Bob the Builder
Bob the Builder is a British children's animated television show created by Keith Chapman. In the original series, Bob appears in a stop motion animated programme as a building contractor, specialising in masonry, along with his colleague Wendy, various neighbours and friends, their gang of anthropomorphised work-vehicles and equipment; the show is broadcast in many countries, but originates from the United Kingdom where Bob is voiced by English actor Neil Morrissey. The show was created using CGI animation starting with the spin-off series Ready, Build!. In each episode and his group help with renovations and repairs and with other projects as needed; the show emphasises conflict resolution, co-operation and various learning skills. Bob's catchphrase is "Can we fix it?", to which the other characters respond with "Yes we can!" This phrase is the title of the show's theme song, a million-selling number one hit in the UK. In October 2014, Bob the Builder was revamped by Mattel for a new series to be aired on Channel 5's Milkshake! in 2015.
Amongst the changes were a complete overhaul of the cast, with Harry Potter actor Lee Ingleby replacing Neil Morrissey as the voice of Bob, Joanne Froggatt and Blake Harrison were confirmed as the voices of Wendy and Scoop respectively. The setting and appearance of the characters changed, with Bob and his team moving to the bustling metropolis of Spring City. An American localisation of the new series debuted on PBS Kids in November 2015; the changes have been criticized by fans of the original version. Bob the Builder was nominated in the BAFTA "Pre-school animation" category from 1999 to 2009, won the "Children's Animation" category in 2003 for the special episode "A Christmas to Remember". Of the show's success, Sarah Ball said: I think diggers and dumpers fascinate kids in the same way that they are drawn to dinosaurs, they both have a timeless appeal. The technique of stop motion is tangible - the characters look like you can just pick them up and play with them. It’s a safe, bright, colourful world, appealing.
Curtis Jobling did a fantastic job designing the show - it’s simple and stylized but has such charm. Bob the Builder has been parodied by Robot Chicken in the episode "More Blood, More Chocolate", by Comedy Inc. as Bodgy Builder. Bob has been parodied on Cartoon Network's MAD on several occasions. In the episode "S'UP / Mouse M. D.", Bob is seen with a smashed thumb and asks "Can we fix it?" In another episode Bob encounters the title character of Handy Manny, whom he tells to "Stop copying my show!" A New Yorker cartoon shows a parent in a toy store asking for toys depicting Alex the Architect a white-collar equivalent to Bob the Builder. Some have complained about technical errors and lack of proper safety practices in the programme the absence of protective eyewear. However, in episodes, Bob is seen using safety glasses. Various companies manufacture licensed Bob the Builder merchandise since about 1999 to present. Sometimes some fans make fan-made merchandise for the television show, such as racing games that are not related to the show.
Lego began manufacturing licensed Duplo Bob the Builder sets in 2001. Lego Explorer made the sets using the same bricks that Duplo used; the sets were aimed at two and up. Duplo manufactured the sets until 2009. Hasbro created licensed Bob the Builder characters, they included talking others to go with the Bob the Builder line. The Hasbro line was discontinued in 2005. Learning Curve among countless others discontinued them, they first merchandised their Bob the Builder products in 2005 after the Hasbro range was discontinued. Learning Curve created the Thomas & Friends characters, while the company still makes the sets and sold them to stores, they discontinued them in 2010 and it is unknown if they could return to making them. The toys are available in the United Kingdom by Character Options. In 2012, Character World announced that they had signed a license to manufacture official Bob the Builder bedding and bedroom textiles. A duvet cover is said to be available in the UK in late 2012. Various companies released Bob the Builder games.
Fix it Fun! - 2000 Can We Fix It? - 2001 Bob Builds a Park - 2002 Bob's Castle Adventure - 2003 Project: Build It - 2005 Bob the Builder: Can-Do-Zoo - 2008 Festival of Fun! - 2009In the United States, Bob the Builder: Can We Fix It?'s computer version sold 350,000 copies and earned $6.1 million by August 2006, after its release in August 2001. It was the country's 50th best-selling computer game between January 2000 and August 2006. Combined sales of all Bob the Builder computer games released between January 2000 and August 2006 had reached 520,000 units in the United States by the latter date. Jolly Roger Ltd. released two kiddie rides based on the series, a Scoop in January 2000, a Roley in March 2003. In March 2003, Scoop was re-released with a Stamar soundboard. In 2004, versions of both rides were released with video screens. In May 2005, a sort of spin-off series was released titled Bob the Builder: Project Build It. Bob hears of a contest to build a new community in a remote area called Sunflower Valley, outside of Bobsville.
He moves from Bobsville (
BBC Studios is a British television production and distribution company. It is a commercial arm of the BBC, bringing together the majority of the former BBC Television division's in-house production departments. In 2018, BBC Studios merged with the corporation's international licensing and distribution arm, BBC Worldwide under the BBC Studios name; the division was formed in 2016 with an intent to make it a for-profit entity in the future, which would allow it to produce programming for other broadcasters to supplement the income received through the licence fee. In exchange, the BBC agreed to tender its current programming to allow third-party independent studios to produce them on behalf of the BBC; the formal establishment of BBC Studios as a commercial entity occurred in April 2017. In April 2018, BBC Worldwide was merged into the company, to make it both a distributor and producer of programmes, in line with other major multinational studio conglomerates. BBC News and BBC Radio remain separate internal production divisions in the BBC, the rest of the former BBC Television division now form the BBC Content division.
BBC Studios Ltd. as a production company was first registered on 27 February 2015. In September 2015, the BBC's general director Tony Hall announced a proposal to split the BBC's in-house production units for non-news television programming into a separate BBC Studios division, which would with BBC Trust approval as part of the next revision to the BBC's charter, be spun-out as a for-profit subsidiary of the BBC; this proposal would allow the BBC's units to produce programmes for other broadcasters and digital outlets in addition to the BBC's publicly-funded properties. As a for-profit company, BBC Studios would be allowed to pay higher wages to its executives and talent, no longer face scrutiny over them as it did as a public entity; the proposal was described by The Guardian as being "one of the biggest changes to the BBC in its 93-year history". The proposal attracted criticism from independent studios, who felt that it would result in the formation of a "super-indie" that would unduly benefit from "guaranteed" programme commissions from the BBC.
As part of the split, the BBC planned to tender its programmes, so that independent producers and BBC Studios could bid for the rights to produce its non-news programming, outside of top shows assigned to BBC Studios. The re-organisation and formation of BBC Studios as a division of the BBC was completed in April 2016. In September 2016, the BBC announced that it would tender its non-news programmes over the next 11 years, beginning with programmes such as A Question of Sport, Holby City and Songs of Praise. In October 2016, the BBC announced that it planned to lay off 300 employees from the division seen as redundant. In December 2016, BBC Studios announced that it had reached an agreement with Producers Alliance for Cinema and Television in regards to the tendering plan, stating that it would tender at least 40% of the "in-house guarantee" within two years of approval of the transition; the BBC Trust subsequently approved the creation of BBC Studios as a commercial subsidiary, with the process expected to be completed in April 2017.
On 29 November 2017, the BBC announced that BBC Worldwide would be merged into BBC Studios effective 1 April 2018. The BBC stated that by handling both the production and sales of its programming within one unit, it would improve efficiency and be in line with the "global norms" of other major international media companies. Technically, BBC Ventures Group Ltd. was renamed BBC Studios Group Ltd. on 3 April 2018, BBC Studios Ltd. 1 October 2018. BBC America BBC Arabic TV BBC Brit BBC Canada BBC Earth BBC Entertainment BBC FirstBBC First BBC First BBC HD BBC Kids BBC Knowledge BBC Lifestyle BBC UKTV Official website BBC Studios Ltd. at Companies House BBC Studios Productions Ltd. at Companies House
Radio Times is a British weekly magazine which provides radio and television listings. It was the world's first broadcast listings magazine when it was founded in 1923 by John Reith general manager of the British Broadcasting Company became the British Broadcasting Corporation from 1927, it was published in-house by BBC Magazines from 1937 until 2011 when the BBC Magazines division was merged into Immediate Media Company. Radio Times was first issued on 28 September 1923 for the price of 2d, carrying details of BBC wireless programmes. Radio Times was a combined enterprise between the British Broadcasting Company and the publisher George Newnes, who type-set and distributed the magazine, but in 1925 the BBC assumed full editorial control, by 1937 the publication was in-house. The Radio Times established a reputation for using leading writers and illustrators, the covers from the special editions are now collectible design classics. In 1928, Radio Times announced a regular series of'experimental television transmissions by the Baird process' for half an hour every morning.
The launch of the first regular 405-line television service by the BBC was reflected with television listings in the Radio Times edition of 23 October 1936. Thus Radio Times became the first television listings magazine in the world. Only two pages in each edition were devoted to television. However, on 8 January 1937 the magazine published a lavish photogravure supplement and by September 1939, there were three pages of television listings. Britain declared war on Germany on 3 September 1939 and television broadcasting ceased. Radio listings continued throughout the war with a reduced service, but by 1944, paper rationing meant editions were only 20 pages of tiny print on thin paper; when television resumed, the Radio Times expanded with regional editions were introduced. In 1953 the television listings, in the back of the magazine, were placed alongside the daily radio schedules and on 17 February 1957, television listings were moved to a separate section at the front with radio listings relegated to the back.
By the 1950s Radio Times had grown to be the magazine with the largest circulation in Europe, with an average sales of 8.8 million in 1955. Radio Times is published on Tuesdays and carries listings for the following Saturday through to Friday. From 20 April 1964, BBC Two starts broadcasting, the existing "BBCtv" is renamed BBC One on 1 July 1967, BBC Two becomes Europe's first colour television service is launched with the live Wimbledon coverage, two years BBC One is introduced colour service on 15 November 1969. Since Christmas 1969, a double-sized issue has been published each December containing listings for two weeks of programmes; this covered Christmas and New Year listings, but in some years these appear in separate editions, with the two-week period ending just before New Year. The cover of the'Christmas Number' dating from the time when it contained just a single week's listings features a generic festive artwork, atypical for the magazine, which since the 1970s has exclusively used photographic covers for all other issues.
By the 1970s, Radio Times took a stand with "no smoking" policies were beginning to appear for some reason and stopped cigarette advertising from September 1969 within the magazine. On 1 September 1984, the method of web-offset printing was used for the first time, the magazine became brighter and more colourful, gone were the sludgy greys of newsprint and sheets of gravure was replaced by clean blacks on white paper from leafing through although it wasn't until 2 June 1990 that the entire magazine was printed in full colour; until the deregulation of television listings on 1 March 1991, the Radio Times carried programme listings for BBC radio and television channels only, while the ITV-published magazine, TVTimes, carried television programme listings for ITV, from November 1982, Channel 4. Today both publications carry listings for all major terrestrial and satellite television channels in the United Kingdom and following deregulation, new listings magazines began to be published. After the deregulation of television listings, there was strong criticism from other listings magazines that Radio Times was advertised on the BBC, saying that it gave unfair advantage to the publication bearing "If it's on... it's in!" slogan.
The case went to court, but the outcome was that as the Radio Times had close connections with the BBC it would be allowed to be advertised by the BBC. By the early 2000s, advertisements for the publication had become sparse on the BBC; the Radio Times has not been promoted on BBC television and radio channels since 2005, following complaints by rival publications that the promotions were unfair competition. Radio Times gets with the new fresher look on 3 September 1994 as the television listings had the day's name going vertical with "today's choices" replacing "at a glance" on the left of a page, while the major revamp on 25 September 1999, which
Mr. Men is a series of children's books by English author Roger Hargreaves commencing in 1971. From 1981, an accompanying series of Little Miss books by the same author, but with female characters were published. A similar series of animal characters known as Timbuctoo started in 1978. After Hargreaves's death in 1988, his son Adam Hargreaves began writing and illustrating new Mr. Men and Little Miss stories like Mr. Good, Mr. Cool, Mr. Rude, Little Miss Scary, Little Miss Bad and Little Miss Whoops; each book in the original Mr. Men and Little Miss series introduced a different title character and his/her single dominant personality trait to convey a simple moral lesson; the Mr. Men and Little Miss characters reappeared in other characters' books; as of 2015, a total of 85 Mr. Men and Little Miss characters had been featured in the series; the books' simple stories, with brightly coloured, boldly drawn illustrations, made them popular, with sales of over 100 million worldwide across 28 countries.
The first six Mr. Men books were published in United Kingdom in 1971, priced at 20p each. Mr. Tickle was the first Mr. Men character created by Hargreaves, inspired by his son, who had asked him what a tickle looked like. Hargreaves responded with orange figure with long, bendy arms. Over the course of the 1970s Roger Hargreaves produced 38 more Mr. Men in addition to Mr. Tickle, as well as producing a number of other Mr. Men books. In the 1980s Roger Hargreaves began the Little Miss series with'Little Miss Bossy' and he produced 21 characters and books; as well as this two special Mr. Men stories were created in 1985'Mr. Nobody' and'Mr. Christmas'. Both of these have been rereleased in years. Roger Hargreaves died in 1988 and his son Adam was to take over the franchise; when these books were released in the United States, several terms were changed to their American terms. In France, illustrator Colette David and writers Viviane Cohen and Evelyne Lallemand produced a number of new characters that were not released anywhere else in the world.
The characters'Mr. Crosspatch','Mr. No','Little Miss Yes','Little Miss All-Goes-Well','Little Miss Loud','Little Miss Careful','Little Miss Brilliant','Little Miss Busy-Body','Little Miss Vain','Little Miss Prim', and'Little Miss Selfish' were only released in France and Greece whereas four Mr. Men characters and nine Little Miss characters were published in English and can be seen listed below as being released in 1990. After his father's death, Adam Hargreaves took over the Mr. Men, he now writes new stories for them. A competition was held in the British Sunday Times newspaper for children to submit their own Mr. Men character for inclusion in a limited edition celebrating the 30th anniversary of the series. Mr. Cheeky, submitted by eight-year-old Gemma Almond, was selected as the winning entry. Gemma's creation led to a book featuring her character being published. In 2003 Adam created three new Little Miss characters, he created'Little Miss Christmas' to accompany'Mr. Christmas' after this book was rereleased with new illustrations.
In April 2004, Hargreaves' widow Christine sold the rights to the Mr. Men and Little Miss characters to UK entertainment group Chorion for £28 million. In 2006, to celebrate 35 years of Mr. Men and 25 years of Little Miss, Mr. Birthday and Little Miss Birthday were published. There was an art exhibition at the Animation Art Gallery in central London. In October 2006, Adam Hargreaves created the first Little Miss character based on a real person, Stella McCartney, which he named Little Miss Stella; this was published as a limited edition of 1,000 copies for use as fashion show invitations. In February 2011, 20th Century Fox and 21 Laps Entertainment announced plans for an animated film. In 2011, the Japanese design company best known as the creators of Hello Kitty, announced that they had reached an agreement to acquire the rights to the Mr. Men and Little Miss characters from Chorion after the company was forced into administration; this marked the first time that Sanrio had licensed a third-party character since owning the rights to Osamu Tezuka's Unico character in the late 1970s and early 1980s, returned to Tezuka Productions after Tezuka's death in 1989.
They own the rights to the Peanuts characters in Japan. In 2016, four new characters were launched to celebrate the series' 45th anniversary, Mr. Marvellous, Mr. Adventurer, Little Miss Fabulous and Little Miss Sparkle. In addition, Adam Hargreaves has created several commercial characters such as Mr. Glug for Evian water and Mr. First for money transfer company World First. In 2017, Adam Hargreaves launched a new series of books featuring characters from the BBC science fiction series, Doctor Who, with each book focusing on a different incarnation of the show's titular character; each book contains a title page, 16 to 18 text pages and 15 to 17 colour illustrations drawn with a Magic Marker. Where the name of the title Mr. Men character is too long to fit on the cover horizontally, instead of being in a reduced font size it curves down at the end; the typeface for the original books from Little Miss Bossy to Little Miss Star is Univers, with the books from Little Miss Busy to Little Miss Somersault using Helvetica.
All the other books in the series use Optima. The books are paperback with dimensions of 14 cm x 12.6 cm. If all the books of each series are put together in order the words'My Mr. Men library' or'My Little Miss library' can be read across the spines and an illustration of Walter the Worm or a flower can be seen; the stories are set in a fictional universe
Magna Carta Libertatum called Magna Carta, is a charter of rights agreed to by King John of England at Runnymede, near Windsor, on 15 June 1215. First drafted by the Archbishop of Canterbury to make peace between the unpopular King and a group of rebel barons, it promised the protection of church rights, protection for the barons from illegal imprisonment, access to swift justice, limitations on feudal payments to the Crown, to be implemented through a council of 25 barons. Neither side stood behind their commitments, the charter was annulled by Pope Innocent III, leading to the First Barons' War. After John's death, the regency government of his young son, Henry III, reissued the document in 1216, stripped of some of its more radical content, in an unsuccessful bid to build political support for their cause. At the end of the war in 1217, it formed part of the peace treaty agreed at Lambeth, where the document acquired the name Magna Carta, to distinguish it from the smaller Charter of the Forest, issued at the same time.
Short of funds, Henry reissued the charter again in 1225 in exchange for a grant of new taxes. His son, Edward I, repeated the exercise in 1297, this time confirming it as part of England's statute law; the charter became part of English political life and was renewed by each monarch in turn, although as time went by and the fledgling English Parliament passed new laws, it lost some of its practical significance. At the end of the 16th century there was an upsurge in interest in Magna Carta. Lawyers and historians at the time believed that there was an ancient English constitution, going back to the days of the Anglo-Saxons, that protected individual English freedoms, they argued that the Norman invasion of 1066 had overthrown these rights, that Magna Carta had been a popular attempt to restore them, making the charter an essential foundation for the contemporary powers of Parliament and legal principles such as habeas corpus. Although this historical account was badly flawed, jurists such as Sir Edward Coke used Magna Carta extensively in the early 17th century, arguing against the divine right of kings propounded by the Stuart monarchs.
Both James I and his son Charles I attempted to suppress the discussion of Magna Carta, until the issue was curtailed by the English Civil War of the 1640s and the execution of Charles. The political myth of Magna Carta and its protection of ancient personal liberties persisted after the Glorious Revolution of 1688 until well into the 19th century, it influenced the early American colonists in the Thirteen Colonies and the formation of the American Constitution in 1787, which became the supreme law of the land in the new republic of the United States. Research by Victorian historians showed that the original 1215 charter had concerned the medieval relationship between the monarch and the barons, rather than the rights of ordinary people, but the charter remained a powerful, iconic document after all of its content was repealed from the statute books in the 19th and 20th centuries. Magna Carta still forms an important symbol of liberty today cited by politicians and campaigners, is held in great respect by the British and American legal communities, Lord Denning describing it as "the greatest constitutional document of all times – the foundation of the freedom of the individual against the arbitrary authority of the despot".
In the 21st century, four exemplifications of the original 1215 charter remain in existence, two at the British Library, one at Lincoln Cathedral and one at Salisbury Cathedral. There are a handful of the subsequent charters in public and private ownership, including copies of the 1297 charter in both the United States and Australia; the original charters were written on parchment sheets using quill pens, in abbreviated medieval Latin, the convention for legal documents at that time. Each was sealed with the royal great seal: few of the seals have survived. Although scholars refer to the 63 numbered "clauses" of Magna Carta, this is a modern system of numbering, introduced by Sir William Blackstone in 1759; the four original 1215 charters were displayed together at the British Library for one day, 3 February 2015, to mark the 800th anniversary of Magna Carta. Magna Carta originated as an unsuccessful attempt to achieve peace between royalist and rebel factions in 1215, as part of the events leading to the outbreak of the First Barons' War.
England was ruled by the third of the Angevin kings. Although the kingdom had a robust administrative system, the nature of government under the Angevin monarchs was ill-defined and uncertain. John and his predecessors had ruled using the principle of vis et voluntas, or "force and will", taking executive and sometimes arbitrary decisions justified on the basis that a king was above the law. Many contemporary writers believed that monarchs should rule in accordance with the custom and the law, with the counsel of the leading members of the realm, but there was no model for what should happen if a king refused to do so. John had lost most of his ancestral lands in France to King Philip II in 1204 and had struggled to regain them for many years, raising extensive taxes on the barons to accumulate money to fight a war which ended in expensive failure in 1214. Following the defeat of his allies at the Battle of Bouvines, John had to sue for peace and pay compensation. John was personally unpopular with many of the barons, many of whom owed money to the Crown, little trust existed between the two sides.
A triumph would have strengthened his position, but in the face of his de
Sir Simon Michael Schama is an English historian specialising in art history, Dutch history, Jewish history and French history. He is a University Professor of Art History at Columbia University, New York, he first came to public attention with his history of the French Revolution titled Citizens, published in 1989. In the United Kingdom, he is best known for writing and hosting the 15-part BBC television documentary series A History of Britain broadcast between 2000 and 2002. Schama was knighted in the 2018 Queen's Birthday Honours List. Schama was born in London, his mother, was from an Ashkenazi Jewish family, his father, Arthur Schama, was of Sephardi Jewish background moving through Moldova and Romania. In the mid-1940s, the family moved to Southend-on-Sea in Essex before moving back to London. Schama writes of this period in the introduction to his 1996 book Landscape & Memory:I had no hill, but I did have the Thames, it was not the upstream river. It was the low, gull-swept estuary, the marriage bed of salt and fresh water, stretching as far as I could see from my northern Essex bank, toward a thin black horizon on the other side.
That would be Kent, the sinister enemy who always seemed to beat us in the County Cricket Championship. In 1956, Schama won a scholarship to the private Haberdashers' Aske's Boys' School in Cricklewood, he studied history at Christ's College, where he was taught by John H. Plumb, he graduated from the University of Cambridge with a Starred First in 1966. Schama worked for short periods as a lecturer in history at Cambridge, where he was a Fellow and Director of Studies in History at Christ's College, he taught for some time at Oxford, where he was made a Fellow of Brasenose College in 1976, specialising in the French Revolution. At this time, Schama wrote his first book and Liberators, which won the Wolfson History Prize; the book was intended as a study of the French Revolution, but as published in 1977, it focused on the effect of the Patriottentijd revolution of the 1780s in the Netherlands, its aftermath. His second book, Two Rothschilds and the Land of Israel, is a study of the Zionist aims of Edmond and James Rothschild.
In 1980, Schama took up a chair at Harvard University. His next book, The Embarrassment of Riches, again focused on Dutch history. Schama interpreted the ambivalences that informed the Dutch Golden Age of the 17th century, held in balance between the conflicting imperatives, to live richly and with power, or to live a godly life; the iconographic evidence that Schama draws upon, in 317 illustrations, of emblems and propaganda that defined Dutch character, prefigured his expansion in the 1990s as a commentator on art and visual culture. Citizens, written at speed to a publisher's commission saw the publication of his long-awaited study of the French Revolution, won the 1990 NCR Book Award, its view that the violence of the Terror was inherent from the start of the Revolution, has received serious negative criticism. He appeared as an on-screen expert in Michael Wood's 1989 PBS series, "Art of the Western World" as a presenting art historian, commenting on paintings by Diego Velázquez and Johannes Vermeer.
In 1991, he published Dead Certainties, a slender work of unusual structure and point-of-view in that it looked at two reported deaths a hundred years apart, that of British Army General James Wolfe in 1759 – and the famous 1770 painting depicting the event by Benjamin West – and that of George Parkman, murdered uncle of the better known 19th-century American historian Francis Parkman. Schama mooted some possible connections between the two cases, exploring the historian's inability "ever to reconstruct a dead world in its completeness however thorough or revealing the documentation", speculatively bridging "the teasing gap separating a lived event and its subsequent narration." Not all readers absorbed the nuance of the title: it received a mixed critical and academic reception. Traditional historians in particular denounced Schama's integration of fact and conjecture to produce a seamless narrative, but assessments took a more relaxed view of the experiment, it was an approach soon taken up by such historical writers as Peter Ackroyd, David Taylor, Richard Holmes.
Sales in hardback exceeded those of Schama's earlier works, as shown by relative rankings by amazon.com. Schama's next book and Memory, focused on the relationship between physical environment and folk memory, separating the components of landscape as wood and rock, enmeshed in the cultural consciousness of collective "memory" embodied in myths, which Schama finds to be expressed outwardly in ceremony and text. More personal and idiosyncratic than Dead Certainties, this book was more traditionally structured and better-defined in its approach. Despite mixed reviews, the book was won numerous prizes. Plaudits came from the art world rather than from traditional academia. Schama became art critic for The New Yorker in 1995, he held the position for three years, dovetailing his regular column with professorial duties at Columbia University. During this time, Schama produced a lavishly illustrated Rembrandt's Eyes, another critical and commercial success. Despite the book's title, it contrast