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Index: Broadcasting

Mrs Dalloway. Episode two.

It is so nice to be out in the air. If I stand quite still, I can be a poplar tree in early dawn. Hyacinths, fawns. Running water and garden lilies. London is so dreary, compared with being in the country with my father and the dogs. I am a pirate, reckless, unscrupulous, riding on the omnibus up Whitehall, all sails spread. I am free…’

Mrs Dalloway. Episode one.

You have such a command of language. You can put things as editors like them to be put. If you, Richard, advise me, and Hugh writes for me, I am sure of getting it right. I already have a selection of choice phrases use – such ‘we are of the opinion that the times are ripe’. Something about ‘the superfluous youth of our ever-increasing population’. A phrase about ‘what we owe to the dead’. That sort of thing.

Dramatising Mrs Dalloway.

Michelene Wandor: One must engage with the rhythms and the style of the original, so that the dramatising process remains faithful to these, as well as to the more obvious issues of story, etc. The consummate dramatiser is also a consummate critical reader, for whom part of the dramatisation is the challenge of including not only elements within the prose, but also, in a sense, re-reading the imperfections, the contradictions, the lacunae, even, in the text. This is essential because, of course, one is reading from the present, with one’s critical insights, whatever they are.

To the director-general of the BBC, every Muslim listener carries an AK47.

The BBC’s Mark Thompson: ‘‘Without question, ‘I complain in the strongest possible terms,’ is different from, ‘I complain in the strongest possible terms and I am loading my AK47 as I write.’ This definitely raises the stakes.’’

· Talent’s got Britain. Cowell’s got the world.

Michele Wandor: Cowell reminded us that, along with the £100,000 and a spot at the Royal Variety Performance, the winner’s career is assured. We know this from other talent shows, but the performing dog is now well out of the bag after Susan Boyle.

· William Shatner, boldly going right through the scenery.

But just as “Kafkaesque” doesn’t just describe the condition of having too much paperwork to do, “Shatnerian” isn’t merely shorthand for hammy acting demarcated by a certain truncated enunciation. More than that, to be Shatnerian is to be dynamically, effervescently alive in a role.

· In Libya, the banality of state-sponsored show biz.

But the clear, unstated strategic objective is regime change. It’s pretty obvious. And we’ve been here before.

Radio signals and royal symbols.

Stan Carey: Albert’s sympathetic listeners needed a reassuring and articulate voice from a figure of moral authority – a “symbol of national resistance”, as the end credits assure us he became. Indeed, the film can be read as a study of our relationships with symbols. We are what Terrence Deacon called the symbolic species, and our symbols can inspire fear as naturally as confidence.

This unwanted interruption is brought to you by the RIAA.

RIAA: For a single sound recording no more than three selections may be played and only two may be played consecutively. This poses a significant difficulty for a programming philosophy which has always centered on the belief that a composer’s work should be heard as it was intended to be enjoyed: as a complete piece of music.