Peter Denyer

Crown Court is an afternoon television courtroom drama produced by Granada Television for the ITV network that ran from 1972, when the Crown Court system replaced Assize courts and Quarter sessions in the legal system of England and Wales, to 1984.

The daily lives of the men and women at Sun Hill Police Station as they fight crime on the streets of London. From bomb threats to armed robbery and drug raids to the routine demands of policing this ground-breaking series focuses as much on crime as it does on the personal lives of its characters.

Dixon of Dock Green was a BBC television series following the activities of police officers at a fictional Metropolitan Police station in the East End of London from 1955 to 1976. Some episodes were later remade as a BBC radio series in 2005 and 2006.

A hapless but caring teacher tries to control his class of unruly kids. The teacher sees much good and potential in his pupils, much to the dismay of his fellow teachers who have lost hope in these kids.

After 17 years of married life, Chris and Katy Bunting are faced with being parents for the first time. The repercussions are only just starting to become apparent.

Romany Jones is a British sitcom created and written by Ronald Chesney and Ronald Wolfe for LWT. Broadcast between 1973 and 1975, the programme follows the comic misadventures of two layabout families living on a caravan site. Originally designed as a starring vehicle for James Beck (Dad's Army), the 1972 pilot and 1973 first series centred on Bert and Betty Jones (Jo Rowbottom), newlywed after seven years, who spend their wedding night in their rickety caravan, natural to Bert but distinctly alien to Betty, born and bred in Streatham. Most of the humour focused on life in theirs and a neighbouring caravan housing Lily and Wally Briggs (Queenie Watts and Arthur Mullard, although Arthur English was cast in the pilot). Following Beck's death after completion on the second series, Bert and Betty were written out, and replaced with a city gentleman and his debutante wife, both of whom remain blissfully oblivious to the Briggs' antics.

Dear John is a British sitcom created and written by John Sullivan. Two series and a special were broadcast between 1986 and 1987. The title refers to 'Dear John' letters, girls to their boyfriends breaking off a relationship. John discovers in the opening episode that his wife is leaving him for a friend, and he is forced to find lodgings. In desperation, he attends the 1-2-1 Singles Club and finds other members mostly social misfits. In 1988, an American adaptation of the same name was produced by Paramount for the NBC network, starring Judd Hirsch. It lasted for four seasons.

The Fenn Street Gang is a British television sitcom which ran for three seasons between 1971 and 1973. The series was created by John Esmonde and Bob Larbey, it was spun-off from their Please Sir! series.

Agony is a British sitcom produced by LWT for ITV, broadcast from 1979 to 1981. It stars Maureen Lipman as successful agony aunt Jane Lucas, whose own personal life and marriage is a disaster. It was written by Len Richmond, Anna Raeburn, Stan Hey and Andrew Nickolds. Although a comedy, Agony sometimes dealt with taboo issues such as drug use, racism, abortion, interracial relationships, and swinging, and was the first British sitcom to portray a gay couple as non-camp, witty, intelligent and happy people. It also openly mocked the government, the ruling classes, and religion, and occasionally contained dark and dramatic storylines.

Moody and Pegg was a bittersweet British comedy-drama, produced by Thames Television for ITV between 1974 and 1975. Derek Waring and Judy Cornwell starred in this series that accented comedy but also had moments of drama. Waring played Roland Moody, a newly divorced 42-year-old junk/antique dealer greatly anticipating freedom from matrimonial ties. Cornwell was cast as Daphne Pegg, plain spinster and dedicated civil servant in her early thirties who leaves her home in Bolton after realising that her office boss will never agree to marry her. She heads for London and a clean break, but, owing to a rogue estate agent's dealings, finds that a man - Moody - also has a valid lease arrangement for the property she acquires. Unable to work out who is the squatter, they agree to be feuding partners and share, forging a very uncomfortable situation that is exacerbated by Moody's prodigious line of visiting girlfriends. With hilarious consequences. Eventually, Moody loses in a winner-takes-all poker game and leaves, only to return in the second series. The title theme is The Free Life by prolific library music composer Alan Parker.

Mr. Hedges, the somewhat naive and idealistc teacher of the rebellious Class 5C, lobbies to have them allowed on the school camping trip despite much precedent to the contrary. Once on the camping trip Mr. Hedges pursues the local barmaid and the class indulge in their usual activities. A small feud with some stereotypical upper class children in red blazers is resolved with a false rape allegation. A case of some stolen money is resolved through Mr. Hedges trusting the class. At the final dance Mr. Hedges is ensnared in the romantic clutches of Miss Cutforth, contrary to his wishes.

Two London tailors horse around, wind up robbed, go to Rome and disrupt the Vatican.

Men behave in a beastly, chauvinistic manner at an office party, turning what should be a fun break from work into an exercise in bad taste.

In the late 1970s, rock 'n' roll was banned from television. One young man, our hero, led the battle against the TV ban. He searched the country for the biggest rock groups to perform at a concert in support of his cause. But the enemies of rock 'n' roll had other plans... The zany, madcap Never Too Young To Rock was made at the high point of glam rock in 1975. It offers a unique opportunity to experience the driving, feelgood sounds of the era’s top pop combos in their pomp. From the infectious choruses of Mud’s ‘Tiger Feet’ and ‘The Cat Crept In’, through the catchy doo-wop of The Rubettes, to percussive anthems like The Glitter Band’s ‘Angel Face’, this film provides aural nostalgia at its most intense.