Fraggle Rock was as good as I remembered, but Count Duckula was much, much worse

CITV's Old Skool Weekend pricked the bubble of childhood nostalgia for Bim Adewunmi.

What's your earliest memory? I have trouble remembering which of my memories are mine and which I've heard so many times as family folklore that I've reassigned them to my personal memory bank. What I have no trouble remembering is childhood television. The flickering box in the corner of the room was very much on while I was growing up, and changes in location – from east London to downtown Lagos – meant nothing in the grand scheme of my watching habits. So I remember Rainbow quite clearly (and being very distressed whenever somebody zipped up Zippy), and I have fond memories of singing along to the Jimbo and the Jet Set and Muppet Babies. I laughed at Dangermouse and The Trap Door and I watched the repeats of Vision On and Hartbeat. So when CITV announced their 'Old Skool Weekend' to mark their 30th anniversary, I was somewhat pathetically excited. This was my first error. As anyone who's ever met their hero will tell you: don't do it - they'll only let you down.

I settled in on Saturday morning, expecting to be hit by a wave of potent nostalgia and got… nothing. I've always resisted the charge that children's television has got dumber over time (honourable mention: Fairly Odd Parents), that the Golden Age of children's television was largely behind us by the time we hit the 90s. But perhaps the atrophying had begun even earlier. I started with T-Bag, and was shocked by how average it was. What had enchanted before merely delivered the basic goods. I shrugged it off and went to make a cup of tea. 'Count Duckula's coming soon,' I thought. 'And that was ace.'

An hour later, I found out the miserable truth about the Count: he was rubbish, wasn't he? How did he so successfully hypnotise us into believing his greatness? I sat, stony-faced and angry with myself for remaining seated. Such was its badness, it failed to elicit even a smirk from me, and I am a known smirker: I will laugh at the silliest of things. Carrie Bradshaw-style, I couldn't help but wonder: was I being overly harsh? Had the joy and innocence of childhood been so successfully leached from my heart, leaving only the tiny lump of coal that is a prerequisite for an embittered TV column? Short answer: no. Because Sooty and his friends were as charming as ever, their high-pitched squeaks a soothing balm to my disappointed soul.

Thank God also for Fun House: Pat Sharpe's limpid eyes, Melanie and Martina, a studio full of overexcited children, plus a briefly disconcerting bit when Pat asks a young contestant who likes dancing to "show me your booty, get on the floor!" (she does an adorable side running man). Knightmare carried on hitting high notes. This was nostalgia! Bad (but quite exciting at the time) graphics? Check. Children from the Home Counties (Simon, Derek and Daniel – names very much at home in the early 90s) helping Barry get through the course? Check. Hackneyed dialogue delivered by actors emoting far too much for the show in question ("nothing can save you except knowledge")? Check!

Straight after, Fraggle Rock came on. I had been obsessed with this show, going as far as writing up exciting fanfic for the Doozers, a move which, with hindsight, makes me view my younger self ever more favourably. Thankfully, the Henson magic was undiminished, and in a marvellous half-hour I was utterly entranced by the antics of some felt and fleece muppets. Incidentally, it was my favourite ever episode, one featuring Convincing John and his harmonising acolytes, which made it even more special. Here was a programme that truly spoke to the adult as well as the child – the mark of a great children's programme, yes? Now, I could see the evangelical fervour of John's performance, his 'hypnotic' powers had that sheen normally associated with the charismatic cult leader's, his jazz hands – and moustache – the pure theatre of Little Richard's rock n' roll. Watching it and getting all of this as an adult was an unexpected and welcome surprise, and only served to enhance my enjoyment of the show. Fraggle Rock gets it, Dangermouse gets it, Hey Arnold gets it. And in twenty years, Horrible Histories will get it.

Clearly, my discontent was not echoed by the vast majority of viewers: the Old Skool Weekend drew CITV's biggest ever audience. Nostalgia sells. It's part of the reason why Heinz continues to do so well. The thing is, brand heritage takes us only halfway – Heinz ketchup still manages to come out on top in blind taste tests, too. In the taste tests of television, the shows that get it, the ones where re-watching does not erode the legacy, are the ones we need more of. That way we get rewarded twice: now when it counts, and or the future, when we're basking in the glow of warm nostalgia.

A scene from Count Duckula.

Bim Adewunmi writes about race, feminism and popular culture. Her blog is  yorubagirldancing.com and you can find her on Twitter as @bimadew.

Getty
Show Hide image

The tale of Battersea power station shows how affordable housing is lost

Initially, the developers promised 636 affordable homes. Now, they have reduced the number to 386. 

It’s the most predictable trick in the big book of property development. A developer signs an agreement with a local council promising to provide a barely acceptable level of barely affordable housing, then slashes these commitments at the first, second and third signs of trouble. It’s happened all over the country, from Hastings to Cumbria. But it happens most often in London, and most recently of all at Battersea power station, the Thames landmark and long-time London ruin which I wrote about in my 2016 book, Up In Smoke: The Failed Dreams of Battersea Power Station. For decades, the power station was one of London’s most popular buildings but now it represents some of the most depressing aspects of the capital’s attempts at regeneration. Almost in shame, the building itself has started to disappear from view behind a curtain of ugly gold-and-glass apartments aimed squarely at the international rich. The Battersea power station development is costing around £9bn. There will be around 4,200 flats, an office for Apple and a new Tube station. But only 386 of the new flats will be considered affordable

What makes the Battersea power station development worse is the developer’s argument for why there are so few affordable homes, which runs something like this. The bottom is falling out of the luxury homes market because too many are being built, which means developers can no longer afford to build the sort of homes that people actually want. It’s yet another sign of the failure of the housing market to provide what is most needed. But it also highlights the delusion of politicians who still seem to believe that property developers are going to provide the answers to one of the most pressing problems in politics.

A Malaysian consortium acquired the power station in 2012 and initially promised to build 517 affordable units, which then rose to 636. This was pretty meagre, but with four developers having already failed to develop the site, it was enough to satisfy Wandsworth council. By the time I wrote Up In Smoke, this had been reduced back to 565 units – around 15 per cent of the total number of new flats. Now the developers want to build only 386 affordable homes – around 9 per cent of the final residential offering, which includes expensive flats bought by the likes of Sting and Bear Grylls. 

The developers say this is because of escalating costs and the technical challenges of restoring the power station – but it’s also the case that the entire Nine Elms area between Battersea and Vauxhall is experiencing a glut of similar property, which is driving down prices. They want to focus instead on paying for the new Northern Line extension that joins the power station to Kennington. The slashing of affordable housing can be done without need for a new planning application or public consultation by using a “deed of variation”. It also means Mayor Sadiq Khan can’t do much more than write to Wandsworth urging the council to reject the new scheme. There’s little chance of that. Conservative Wandsworth has been committed to a developer-led solution to the power station for three decades and in that time has perfected the art of rolling over, despite several excruciating, and occasionally hilarious, disappointments.

The Battersea power station situation also highlights the sophistry developers will use to excuse any decision. When I interviewed Rob Tincknell, the developer’s chief executive, in 2014, he boasted it was the developer’s commitment to paying for the Northern Line extension (NLE) that was allowing the already limited amount of affordable housing to be built in the first place. Without the NLE, he insisted, they would never be able to build this number of affordable units. “The important point to note is that the NLE project allows the development density in the district of Nine Elms to nearly double,” he said. “Therefore, without the NLE the density at Battersea would be about half and even if there was a higher level of affordable, say 30 per cent, it would be a percentage of a lower figure and therefore the city wouldn’t get any more affordable than they do now.”

Now the argument is reversed. Because the developer has to pay for the transport infrastructure, they can’t afford to build as much affordable housing. Smart hey?

It’s not entirely hopeless. Wandsworth may yet reject the plan, while the developers say they hope to restore the missing 250 units at the end of the build.

But I wouldn’t hold your breath.

This is a version of a blog post which originally appeared here.

0800 7318496