rank stupidity of the perpetrator. It would involve Mr. Y attempting to take the public for fools by posting a yarn on his website about a British Gas engineer who had, purportedly, visited Tina’s parent’s home to carry out work on their central heating boiler (this despite the fact that her parents home is heated solely by electricality!). By an absolutely mind-boggling quirk of fate this engineer, it was claimed, was also a card-carrying member of ‘The Coven’! The odds of this happening must have been, well, astronomical!     

Do you think these bullies will have moved on to someone else by now?       

“It’s really quite frightening to consider, given the lengths to which they went to over this, what Mr. X and his hired guns might’ve been capable of if we had done something to offend them personally. X certainly didn’t cover himself in glory here, and rather than discrediting us, he succeeded only in debasing himself. He certainly has no justification in peering down his snout at anyone else after this performance.

“I’ve always maintained that sunshine is the best disinfectant”

The National Stalking Helpline:
0808 802 0300

https://www.suzylamplugh.org/Pages/Category/national-stalking-helpline
Practical advice and information to anyone who is currently or previously been effected by harassment or stalking.

Victim Supportline:
0808 168 9111
www.victimsupport.org.uk
Helpline for anyone affected by crime

REVIEW: Hamlet

A Festival of Britain Production by arrangement with Bronson Albery production. Sherek Players Ltd. (in association with he Arts Council of Great Britain).

Opened at The New Theatre, London – Thursday, May 17th 1951.

Character: Voltimand and Third Player (Lucianus in the “play within a play”)

  • Scene 1: Elsinore, A platform before he castle.
  • Scene 2: A room of state in the castle.
  • Scene 3: A room in Polonius’ house.
  • Scene 4: The platform.
  • Scene 5: Another part of the platform.
  • Scene 1: A room in Polonius’ house.
  • Scene 2: A room in the castle.

Act 3:

  • Scene 1: A room in the castle.
  • Scene 2: A hall in the castle.
  • Scene 3: A room in the castle.
  • Scene 4: The Queen’s closet.

Act 4:

  • Scene 1: A room in the castle.
  • Scene 2: Another room in the castle.
  • Scene 3: Another room in the castle.
  • Scene 4: A plain in Denmark.
  • Scene 5: Elsinore. A room in the castle.
  • Scene 6: Another room in the castle.
  • Scene 7: Another room in the castle.
  • Scene 1: A churchyard.
  • Scene 2: A hall in the castle.

Some Background

The sets, which one critic described as a “formal and rather bleak affair” were, again, at Guinness’ behest, as he had disliked the semi-permanent and realistic sets he’d seen in other productions of Shakespeare. he’d wanted a suggestion of reality here and there, and came to the conclusion that each scene could be played round, or influenced by, one or two specific real things – for instance, the battlement scene round a Tudor cannon, the Polonius household a table with a globe and papers, the main court scenes dominated by a large Renaissance classical doorway, and for the rest blackness and open wings. This did not work out overly well, and was not put to the best use.

Very little of the play was cut. Retrospectively, Guinness believed this to a misjudgement. He said it occurred later that perhaps Elizabethan audiences were able to stomach long entertainments for the simple reason that they were in the open air. He’d followed Granville-Barker’s advice and did not drop the curtain, as is usual, at the end of the ” Rogue and peasant slave ” soliloquy. This, he said, turned out to be the only “daring”, original and exciting thing they did in the whole production, with immense results, and it escaped the critics’ notice!

Alec Guinness later wrote an article in the Spectator, explaining why he felt the play had been such a disappointment.

A Synopsis

The Costumes

All the costumes for the play were designed by the Spanish Spanish painter, drawer, enamelling master, sculptor, and stage designer, Mariano Andreu. John Gielgud saw his work and invited Andreu to create the costumes and settings for Much Ado About Nothing at Stratford-upon-Avon in 1949. The production was a great success and was toured and revived in Stratford and London. Andreu went on to design a number of productions in Britain during the 1950s, including All’s Well That Ends Well at Stratford, and Berlioz’s opera The Trojans at the Royal Opera House, Covent Garden.

(Left) Andreu’s original design of Peter’s costume -worn as the ‘Third Player’. The painting is part of the V&A’s Theatrical Collection.

REVIEW: As You Like It

  • Scene 1: Orchard of Oliver’s house.
  • Scene 2: Lawn before the Duke’s palace.
  • Scene 3: A room in the palace.
  • Scene 1: The Forest of Arden.
  • Scene 2: A room in the palace.
  • Scene 3: Before Oliver’s house.
  • Scene 4: The Forest of Arden.
  • Scene 5: The forest.
  • Scene 6: The forest.
  • Scene 7: The forest.
  • Scene 1: A room in the palace.
  • Scene 2: The forest.
  • Scene 3: The forest.
  • Scene 4: The forest.
  • Scene 5: Another part of the forest.
  • Scene 1: The forest.
  • Scene 2: The forest.
  • Scene 3: The forest.
  • Scene 1: The forest.
  • Scene 2: The forest.
  • Scene 3: The forest.
  • Scene 4: The forest.

Some Background

There was a major difference between this production of Shakespeare’s ‘As You Like it’ and the earlier BBC staging in1946, and that was the presence in the cast of major actors such as Margaret Leighton, Michael Hordern and Laurence Harvey. The program notes for the music are especially revealing in their scholarly concern to bring the authentic music from Shakespeare’s own day into the production. The BBC also used 125 feet of film to support the televised script. The cast included 24 principals plus extras, and the cost came to £2,343 – a considerable sum in 1953.

The entire 90 minute recording was sadly wiped by the BBC. However, the original typescript for this production still exists and is kept at The Birmingham Shakespeare Library.

Story Synopsis

One of Sylvius’ most notable attributes is his eloquence and proficiency in the language of love. Throughout the play, he delivers impassioned speeches and sonnets, pouring out his emotions and baring his soul. Sylvius’ poetic nature adds depth and beauty to his character, showcasing his ability to express himself with grace and sincerity.

However, his poetic declarations of love are often met with ridicule and mockery from other characters, particularly from the court jester, Touchstone. Despite this, Silvius remains undeterred, clinging to his ideals of love and devotion.

*In Shakespeare’s original play, Sylvius is spelt ‘Silvius’,

REVIEW: The Relapse (A.K.A. ‘Virtue in Danger’)

Some Background

‘The Relapse’ was written in 1696 by John Vanbrugh as a sequel to Colley Cibber’s comedy ‘Love’s Last Shift‘ (1696). Amanda, Loveless, and Lord Foppington (known as Sir Novelty Fashion in ‘Love’s Last Shift’) are the only characters to feature in both plays.

At the time ‘The Relapse’ was screened, there had been much discussion in the press concerning what is and what is not “obscene” on stage in the theatres, and moreover on TV. Naturally, views diverged. I was an age whenever the subject of sex was raised there were inevitably cries of “FILTH” from certain quarters followed, followed by indignant phone calls to the ‘papers and the BBC.

Media commentators believed that the broadcast of Vanburgh’s play would have a particularly hard time of it. As Phillip Hope-Wallace of The Listener was to put it, “Evidently the notion that anyone is free to inflict his own phobias on the public dies hard.”

There was speculation amongst drama critics that this BBC version of the play might be ‘tidied up’, as the original form of ‘The Relapse’ couldn’t be defined as family viewing. Some of the antics of Vanburgh’s characters barely skirted propriety. There certainly appeared to be much confused thinking on the subject.

On a general level ‘The Relapse, which had been so carefully prepared for the ‘Stage By Stage’ series of plays, was said to be superior to in style and spirit to the famous production at the end of war (with Cyril Richard as Lord Foppington), and was a true reproduction of the theatrical mode of its day, and a fully fashioned piece of television. As one critic stated, “The whole piece strikes a blow at hypocrisy and, if it didn’t put people off by being too long (2 hours), it may have sparked some interest in Vanburgh’s other works, if not in his architecture.”

Story Synopsis

In what the author seemingly intended to be an antidote to the play’s liberalism, the once amoral libertine, Worthy, has a sudden repentance and reformation, resulting in his becoming an admirer of female virtue. This change of heart, we’re told, has came about after Amanda resisted him to remain loyal to her husband.

A bit of Trivia

PORNOGRAPHY! HANG ON A MINUTE…

…where’s all the gay stuff?

Conspicuous by its complete absence has been anything that could remotely be described as homoerotic or which one might suppose would be of interest to a “gay” man. Can anyone explain?

When I contacted Tina Wyngarde-Hopkins about this she merely said, “Let the evidence speaks for itself.” It was then that I asked if I could collate this stuff and write a small article around it, and so here it is.

Ms. Wyngarde-Hopkins has faced unspeakable abuse at times from people online who believe they knew Peter better than she did, despite the fact that most of them never met him while she, on the other hand, enjoyed a 30-year relationship with him.

What you’ll see below are lots from the online catalogues of two separate auction houses. All I can say to those people out there who are still clinging to the same time-worn myths: If it walks like a duck and quacks like a duck, it’s a duck!

The items I’ve found online

Auction House Description

Auction House Description

REVIEW: Epilogue To Capricorn

Some Background

Series Synopsis

Critic’s Comments

Peter’s Comments

“Epilogue To Capricorn’ probably had the most excruciatingly bad script I’d ever had the misfortune to read. It probably had one of the best titles for any series in the world, but definitely the worst script.

So, the actors got together with the director, who was wild and crazy and was eager to do different things, and he said: “What do you want to do then?” I said, “Throw away the script; throw it in the bin and we’ll just ad-lib. We more or less know what the characters are and we could take it from there.” It became a top TV series of that time, because nobody knew what was happening.”

A bit of Trivia

REVIEW: Rupert of Hentzau

Episodes and broadcast dates:

Some Background

Above left: Peter, Barbara Shelly and George Baker during rehearsals.

Most of the same characters recur: Rudolf Elphberg, the dissolute absolute monarch of Ruritania; Rudolf Rassendyll, the English gentleman who had acted as his political decoy, being his distant cousin and lookalike; Flavia, the princess, now queen; Rupert of Hentzau, the dashing well-born villain; Fritz von Tarlenheim , the loyal courtier; Colonel Zapt , the King’s bodyguard; Lieutenant von Bernenstein, a loyal soldier.

The1964 British television series ran for six half-hour episodes and successive Sunday afternoon’s at 5.30pm. The series was recorded at BBC Television Centre, London, but all six episodes are listed as “lost”, having been wiped by the BBC themselves after broadcast.

The Character of Rupert

Story Synopsis

Breakdown of the episodes As they appeared in the Radio Times

A bit of Trivia

REVIEW: Jesus of Nazareth

Lingstrom went on to explain the approach that the producer had taken; ‘In spite of this widely practised attempt to put the story of Jesus into modern speech, reverence for ‘Holy Writ’ remains for many people as sacrosanct as the spiritual truth it sought to present in the reign of James the First. It may come as a shock to some people that, although phrases which become household words remain, the cycle of plays we are about to represent will be in modern colloquial speech.’

In order to embark on such an important and ground-breaking project, advice was sought from several members of the clergy, whose scholarship and wide theological knowledge were put at the disposal of Joy Harrington, who wrote the eight scripts which began with Jesus as a boy of twelve, living in an occupied country, and ended with the Resurrection.

BROUGHT TO BOOK

Written by Alex Thorpe

Have you ever read a really good book which the vast majority of people concur with you over, but then you spot a really peevish review that has you wondering if the person responsible for it has read the same thing as you?

I bought Tina Wyngarde-Hopkins biography/memoir, ‘Peter Wyngarde: A Life Amongst Strangers‘ on the day of publication in February 2020. I read the whole thing; all 532 pages in just two sitting as I just found it too compelling to put down. With hand on heart I can say it is the best book of its kind I’ve ever read. It’s candid, detailed and honest; written from the standpoint of someone who actually knew Wyngarde intimately. Ms. Wyngarde-Hopkins has taken further steps in publishing many of the documents referred to in the book (see the A Life Amongst Strangers Companion) and provided strong supporting evidence in the form of Peter’s letters and personal writings (see You’ve Read The Book… Now Read It In Peter’s Own Words ). I know of no other author who has done this.

With this in mind, I’ve been stunned to read some of the nonsense posted online by persons unknown about the book in so-called ‘reviews’. I say this because none of the people who have written this stuff appear to have any real conviction in what they’re saying. Why? Because they choose not to put their real names to it,

I know what you’re all thinking: ‘Everyone is entitled to an opinion’, and you’re right. The Oxford English Dictionary’s definition of the noun ‘Opinion’ goes something like this: “A view or judgement formed about something, not necessarily based on fact or knowledge”. I ask you to keep the final section of that sentence in mind as you read the following ‘review’ for ‘A Life Amongst Strangers’ which was posted on Amazon on 27th December 2023 by someone calling his or her self ‘City Bookworm’:

I’ll take a wild stab in the dark here and say that dear old ‘City Bookworm’ probably never came within a 100 mile radius of PW or anyone who knew him, but is sufficiently conceited to shout down “the person who knew him best” (a description given to Tina Wyngarde-Hopkins by Flash Gordon himself, Sam J. Jones). We now seem to be living in a world where there are no longer facts, only opinions. What is being created is a wholesale denial of truth in almost every sphere of life. We suddenly find ourselves in a situation where people with absolutely no authority, personal experience or knowledge of a subject are attempting to beat down those that have. 

With very special thanks to Pam, Tina and Thomas of the Official Peter Wyngarde Appreciation Society

I’M IN LOVE WITH MY CAR(S)

The cars listed below are in order of when Peter owned them, and not when they were made.

1951 JOWETT ‘JUPITER’

“While appearing in ‘Hamlet’ in London, my friend and fellow actor, Andrew Faulds, would often tootle around Hyde Park in the Jowett picking up birds.” Peter Wyngarde

0-60 in 16.5 seconds

Top Speed: 145mph

N.B. This isn’t the exact car that Peter owned.

1931 STUDEBAKER DICTATOR

1939 LAGONDA DROPHEADRAPIDE

Colour: Green

0-60 in 8.9 seconds

Top Speed: 110mph

Peter purchased this car from the nephew of A.A. Milne – author of the Pooh Bear books.

Colour: White

0-60 in 12 seconds

Top Speed: 107mph

Colour: Red

0-60 in 12 seconds

Top Speed: 109mph

Peter purchased this car with the fee he received for the film ‘Night of the Eagle/Burn, Witch, Burn’.

Colour: Iris Blue

0-60 in 19 seconds

Top Speed: 85mph

Photo: Pictured outside Peter’s home in Earls Terrace, London.

1953 BENTLEY R-TYPE CONTINENTAL SPORTS SALOON

Colour: Black

0-60 in 13.2 seconds

Top Speed: 101.7mph

Colour: Maroon

0-60 in 13 seconds

Top Speed: 105mph

Photo: Peter in his beloved Bristol

Colour: Racing Green

0-60 in 9.1 seconds

Top Speed: 114mph

Photo: Pictured outside Peter’s home in Earls Terrace, London.

Colour: Red

0-60 in 7.8

Top Speed: 110mph

Photo: Pictured at Bisley Shooting Range, Woking.

1984 Porsche 911

Colour: White

0-60 in 3.9 seconds

Top Speed: 205

_________________________________

ARTICLE

“The consumption of this disguised racing car is limited; around 13 litres per 100 kilometres is not too much for a 122 hp engine, with the help of which the Seven effortlessly shows it’s rear to more powerful sports cars…”