Count Arthur Strong

 [Post about final episode here.]

For reasons I will make clear at a later date the subject matter - the yoking together of an embittered writer and a variety artist - is a bit close to home, but I thoroughly enjoyed Count Arthur Strong last night on BBC 2.

I always had a bit of a problem with the radio version, not really quite buying into the main character's past, which seemed rather vague and changeable. I kept thinking: okay, who's he meant to be? Who is this based on? and never finding a satisfactory answer. There was quite a lot of discussion on the now defunct BBC Radio 7 messageboard in which I participated.

But the TV version works, and Arthur now has a believable world to inhabit. Last night was about his being offered a small part in a radio play and (of course) messing it up with predictably hilarious results, but really it was the framing of that plot strand which made the whole thing so successful.

Round Britain Rejects even more ...

 A Ball boss, a bell boy, and a marked mobster. 

Why do they sound like lunatics?And in which dame's watery domain might they feel at home?

Answer below, if you admit defeat or disinterest and care to click.

Round Britain Rejects back again

Okay, here's one.

A Lawrentian betting aid; 
a Beatles' album before a family intervention; 
a hillbilly's tribute to the military; 
seventies popsters who went sky high. 

In what sort of concerto might you reasonably expect to find all of these and why?

Round Britain Rejects is back!

Alright, this wasn't actually sent to Round Britain Quiz, as I only thought of it just now, when I should have been doing other things. And it isn't the most complex question in the world. But it's there, and it may provide a few moments' diversion.

If Marillion and the Tremeloes offer a lead and the Newbeats' enthusiasm addresses a side issue, why might an American hip hop group provide a less than ideal accompaniment?