Biddy Baxter with Shep, Blue Peter's famous pet. Photo: Stuart Manning
Biddy Baxter is arguably the most famous backstage name on British television, definitely more famous than many of the stars of Blue Peter, the world's longest-running children's program, which she has directed for over a quarter of a century. (from 1962 to 1988). I was one of her successors as editor (between 2003 and 2007) and although it has been many years since she left, her spirit and standards were still deeply embodied in the show. That's why I described her in the title of my new biography as «The Woman Who Created Blue Peter.»
It was Biddy's dedication and audience dedication that transformed Blue Peter from a minor magazine show in the studio that began in 1958, aimed primarily at children ages five to eight, into a major national brand that is enjoyed, imitated, and talked about. about ridiculed, criticized, honored, an integral part of the DNA of generations of children who watched and dealt with their millions.
They could write a story, a picture, a poem, or an idea for a program. The award could be one of the famous Blue Peter badges that Biddy issued in 1963 that gave the privilege of free entry to all sorts of major attractions across the UK. The scheme was extremely popular and, for a one-sided medium, allowed the show to uniquely fit the tastes and interests of its audience. In the pre-Internet era, this gave children a powerful sense of ownership and belonging.
The core ingredients offered something for everyone: animals, action and adventure, top-notch competition, global exploration, strong storytelling, and regular advice on how to make everything from a living room for a doll to a Christmas present for your grandma. The fact that he was live twice a week, and that mistakes could and did happen, only added to the thrill.
Because Biddy insisted that her hosts memorize the script and then make all sorts of last-minute cuts and changes, there was more than a little extra excitement for everyone working on the show, too. The book details many of her clashes with presenters, production teams and BBC management as she insisted on better terms and the highest standards. Her motto was «never take no for an answer.»
Biddy Baxter in Blue Peter's office, 1960s. Photo: Stuart Manning.
When she wanted to take over the ring road at the Television Center to showcase a new high-tech car, and the BBC Jobsworths tried to stop her, she simply called the controller of BBC One and dismissed all objections. Never mind that the result was a stalemate around West London. The police were outraged, but when they learned that Blue Peter was responsible, they took no action.
The hosts came and went, but the program spoke with one voice — Biddy's voice. She had final say on every aspect of the content, wrote or rewrote all of the scripts, and was present in the studio as a forensic expert to make sure her point of view and emphasis prevailed. Even in an era of much less control and obedience, she had extraordinary power and control. And all this at a time when it was exceptionally rare for women to reach the kind of positions in television that Biddy managed to achieve at the age of 29 after working on school radio and television and Listen with Mom.
Biddy's visibility owed much to her dynamic personal style. There was no concept of «dressing up» — her clothes were stylish, expensive and attracted attention. A tall woman, she embraced her height and wore signature stilettos. The sound of them crashing down the metal stairs from the production gallery to the studio floor became a race memory for the hundreds of artists and technicians who all worked in its thrall, often in a state of fear and anticipation. What would she say, do, or decide next?
Biddy Baxter with Blue Peter's first dog Petra and parrot Joey in 1966 The presenters regularly encountered difficulties that caused goosebumps. One headmaster came to her, worried about the dizzying latest potentially deadly assignment. «Don't worry, dear,» Biddy advised, «if they're scared enough, they'll hold on tight.»
She knew only too well that her «artists» were adults with often complicated personal lives, but she didn't want the audience to know that. Biddy told me in an interview she gave me for the book that the philosophy was «you would have a familiar studio with hosts and animals, and come what may, they were there to the point every Monday and Thursday.»
She believed that leaders could be the only safe factor in a child's life, and it was their job to be present and correct twice a week, regularly, like clockwork. If the usual confusion of adult life approached or interfered — death, divorce, drunkenness or other human weaknesses — she saw it as her task to shield the public from them. The book is full of examples of the often painful impact of her uncompromising approach. There have been several seismic scandals, including a bitter dog custody battle over who should keep Shep's dog — the BBC or disgruntled presenter John Noakes.
Biddy Baxter with John Noakes at his death party in 1978. Photo: Richard Marson
Another presenter, Leslie Judd, was threatened with dismissal during his divorce from Basil Brush star Derek Foulds. For a while, her contract was only renewed in installments of three months to ensure her privacy and compliance.
In the course of studying the book, I quickly discovered that no one doubts Biddy: she inspires love or disgust. “Sometimes I got really angry and thought, ‘I’m going to kill this woman,’” recalls host Peter Purves. Others, like Sarah Green, adored her. “She was more like a Vogue editor than a kids program,” says Green. “Blue Peter was like going to TV University and she was the department head. Very funny, frighteningly smart, and in some cases frightening…”
I first encountered Biddy at the end of her Blue Peter marathon when I had just joined the BBC as an assistant or «runner», the most junior level in production. The lack of automatic prompts meant that presenters had to learn everything with a backup of strategically placed «idiot boards» (cue cards). One day I was on all fours writing for Caron Keating when a shadow fell over me. Biddy looked in my direction and frowned. “We pay them to learn their words!” she barked before leaving.
Biddy Baxter at her desk in 1988. Photo: Stuart Manning
Her own enemy was the new head of the orphanage, Anna Home. The two women never got along and Home made it clear that she wanted Blue Peter to develop without Biddy. Fired in the summer of 1988, Biddy never worked directly in television again, although she advised two subsequent CEOs and remained the unofficial matriarch of the program she did so much to define. When I was appointed editor, she became an ally. Always frank and cheerfully foul-mouthed, she used her words as a weapon with a well-aimed hit on the bull's-eye. By now, television has changed rapidly with a continuous carousel of controls. Politics and games prevailed. I was once asked to organize a series of blue sky workshops for a future show. I asked Biddy to join one of them and tried to prepare her for the jargon she was likely to hear.
«Of course, dear, I understand.»
That day, clutching their cappuccinos, a disparate group of television men gathered in one of the BBC's gleaming new conference rooms, with chrome furniture and etched glass. It didn't take long for one of the members to seriously start laying out his vision for the future.
«I have an idea …”
Biddy’s loud snort stopped him halfway.
“Everyone can have a “concept”! Sounds like a bad case of hot air to me. What the program needs is a constant stream of good, clear ideas that work for the audience. Do you have any?”
I called her “Miss Marple on acid” and sometimes “Stalin in heels.” The latter arose because of her habit of retouching the unpleasant. For example, I once mentioned firing the host.
“They didn't get fired,” Biddy insisted. «We just didn't renew their contract.»
When I pointed out that it was definitely the same thing, she strongly disagreed.
«No dear. Contracts are coming to an end. Much better to see it this way.»
Richard Marson and Biddy Baxter in 1998 Photo: Stuart Manning
Fitting facts to a story that plays better is one of Biddy's great skills. Revealing and exploring the truth was one of the imperatives of the book. Two examples: when gay host Michael Sundin was fired, was it really because of Biddy's homophobia? Did she really object to Janet Ellis having a child out of wedlock? In both cases, the answer was no, but her treatment of these and other hosts was undeniably harsh. Sundin only found out he had been abandoned when he molested Biddy to find time for that year's summer filming expedition.
Don't worry, you won't go, she told him sharply.
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Janet Ellis dryly remarks: «I used to think that Biddy was fluent on TV, but not human…»
Without a doubt, Biddy is one of the greatest pioneers of television who built their careers with amazing determination, confidence and aplomb. She had an indelible impact not only on the entire industry, but also on the lives of millions of viewers, to whom her devotion was absolutely sincere. In this 90th year, Biddy Baxter's name still has resonance, meaning and influence.
Biddy Baxter: The Woman Who Made Blue Peter is released by TenAcre Films for £17.99. It can be ordered on the website: tenacrefilms.bigcartel.com
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