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GCSE Media Studies – Set Product Factsheet -G&S: WJEC source 

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Doris O'Neill

Doris O'Neill was the elderly but lively neighbour of Gwen, and close friend of the West family. In the 2019 Christmas special Gwen mentions that Doris has since died and that it was Christmas Eve 2012 when it happened it is also mentioned that she'd left her house to Stacey.

Read more or see the archive.

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Gavin & Stacey Wiki is a collaborative website about the BAFTA award-winning comedy Gavin & Stacey. The wiki format allows anyone to create or edit any article, so we can all work together to create the site. Check out the FAQ to help you get started!

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Source 6: What’s Occurring? Barry since Gavin & Stacey 

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Source 6: What’s Occurring? Barry since Gavin & Stacey 

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 What’s Occurring? Barry since Gavin & Stacey

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Archive 4- plans for Wales to get back on the UK Trade and Investment cultural map (Creative Industries talks) - 4/6/2009

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Archive 4- plans for Wales to get back on the UK Trade and Investment cultural map (Creative Industries talks) - 4/6/2009

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Source 4: Gavin and Stacey Christmas special watched by 11.6 million people- The Guardian

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Source 4: Gavin and Stacey Christmas special watched by 11.6 million people- The Guardian

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The return of Gavin and Stacey for a Christmas Day special was watched by 11.6 million people, smashing the show's own viewing record and marking the biggest festive ratings success in more than a decade.

It makes it the most watched scripted programme of the year, significantly ahead of the 9.6 million people who watched Line of Duty's season finale in May and just behind the 11.7 million who tuned in to watch England's 2-1 defeat to USA in the semi-final of the women's football World Cup in July.

It was also almost double the viewing figures for the most-watched programme last year, when 6.3 million tuned in for the Queen's Christmas message. This year 6.4 million viewers watched the Queen's message as she admitted that 2019 had been a "quite bumpy" year.

The figures were a Christmas ratings triumph for the BBC, with the top seven most-watched shows all broadcast by the corporation. Coronation Street was the best placed show on a commercial channel, in eighth place, with 4.5 million viewers.

The 11.6 million who watched the Gavin and Stacey Christmas special represented a 49.2% share of viewers watching TV at the time. Such seasonal success has been unmatched since 2008 when 14.3 million tuned in to watch Wallace and Gromit. The figures underline the enduring popularity of the show, created by and starring James Corden and Ruth Jones. When it was last broadcast in 2010, with a New Year's Day special, it drew 10.2 million viewers.

The series follows the lives of the titular couple, played by Mathew Horne and Joanna Page, and their families and friends between Wales's Barry Island and Essex.

Nessa (Ruth Jones) and Bryn (Rob Brydon) sing The Fairytale of New York. Photograph: Tom Jackson/BBC/GS TV Productions Ltd

The Christmas Day episode ended on a cliffhanger as Jones's character, Nessa, proposes to Smithy, who is played by Corden.

Gavin and Stacey, first broadcast on BBC Three where it enjoyed a cult following and instant critical success, became the most nominated show in the 2007 British Comedy Awards. It earned more mainstream acclaim after switching to BBC One. It also established the global career of Corden, who has since become the host of the US talkshow The Late Late Show, featuring a Carpool Karaoke section in which he sings along with celebrities while driving an SUV.

The Christmas viewing figures buck a trend of declining live TV audiences and increasing audiences for streaming services such as Netflix and Apple TV.

But Elliot Gonzalez, founder of the I Talk Telly blog and a self-confessed Gavin and Stacey superfan, said the growth of streaming services had helped the show find new audiences.

"The show has put on almost 1.5 million since it was last on. Streaming services have helped with that growing fan base, because a lot of this new audience will only have seen it in the last few years on these new streaming services."

He also argued social media had boosted viewing figures. "Social media has brought back live viewing for a show like Gavin and Stacey. Although you can watch it whenever you like on catch-up, there's a fear of missing out by not watching it live. And people don't want to read spoilers online and find out what happens. Gavin and Stacey ends with such a massive cliffhanger [that] if you hadn't watched it live, it could have ruined it for you."

But Gonzalez said the success of the show masked the long-term decline of live TV. "If there wasn't a Gavin and Stacey this year then viewing numbers are the same, if not lower, than last year. For Coronation Street to get 4.5 million is quite low for any day of the year."

Charlotte Moore, the director of BBC content, said: "Christmas Day on BBC One brought the nation together and entertained them in their millions with the much anticipated return of Gavin and Stacey taking the top spot in 2019, and making it the biggest in a decade.

"We delivered something for everyone with the seven most popular programmes that cap off an incredible year for BBC One celebrating British talent and creativity."

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Gavin and Stacey Christmas special watched by 11.6 million people

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The return of Gavin and Stacey for a Christmas Day special was watched by 11.6 million people, smashing the show's own viewing record and marking the biggest festive ratings success in more than a decade.

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James Corden reveals TRUTH behind Gavin And Stacey reunion after meeting with co-creator Ruth Jones to discuss the show's cast

James Corden has revealed the truth behind the prospect of a Gavin And Stacey renunion - which will undoubtedly leave fans brokenhearted.

The star, 44, who wrote and starred as Smithy in the beloved show alongside co-creator Ruth Jones who played his love interest Nessa Shanessa Jenkins, has spoken out about the chances of reuniting the characters.

Speaking about the possibility of a show return - shortly before he is set to step down as host of The Late Late Show after eight years - he admitted the distance between the pair means that they could not write remotely.

He told The Sun: 'In truth Ruth and I met up at Christmas ... and I know it will be a disappointment, but we didn't talk about it in life-growing forms. We talked about who we had spoken to from the cast recently, but that was about it.'

James, who said he only thinks about his characters when he's with Ruth, added: 'It is whether we decide to get into a room together and honestly I could not tell you what the chances are of that. We both have to be ready and right.'

Watch the iconic series, Gavin & Stacey available now only on Stan.

Gavin And Stacey first aired in 2007 and ran for just 21 episodes, spanning three seasons and two Christmas specials. The show's popularity was stratospheric with 2019's Christmas special garnering a whopping 18.49million viewers.

Rumours have long-circulated about the possibility of another series or special, yet James appears to be staunch on his stance.

He said: 'It is wonderful people loved the characters that much and whenever I'm back home, and chat with the cabbies they say, 'You've done well for yourself'...

'It's lovely. But now people only want a good show. I don't think about [Smithy and Nessa's future] until Ruth and I are in a room.

'We cannot write remotely; we tried it when I was in New York with The History Boys and we tried it over Skype, and we couldn't do it.

'It is whether we decide to get into a room together and honestly I could not tell you what the chances are of that. We both have to be ready and right.'

Speaking to Lorraine on Monday, James added: 'Gavin and Stacey, Ruth is one of my best friends and I saw her at Xmas and we never even spoke about it...

'Normally [in LA at The Late Late Show] there is a Brit in the crowd and 3 out of 4 days they ask me about Smithy and Nessa. We won't do it unless we think we can do it without letting people down

Last month, Matt Horne, who played the titular character Gavin, shut down speculation of a Gavin & Stacey reunion, admitting that it would be hard to get some 'successful people' on board.

The actor, 43, claimed that fans desiring the comedy's return 'is not enough of a reason', adding that the writers 'want to make sure that they have a story' first.

He added how difficult it was to get the ensemble together for the 2019 Christmas special, which was later declared the most-viewed non-sporting event in a decade.

He said: 'Obviously, the BBC would like more. James [Corden] and Ruth [Jones] have always said that they would only do more if they had a story and a reason to do it.

'Just because people want it is not enough of a reason to do it for them. They want to make sure that they have a story. They don't want to let the the piece down and let the audience down. They don't just want to do it for the sake of doing it.

'I genuinely don't know if they're planning on doing more.'

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James Corden reveals TRUTH behind Gavin And Stacey reunion

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James Corden has revealed the truth behind the prospect of a Gavin And Stacey renunion - which will undoubtedly leave fans brokenhearted. The star, 44, who wrote and starred as Smithy in the beloved show alongside co-creator Ruth Jones who played his love interest Nessa Shanessa Jenkins, has spoken out about the chances of reuniting the characters.

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Archive 3- Ofcom report: offensive language (p23-27)- July 2012

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Archive 3- Ofcom report: offensive language (p23-27)- July 2012

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Source 1: “Gavin & Stacey” is a reminder that Britons can put differences aside: I’m not going to lie 

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Source 1: “Gavin & Stacey” is a reminder that Britons can put differences aside: I’m not going to lie 

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Source 3: Gavin & Stacey to return for Christmas

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Source 3: Gavin & Stacey to return for Christmas

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Gavin & Stacey to return for Christmas - ProQuest

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Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.

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Source 7: Gavin & Stacey: what made the BBC sitcom so special

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Source 7: Gavin & Stacey: what made the BBC sitcom so special

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As a 2019 Christmas reunion is announced, we look back fondly at hit comedy Gavin & Stacey...

BBC Three gave me a lot of enjoyment over the years, and not just in the shape of nightly Family Guy episodes to fall asleep to punctuated by 60-second bursts of showbiz news. James Corden and Ruth Jones' Gavin & Stacey is probably the BBC Three original that I love more than any other, and is one of those very rare shows that everyone in my family would gather around to watch. With news of a Christmas special reunion episode announced, here's what made it such a hit.

The show began its life on BBC Three in May 2007, before transitioning to BBC Two and eventually BBC One as its popularity grew rapidly across its all-too-brief run of three years and 20 episodes. This is one of many examples of how BBC Three's willingness to invest in a promising little comedy series resulted in a barnstorming success for the BBC at large.

The beauty of Gavin & Stacey is in its simplicity. The set-up is one that could happen to any of us; an engrossing love story spawned from the mundanity of office life. The show opens with a snapshot of ordinary existence: Gavin Shipman and Stacey West, both trudging through their boring office jobs with desks, phones and computers.

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I've rewatched all 20 episodes before writing this, and I still couldn't tell you what they actually do for a living. Something relating to computers - as Gav explains to Bryn after a lengthy tutorial from Rob Brydon's Welshman about the importance of remembering 'www.' - is all the show tells us. Because of course, these day jobs aren't really important. What is important? That would be the bond that the titular duo has formed over countless work-related phone-calls.

And so: a blind date. Again, this is something that happens to a lot of us over the course of our lifetimes. Taking a gamble, putting yourself out there, and putting hope in the universe that the potential romantic pairing will work out for the best. In coming to London in that first episode, Stacey does what all of us have done at some stage by putting her love life in the hands of fate.

And, of course, with every romantic leap of faith comes the best mates who won't hear the end of it. Enter Smithy and Nessa, the unenthusiastic chums who are dragged reluctantly along to provide back-up should the date go awry. And enter Mick, Pam, Bryn and Gwen - the family members, ranging from sturdy to erratic, who wish them the best. Most of us have people like this in our lives; our nearest and dearest family, who, despite getting on our nerves regularly, always seem to pull through.

Gavin & Stacey 's pilot episode slots all these pieces into place within about five minutes. Most people who stuck around to watch all twenty episodes were probably hooked by this engaging opening, which set up a relatable-but-exciting and totally enduring comedy drama without wasting any time. This not one of those 'stick through the first seven episodes, it gets good' programmes that seem to be growing in number these days; it's golden from the start.

Of course, the set-up wouldn't work if the characters and the casting weren't right. This is an area that Gavin & Stacey really excels in. It knows which characters need to be quirky and over-the-top, and it knows which ones have to play it straight. It's a careful balance for the writers and the cast to have to maintain, but they pull it off consistently.

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One of the show's biggest strengths is that its title characters aren't wacky weirdos played for cheap laughs. Gavin is one of the straight men of the ensemble, with Matthew Horne giving a level-headed and reliable everyman performance. Yes, he does the robot from time to time and joins in with the in-jokes, but he's not the one bursting into every scene and cracking wise.

Likewise, Stacey isn't a manic pixie dream girl or an over-the-top caricature of modern womanhood. She's an ordinary likeable lass, with flaws and fears, played wonderfully by Joanna Page. These two well-balanced-compared-to-the-rest-of-them protagonists provide ciphers for the viewers. Regardless of your gender, in most episodes you'll probably find something to relate to in Gavin and/or Stacey.

The wackier behaviour is left to supporting characters like Smithy and Nessa, portrayed by James Corden and Ruth Jones respectively, who also wrote the show. In creating these characters for themselves, Corden and Jones fashioned a bottomless pit of comedic potential. Without them, the show simply wouldn't work.

Smithy is the iconic lad's best mate: he has a nickname for everything and everyone, is constantly turning up unannounced at his mate's parents' house, and has a soft side that he'd like to think is hidden (but really isn't). Whether he's waking up in a bathtub on the job, jokingly chatting-up Pam and/or Dawn, lamenting the behaviour of his teenage girlfriend, nonchalantly acting like he hasn't just had sex in the garden, crying because Gav's left, or belting out bonafide tunes like World In Motion, Do They Know It's Christmas? or American Boy, Smithy confidently gobbles up big laughs in every episode.

The same goes for Nessa (full name Vanessa Shannesa Jenkins), who gradually gets odder and odder as the series goes on. Ruth Jones' show-stealing performance managed to make the barely-even-a-word line 'oh!' into a hilarious recurring gag. And that's not to mention her collection of comedic jobs and hobbies (from trucker to Santa to palm-reader), ever-expanding list of celebrity romantic conquests (including Dodi Fayed, Russell Brand and a cameo-making John Prescott) and unseen-but-teased unconventional bedroom techniques (never mention toilet brushes to Smithy, and all that).

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Less hard-working writers might think that two big comedic characters are enough, but Corden and Jones don't stop there. Pam, Gavin's mum, could easily have been a boring side-note. But instead Alison Steadman's character is a bombastic force of nature, who'd pretend she was a vegetarian if it meant keeping the in-laws happy, mount a protest/BBQ against a pylon being erected, and happily start a race war with the Welsh contingent after a few drinks. She's paranoid, overly-excitable and utterly hilarious.

And on the Welsh side of the fence, Rob Brydon's Bryn more than holds his own in the comedic throng. Whether he's skirting around the fishing-trip-that-shall-not-be-discussed, developing his interesting relationship with technology ("that's the beauty; after I've put all of mine on, I've still got room for 49,853 songs"), singing with Nessa, stressing out over the surprise party, working out with Smithy or interacting over-enthusiastically with all the lads, Bryn garners big laughs on regular occasions.

Even the roles that don't need to be funny are funny: Mick is mostly a straight man, but Larry Lamb still gets laughs through pointing out Pam's absurdity; Gwen raises a chuckle every time she offers an omelette; Pete and Dawn's attempts to overcome their differences are always laugh-worthy; and, raunchy OAP Doris is good comedy value as well ("there's the salad, now leave me alone!")

Some shows are happy with having one or two really funny characters, with everyone else playing it straight to heighten the appeal of the main joke-makers. Gavin & Stacey avoids this pitfall, ensuring that every character between these two oft-warring families gets their chance to shine. Top stuff.

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So yes, Gavin & Stacey has a strong premise, quotable lines, engaging characters and top performances throughout. But, truth be told, I don't think these are the only reasons that the show was so popular.

After all, lots of shows have nice ideas and good actors, but very few of them ignite the nation's interest to such a degree that two characters get to make a number one single with Tom Jones, while another gets to coach the England football team in a Comic Relief sketch. This is a show that almost everybody seemed to love, and I think a big part of that is the human drama at its core.

These characters, however wacky some of them might be, are constantly embroiled in relatable personal dilemmas. In the very first episode, for example, comedy was wrought from the fact that Stacey's family were so nervous about her traveling to Essex to meet a boy. Somehow, the purchase of a rape alarm led to multiple big laughs. Moments like these are right in the middle of the Gavin & Stacey Venn diagram, where real human drama meets side-splitting comedy.

As the show progressed, it spent more and more time in this central section where laughs meet big topics. In series one, Gavin and Stacey's relationship showed us the ideal romantic timeline of dating, engagement and marriage. Meanwhile, Nessa and Smithy showed us the less glossy alternative: one night stand with someone you don't even claim to like, awkwardly trying to avoid each other, unplanned pregnancy.

Relationships can go any number of different ways, and Gavin & Stacey 's biggest strength is in showing us the whole gamut of possibilities. Not just in the contrast between Gavin's love life and Smithy's, but also in the romantic entanglements of the supporting characters.

In Billericay, we get Pam and Mick happily cohabiting through thick and thin, while Pete and Dawn constantly turn up to events and slag each other off. In Barry, Gwen is a widow who puts all of her energy into omelette-making, Bryn lives alone gets incredibly enthusiastic at the possibility of human contact, and Doris lives a promiscuous lifestyle with a range of suitors. From the start, Dave Coaches' history of STDs is a common discussion point, too.

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Gavin & Stacey doesn't just show us these things and play them for laughs, either. Over its 20 episodes, it dug surprisingly deep in the inner turmoil of its characters. Series two, for example, showed Smithy running and hiding at the driving range upon learning that he's set to be a father.

He doesn't know what to do, and his first move upon returning is to propose. He hasn't got a clue if this is the right thing to do, and promptly gets rejected. This is believable behaviour, allowing the show to explore dramatic areas without ever losing its comedic footing.

Smithy's fatherhood arc is one of the strongest narrative threads of the show. Rarely is a comedy series brave enough to show something as real and sad as a father who can't see his son half as much as he'd like. I've rarely hated a TV character as much as Dave Coaches, just because he's the obstacle to Smithy's happiness. The christening episode, in particular, is tough watch (but still funny: "why is he in a dress?").

It takes Smithy until the final episode to announce his true feelings for Nessa, and even then he admits that he only truly likes select moments of their time together. Love isn't black and white. Sometimes it's impossible to make sense of. Again, how often does a show tackle a topic like that and stay funny ("it's true, most of the time I find you repulsive").

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And life wasn't easy for the title characters either. Their position as the idyllic alternative to Smithy and Nessa was short-lived. In series two, Stacey got seriously homesick in Billericay and resultantly moved back home and separated from Gav. Smithy was making jokes about the marriage being over and how awkward that would be for him, and at one point such an outcome felt like a serious possibility.

Things didn't get much better in series three, with Gavin finding out about his low sperm count. This show wasn't afraid to take risks and tackle serious issues. Now it was Gav feeling sad, in need of a poignant pep talk from his dad. And the jokes didn't try up either (with a reference to 'swimmers' in the beach episode leading to a 'Sorry, Gav' from Pam).

This is why Gavin & Stacey has such longevity and captured audience interest so much: beneath the initial broadly comedic veneer (e.g. Welsh people marvelling over mint Baileys), there's always an underlying web of real human emotions. Even if Nessa's latest barmy backstory detail may have been what we all talked about week on week, it was the relatable dramas that kept us coming back next time.

Bravo then, to all involved in the show. Oh go on, all together now... "Meet me tomorrow, I'll wait by the window for you..."!

A version of this article was first published in 2016.

Rob Leane has written for this loveable website for over five years. In his spare time, he's caught hundreds of Pokémon and sunk days of his...

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Gavin & Stacey: what made the BBC sitcom so special

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As a 2019 Christmas reunion is announced, we look back fondly at hit comedy Gavin & Stacey... BBC Three gave me a lot of enjoyment over the years, and not just in the shape of nightly Family Guy episodes to fall asleep to punctuated by 60-second bursts of showbiz news.

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This section outlines the rules around scheduling and content information in programmes with regard to protecting children under the age of eighteen.

(Relevant legislation includes, in particular, sections 3(4)(h) and 319(2)(a) and (f) of the Communications Act 2003, Article 27 of the Audiovisual Media Services Directive, Article 10 of the European Convention on Human Rights, and the BBC Charter and Agreement.)

This section must be read in conjunction with Section Two: Harm and Offence.

Principle

To ensure that people under eighteen are protected.

Scheduling and content information

1.1: Material that might seriously impair the physical, mental or moral development of people under eighteen must not be broadcast.

1.2: In the provision of services, broadcasters must take all reasonable steps to protect people under eighteen.

1.3: Children must also be protected by appropriate scheduling from material that is unsuitable for them. Although scheduling requirements in this section are not relevant to the provision of programmes on demand, the BBC must put in place appropriate measures on BBC ODPS that provide equivalent protection for children.

Meaning of "children"

1.4: Television broadcasters must observe the watershed.

Meaning of "the watershed"

1.5: Radio broadcasters must have particular regard to times when children are particularly likely to be listening.

Meaning of "when children are particularly likely to be listening"

1.6: The transition to more adult material must not be unduly abrupt at the watershed (in the case of television) or after the time when children are particularly likely to be listening (in the case of radio). For television, the strongest material should appear later in the schedule.

1.7: For television programmes broadcast before the watershed, or for radio programmes broadcast when children are particularly likely to be listening, or for BBC ODPS content that is likely to be accessed by children, clear information about content that may distress some children should be given, if appropriate, to the audience (taking into account the context).

(For the meaning of "context" see Section Two: Harm and Offence.)

Meaning of "likely to be accessed by children"

The coverage of sexual and other offences in the UK involving under-eighteens

1.8: Where statutory or other legal restrictions apply preventing personal identification, broadcasters should also be particularly careful not to provide clues which may lead to the identification of those who are not yet adult (the defining age may differ in different parts of the UK) and who are, or might be, involved as a victim, witness, defendant or other perpetrator in the case of sexual offences featured in criminal, civil or family court proceedings:

by reporting limited information which may be pieced together with other information available elsewhere, for example in newspaper reports (the 'jigsaw effect');

inadvertently, for example by describing an offence as "incest"; or

in any other indirect way.

(Note: Broadcasters should be aware that there may be statutory reporting restrictions that apply even if a court has not specifically made an order to that effect.)

1.9: When covering any pre-trial investigation into an alleged criminal offence in the UK, broadcasters should pay particular regard to the potentially vulnerable position of any person who is not yet adult who is involved as a witness or victim, before broadcasting their name, address, identity of school or other educational establishment, place of work, or any still or moving picture of them. Particular justification is also required for the broadcast of such material relating to the identity of any person who is not yet adult who is involved in the defence as a defendant or potential defendant.

Drugs, smoking, solvents and alcohol

1.10: The use of illegal drugs, the abuse of drugs, smoking, solvent abuse and the misuse of alcohol:

must not be featured in programmes made primarily for children unless there is strong editorial justification;

must generally be avoided and in any case must not be condoned, encouraged or glamorised in other programmes broadcast before the watershed (in the case of television), when children are particularly likely to be listening (in the case of radio), or when content is likely to be accessed by children (in the case of BBC ODPS) unless there is editorial justification;

must not be condoned, encouraged or glamorised in other programmes likely to be widely seen, heard or accessed by under-eighteens unless there is editorial justification.

Violence and dangerous behaviour

1.11: Violence, its after-effects and descriptions of violence, whether verbal or physical, must be appropriately limited in programmes broadcast before the watershed (in the case of television), when children are particularly likely to be listening (in the case of radio) or when content is likely to be accessed by children (in the case of BBC ODPS) and must also be justified by the context.

1.12: Violence, whether verbal or physical, that is easily imitable by children in a manner that is harmful or dangerous:

must not be featured in programmes made primarily for children unless there is strong editorial justification;

must not be broadcast before the watershed (in the case of television), when children are particularly likely to be listening (in the case of radio), or when content is likely to be accessed by children (in the case of BBC ODPS), unless there is editorial justification.

1.13: Dangerous behaviour, or the portrayal of dangerous behaviour, that is likely to be easily imitable by children in a manner that is harmful:

must not be featured in programmes made primarily for children unless there is strong editorial justification;

must not be broadcast before the watershed (in the case of television), when children are particularly likely to be listening (in the case of radio), or when content is likely to be accessed by children (in the case of BBC ODPS), unless there is editorial justification.

(Regarding Rules 1.11 to 1.13 see Rules 2.4 and 2.5 in Section Two: Harm and Offence.)

Offensive language

1.14: The most offensive language must not be broadcast before the watershed (in the case of television), when children are particularly likely to be listening (in the case of radio), or when content is likely to be accessed by children (in the case of BBC ODPS).

1.15: Offensive language must not be used in programmes made for younger children except in the most exceptional circumstances.

1.16: Offensive language must not be broadcast before the watershed (in the case of television), when children are particularly likely to be listening (in the case of radio), or when content is likely to be accessed by children (in the case of BBC ODPS), unless it is justified by the context. In any event, frequent use of such language must be avoided before the watershed.

(Regarding Rules 1.14 to 1.16 see Rule 2.3 in Section Two: Harm and Offence.)

Sexual material

1.17: Material equivalent to the British Board of Film Classification ("BBFC") R18-rating must not be broadcast at any time.

1.18: 'Adult sex material' - material that contains images and/or language of a strong sexual nature which is broadcast for the primary purpose of sexual arousal or stimulation - must not be broadcast at any time other than between 2200 and 0530 on premium subscription services and pay per view/night services which operate with mandatory restricted access.
In addition, measures must be in place to ensure that the subscriber is an adult.

Meaning of "mandatory restricted access"

1.19: Broadcasters must ensure that material broadcast after the watershed, or made available on BBC ODPS, which contains images and/or language of a strong or explicit sexual nature, but is not 'adult sex material' as defined in Rule 1.18 above, is justified by the context.

(See Rules 1.6 and 1.18 and Rule 2.3 in Section Two: Harm and Offence which includes meaning of "context".)

1.20: Representations of sexual intercourse must not occur before the watershed (in the case of television) , when children are particularly likely to be listening (in the case of radio), or when content is likely to be accessed by children (in the case of BBC ODPS), unless there is a serious educational purpose. Any discussion on, or portrayal of, sexual behaviour must be editorially justified if included before the watershed, when children are particularly likely to be listening, or when content is likely to be accessed by children on BBC ODPS, and must be appropriately limited.

Nudity

1.21: Nudity before the watershed, or when content is likely to be accessed by children (in the case of BBC ODPS), must be justified by the context.

Films and mandatory daytime protection

Meaning of "mandatory daytime protection"

1.22: No film refused classification by the British Board of Film Classification (BBFC) may be broadcast, unless it has subsequently been classified or the BBFC has confirmed that it would not be rejected according to the standards currently operating. Also, no film cut as a condition of classification by the BBFC may be transmitted in a version which includes the cut material unless:

the BBFC has confirmed that the material was cut to allow the film to pass at a lower category; or

the BBFC has confirmed that the film would not be subject to compulsory cuts according to the standards currently operating.

1.23: BBFC 18-rated films or their equivalent must not be broadcast before 2100, on any service (except behind mandatory daytime protection), and even then they may be unsuitable for broadcast at that time.

1.24: Provided that mandatory daytime protection is in place pre-2100 and post-0530 (or pre-2000 and post 0530 for up to BBFC 15-rated films or their equivalent on premium subscription film services), programmes that are unsuitable for children that would usually be scheduled after the watershed, and films up to BBFC 18-rated or equivalent, may be broadcast on television at any time of day. Clear information must be provided with programme and film content that will assist adults to assess its suitability for children, and the mandatory daytime protection which is in place must be clearly explained to all viewers.

When not using mandatory daytime protection, broadcasters must comply with Ofcom's rules on scheduling and the watershed (see Rules 1.1 to 1.7).

Note:

1.25: Pay per view services may broadcast up to BBFC 18-rated films or their equivalent, at any time of day provided that mandatory daytime protection is in place pre-2100 and post-0530.

In addition:

information must be provided about programme content that will assist adults
to assess its suitability for children;

there must be a detailed billing system for subscribers which clearly itemises
all viewing including viewing times and dates; and

those security systems which are in place to protect children must be clearly explained to all subscribers.

(See meaning of "mandatory daytime protection" above.)

1.26: BBFC R18-rated films must not be broadcast.

Exorcism, the occult and the paranormal

1.27: Demonstrations of exorcisms, occult practices and the paranormal (which purport to be real), must not be shown before the watershed (in the case of television) or when children are particularly likely to be listening (in the case of radio), or when content is likely to be accessed by children (in the case of BBC ODPS). Paranormal practices which are for entertainment purposes must not be broadcast when significant numbers of children may be expected to be watching, or are particularly likely to be listening, or when content is likely to be accessed by children (in the case of BBC ODPS), (This rule does not apply to drama, film or comedy.)

(See Rules 2.6 to 2.8 in Section Two: Harm and Offence and Rule 4.7 in Section Four: Religion.)

The involvement of people under eighteen in programmes

1.28: Due care must be taken over the welfare and the dignity of people under eighteen who take part or are otherwise involved in programmes. This is irrespective of any consent given by the participant or
by a parent, guardian or other person over the age of eighteen in loco parentis.

1.29: People under eighteen must not be caused unjustified distress or anxiety by their involvement in programmes or by the broadcast of those programmes.

1.30: Prizes aimed at children must be appropriate to the age range of both the target audience and the participants.

(See Rule 2.16 in Section Two: Harm and Offence.)

Footnotes:

[1] Scheduling requirements in Rules 1.3, 1.4, 1.5 and 1.6 do not apply to BBC ODPS.

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Section one: Protecting the under-eighteens

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This section outlines the rules around scheduling and content information in programmes with regard to protecting children under the age of eighteen. (Relevant legislation includes, in particular, sections 3(4)(h) and 319(2)(a) and (f) of the Communications Act 2003, Article 27 of the Audiovisual Media Services Directive, Article 10 of the European Convention on Human Rights, and the BBC Charter and Agreement.)