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Anne Wood, CBE (née Savage;[2] born 18 December 1937) is an English children's television producer, responsible for creating shows such as Teletubbies with Andrew Davenport. She is also the creator of Tots TV, Boohbah and Rosie and Jim. She was a recipient of the Eleanor Farjeon Award.

Key Information

Career

[edit]

She qualified as a secondary school teacher through the Bingley Training College in Yorkshire and took up her first teaching post back home in Spennymoor. She married Barrie Wood in 1959 and moved to Surbiton in Surrey where she took up a teaching role at Hollyfield Road Secondary School. Their son, Christopher Wood, co-owns the company and is the producer of shows like Twirlywoos, etc.

This was the era of the first children's paperback book and Anne became an early pioneer of a children's paperback book club scheme for schools set up by Scholastic Publications. She retired from teaching on the birth of her daughter and was taken on by Scholastic as editor of their Children's Book Club.

Children's books

[edit]

When the Wood family moved to Byfleet in Surrey, she expanded her interest in how books and children's development could be brought together. In 1965, she founded and edited a quarterly magazine Books for Your Children, a publication aimed at parents, teachers, and librarians and fully supported by children's publishers. Initially the UK Arts Council supported the magazine with a small financial grant. As a further promotion of children's books, in 1969, Wood set up the Federation of Children's Book Groups, an organisation still in existence today. Also, in 1969, in recognition of her contribution to the promotion of children's books, Wood was awarded the Eleanor Farjeon Award.[3]

Television producer

[edit]
  1. Tyne Tees Television for ITV 1977 Puzzle Party hosted by Gyles Brandreth and featuring Gnigel the Gnu
  2. Yorkshire Television for ITV 1979 – 1983 Five series of The Book Tower, a programme aimed at stimulating children's interest in books. Hosts included Tom Baker and Stephen Moore. Winner of a Children's BAFTA in 1979[4] and 1982. Winner Prix Jeunesse 1980. 1982 the first series of Ragdolly Anna, based on the children's books by Jean Kenward (the first one was republished in 1983 to coincide with the series, with Anna herself from the programme on the cover). Innovative early 80s technology brought the ragdoll to life. The series starred Pat Coombs as the dressmaker owner of the ragdoll and Michele Davidson in the title role.
  3. Head of Children's Programmes for TV-am. In April 1983, introduced Roland Rat, a character created by David Claridge in The Spectacular Shedvision Show. The series is generally regarded as the saviour of the ailing breakfast television service. Roland took the audience from 100,000 to 1.8 million. Wood produced six further series, Rat on the Road (1983), Roland's Winter Wonderland (1983), filmed in Switzerland, Roland Goes East (1984), filmed in Hong Kong, Rat on the Road II (1984), Operation Fog I (1984), and Roland's Countdown to Christmas (1984). Concurrent with Roland Rat, Wood produced a Sunday morning series Rub-a-Dub-Tub – a magazine-style one-hour programme for very young children. It began transmission in February 1983.
  4. Ragdoll Productions Limited: Wood founded her own independent children's television production company in 1984. She retired from Ragdoll in 2021 leaving Christopher as the current owner.

Productions (with first transmission years)

[edit]
  • Pob's Programme for Channel 4 1985–1987 (3 series); 2 special videos produced: Pob and Friends, (1988); Pob Goes to Hospital (1990)
  • Playbox for ITV 1988–1989 (1 series) (35 programmes)
  • The Magic Mirror for ITV 1989 (1 series) British animation series with live action opening and closing sequences. First sponsored (Kellogg's) children's programme series shown on British television.
  • Boom! for Channel 4 1990–1991 (2 series) Innovative programme series aimed at giving "special needs" children a programme of equal status.
  • Storytime for BBC 1990 (series 5-6)
  • Rosie and Jim for ITV 1990–2000 (8 series)
  • Brum for BBC 1991–2002 (5 series)
  • Tots TV for ITV 1993–1998 (8 series)
  • Open a Door for BBC 1994–2003 (4 series)
  • Teletubbies for BBC 1997–2001 (5 series) (365 programmes)
  • Badjelly the Witch for BBC 2000 (movie) (Along with Norma Farnes)
  • Teletubbies Everywhere for BBC 2002 (2 series) (52 programmes)
  • Boohbah for GMTV and ITV 2003–2005 (2 series) (104 programmes)
  • What Makes Me Happy for Five 2005 (1 series)
  • Blips for ITV 2005–2006 (2 series)
  • In the Night Garden... for BBC 2007–2009 (2 series) (100 episodes)
  • Tronji for BBC 2009–2010 (2 series)
  • The Adventures of Abney & Teal for BBC 2011–2012 (2 series)
  • Dipdap for BBC 2011 (1 series) (52 programmes)
  • Twirlywoos for BBC 2015–2017 (4 series) (100 programmes)
  • B.O.T. and the Beasties for BBC 2021 (1 series) (50 programmes)

Awards

[edit]
  • 1969 Eleanor Farjeon Award (for services to children's books)[3]
  • 1974 Ronald Politzer Award (for book promotion)[3]
  • 1997 The Baird Medal of the Royal Television Society, Midland Centre[citation needed]
  • 1998 Fellowship of the Royal Television Society[5]
  • 1999 Veuve Clicquot Award for Business Woman of the Year 1998[3]
  • 2000 Commander of the Order of the British Empire for Services to Children's Broadcasting[3]
  • 2000 BAFTA Special Award Outstanding Contribution in Children's Television and Film[6]
  • 2003 Women in Film & Television awards the Olswang Business Award[3]
  • 2007 Harvey Lee Award for Outstanding Contribution to Broadcasting British Press Guild Awards[7]
  • 2010 Lifetime Achievement award from Mother and Baby Magazine[8]
  • 2013 Honorary Doctorate University of Birmingham[9]
  • 2014 Voice of the Listener and Viewer Award for Contribution to Children's Television[citation needed]

References

[edit]
[edit]
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Anne Wood

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from Grokipedia
Anne Wood CBE (born December 1937) is an English children's television producer renowned for founding in 1984 and creating innovative, globally popular series such as the preschool phenomenon . Born in , she began her career as a teacher with a focus on fostering children's love of reading, later pioneering initiatives in before transitioning to television production. Wood's early media work included launching Books for Your Children magazine in 1965 and establishing the Federation of Children's Book Groups in 1969, efforts that earned her the for distinguished service to children's books. In television, she produced the educational series The Book Tower for Yorkshire Television starting in 1979, which received BAFTA and Prix Jeunesse awards for its promotion of literacy. She subsequently headed the children's programming department at TV-am from 1981, where she introduced the iconic puppet character , significantly boosting the channel's youth audience. Under , a family-owned independent company, oversaw the creation of more than 1,500 programs viewed in over 120 countries, emphasizing imaginative and . Key successes include co-creating Rosie and Jim (1990–2000), the groundbreaking Teletubbies (1997–2001), In the Night Garden... (2007–2009), Twirlywoos (2015–2017), and the stop-motion series Brum (1991–2002). In 2006, she partnered with to form Worldwide, expanding international distribution until its acquisition by DHX Media in 2013. continues to influence children's media through and the Ragdoll Foundation, established in 1999 to support literacy and creativity initiatives. In 2024, she sought financing and partners for a new series amid concerns over the children's media market. Her contributions have garnered prestigious honors, including the Commander of the (CBE) in 2000 for services to children's television, a Special BAFTA Award in 2000, the Business Woman of the Year in 1998, and the BAFTA Children's Award for Outstanding Independent Production Company in 2008. She has also received honorary doctorates from the in 2013 and the in 2015. In a 2024 interview, Wood reflected on her legacy, defending the playful intent of her shows amid evolving cultural interpretations.

Early life

Childhood and upbringing

Anne Wood was born in 1937 in , , , into a working-class family rooted in the local . She grew up in the nearby village of Tudhoe Colliery, a small, close-knit coal-mining settlement marked by post-war austerity and industrial grit. This environment, characterized by cultural deprivation and limited artistic opportunities, fostered a strong sense of community amid economic hardship, where daily life revolved around the rhythms of mining work and familial support. In this drab, industrial setting, Wood experienced an early craving for books and imaginative outlets as vital escapes from the surrounding ugliness and constraints. Local libraries and the traditions prevalent in working-class families provided her initial sparks of , igniting a lifelong passion for that emphasized wonder and development. These formative influences, shaped by a lack of formal nurturing due to her and class, naturally propelled her toward a career in to inspire similar escapes for others.

Education and early teaching career

Anne Wood attended Alderman Wraith Grammar School in , , before enrolling at Bingley Training College in , where she qualified as a teacher in 1958. She began her teaching career as an at a in , . In 1959, Wood married Barrie Wood, with whom she had two children, Katherine and Christopher, during her early teaching years; the couple relocated to in , where she taught at Hollyfield Road Secondary School until 1965. The experience of raising her young children alongside her classroom responsibilities deepened Wood's interest in , particularly how family life intersected with educational practices. While teaching, she noted children's varying levels of engagement with literature and emerging media, such as books that sparked amid the constraints of ; these observations, rooted in her own background from a deprived mining community in , motivated her to seek ways to foster creativity beyond conventional teaching settings.

Literary contributions

Work in children's publishing

Anne Wood began her career in children's publishing in the early , drawing inspiration from her background as a to promote reading among young people. She joined Scholastic Publications, where she pioneered a children's club scheme designed to encourage schools to stock affordable books, making quality more accessible to students in an era before widespread digital resources. This initiative addressed the limited availability of engaging reading materials in educational settings, focusing on curated selections that could foster a love of reading from an early age. In 1965, Wood founded and took on the editorship of Books for Your Children, a quarterly targeted at parents, teachers, and librarians to advocate for the importance of home and school reading. The publication featured detailed reviews of children's books across genres, including hardbacks, paperbacks, and , alongside author interviews that highlighted emerging and established voices in . Wood's editorial approach was chatty and approachable, aiming to demystify book selection for non-experts while underscoring reading's role in . The magazine was published for approximately 30 years, ceasing around 1995. Distribution in the pre-digital era presented significant challenges, as the magazine relied heavily on subscriptions and word-of-mouth promotion due to a limited budget. Despite these hurdles, Books for Your Children grew through its national reach. The magazine's impact lay in elevating parental awareness of thoughtful book choices, convincing families that were as essential as everyday necessities for children's well-being and . By providing practical guidance on selecting age-appropriate and diverse titles, it helped bridge gaps in access to quality during the 1960s and 1970s.

Founding of children's book organizations

In 1969, Anne Wood founded the Federation of Children's Book Groups (FCBG), a national organization aimed at promoting enthusiasm for by linking and supporting local book groups that had emerged from her earlier magazine, Books for Your Children. The founding followed initial meetings among enthusiasts inspired by the magazine, which had sparked grassroots interest in reading promotion since 1965, leading to the formal establishment of the FCBG as a volunteer-led charity registered in . Wood served as the driving force, structuring it to foster community-driven activities without reliance on government funding, emphasizing self-sufficiency and widespread participation. As founder and long-term patron, organized key events to build momentum, including book fairs, author visits to schools and libraries, and nationwide reading campaigns that encouraged family and with . These initiatives helped the FCBG expand regionally, overcoming challenges such as limited funding—relying on donations and membership fees—and logistical hurdles in reaching rural areas, resulting in steady growth to thousands of members across hundreds of local groups by the . Milestones included the launch of annual national conferences, starting in the early , which brought together educators, authors, and volunteers for workshops and discussions to strengthen the network. That same year, Wood's efforts were recognized with the Award for distinguished services to children's books, highlighting the immediate impact of the FCBG in elevating national awareness and access to quality literature for young readers. The organization's volunteer structure ensured sustained growth, with Wood's patronage continuing to guide its mission of fostering lifelong reading habits through collaborative, non-commercial promotion.

Television career

Early roles in broadcasting

Anne Wood transitioned from her background in children's publishing to broadcasting in the mid-1970s, leveraging her literary expertise to create educational content for young audiences. She joined Tyne Tees Television as a children's television producer, where she focused on developing school-linked programs that bridged reading and visual media. One notable early production was Puzzle Party in 1977, a interactive game show hosted by Gyles Brandreth and featuring the puppet Gnigel the Gnu, designed to engage children through puzzles and fun educational challenges. In 1979, Wood moved to Yorkshire Television, continuing her emphasis on promotion with the creation and production of The Book Tower, which aired from 1979 to 1989. This innovative series featured dramatized readings of children's books by celebrity narrators, alongside expert reviews and author interviews, aiming to foster a love of reading among school-aged viewers. The program received a Children's BAFTA award for its contributions to educational broadcasting, highlighting Wood's skill in adapting print literature to engaging television formats. At Yorkshire Television, Wood further experimented with narrative styles in 1982 by producing Ragdolly Anna, a puppet-based series adapted from Jean Kenward's books, which explored imaginative storytelling through the adventures of a and her dressmaker companion. This work marked an early foray into , blending whimsy with moral lessons to captivate audiences and demonstrating her growing interest in innovative visual techniques. In 1981, Wood joined as Head of Children's Programmes to develop the department for the upcoming commercial service, which launched in 1983 amid a period of intense competition and regulatory change. She introduced , a irreverent character created with Roland Ratfink, whose satirical sketches and chaotic on-air antics significantly boosted the station's ratings among children and helped define engaging, fast-paced breakfast programming. Wood's tenure at , lasting until 1984, underscored her adaptability to while prioritizing original, child-focused content over imported animations.

Establishment of Ragdoll Productions

In 1984, following her departure from amid cost-cutting measures that prioritized imported cartoons over original British children's programming, Anne Wood founded as an independent television production company. She partnered with her husband, Barrie Wood, who transitioned from an advertising career to handle business operations full-time, providing essential support in the company's early management and ownership structure. This entrepreneurial shift allowed Wood to pursue her vision of creating original content tailored for young audiences, drawing on her prior experience with The Book Tower as a foundation for independent production. Ragdoll's initial focus centered on innovative, child-led programming that fostered through fantasy and play, while incorporating elements of diversity and non-verbal communication to engage preschoolers universally without relying heavily on . Wood aimed to develop educational yet entertaining content that encouraged creativity and emotional growth, setting the company apart in an era dominated by formulaic imports. The early years presented significant challenges, including limited —prompting Wood to enroll in a management course—and difficulties in securing initial funding and broadcast commissions. Despite these hurdles, obtained its first major commission from ITV for a puppet-based series in 1985, followed by collaborations with the , which helped establish viability. The company set up its first office in , , operating from modest premises to support these nascent efforts. Co-ownership extended to Wood's son, Christopher Wood, who joined in production roles and later became a key director, contributing to the company's creative and operational continuity. By 2021, had produced over 1,500 episodes across its catalog, reflecting the enduring success of its foundational strategy.

Major productions and innovations

Under Anne Wood's leadership at , Rosie and Jim (1990–1995) became one of the company's early successes, featuring 175 episodes of a live-action show where two characters embark on everyday adventures aboard a , exploring British culture and simple life lessons for young viewers. The series aired on ITV's Children's strand, blending with real-world settings to foster curiosity in preschool audiences. Another early hit was the stop-motion animated series Brum (1997–2004), following the adventures of a sentient vintage car in a showroom and beyond, with 65 episodes across three series that emphasized problem-solving and imaginative play through physical model animation. Building on this foundation, Tots TV (1993–1998) introduced diverse puppet characters—Tilly, Tom, and Tiny—in 276 episodes designed for preschool learning, emphasizing imaginative play and multilingual elements to promote inclusivity and early education. Broadcast initially on ITV and later repeated on CBeebies, the show encouraged interactive storytelling through its ragdoll protagonists' hidden house adventures. The pinnacle of Wood's innovations came with (1997–2001), a groundbreaking 365-episode series that revolutionized preschool television with its non-verbal format, featuring four colorful characters in a fantastical overseen by a baby-faced sun, tailored specifically for children under three. Developed through extensive observation of responses to stimuli, the program prioritized repetitive, sensory-rich content over dialogue to support early and social development, achieving global sales in over 120 countries and in 45 languages. In the 2000s, Wood expanded Ragdoll's portfolio with (2003–2006), an interactive series focused on and imaginative movement through 104 episodes of abstract, colorful animations and live-action segments encouraging children to mimic exercises. This was followed by In the Night Garden... (2007–2009), comprising 100 episodes of dreamlike narratives in a surreal garden setting, where characters like Igglepiggle and Upsy Daisy explore emotions and routines via gentle, rhythmic storytelling for very young viewers. Later, Twirlywoos (2015–2017) delivered 100 episodes featuring problem-solving bird-like creatures who playfully disrupt human routines, using stop-motion and live-action to teach cause-and-effect in an engaging, humorous way. Wood's approach emphasized research-driven design informed by child development experts, focusing on age-appropriate pacing, repetition, and sensory engagement for under-threes, often through international co-productions that adapted content for global markets while maintaining educational integrity. After her retirement in 2021, her son Christopher Wood assumed leadership as producer and company director, continuing Ragdoll's commitment to innovative children's content, including the B.O.T. and the Beasties (2021), a 50-episode exploration of alien worlds and creatures for preschoolers.

Awards and honors

Recognition for literary work

In 1969, Anne Wood received the Award from the Children's Book Circle for her outstanding services to , particularly through her founding of the Federation of Children's Book Groups (FCBG) and her editorship of the magazine Books for Your Children. This recognition highlighted her early efforts to promote reading among children by establishing networks for parents, teachers, and librarians to share resources and enthusiasm for quality literature. Wood's foundational role in the FCBG continued to be acknowledged for its enduring impact on children's and promotion, as the grew into a national network supporting book groups across the . During the FCBG's 50th anniversary celebrations in 2018–2019, tributes emphasized her vision in creating a self-funded charity that has influenced generations of readers, including the of a commemorative book, 50 Years of the Federation of Children’s Book Groups, which chronicled her contributions.

Accolades in television production

Anne Wood received significant recognition for her contributions to children's television production through . In 1997, she was awarded the Baird Medal by the Royal Television Society's Midland Centre, honoring her outstanding long-term contributions to children's programming. In 1998, Wood received the Business Woman of the Year award, recognizing her entrepreneurial success with . The success of , one of her flagship productions, elevated her profile further, leading to major accolades in 2000. That year, Wood received a Special Award for Outstanding Contribution to Children's Television and Film at the BAFTA Children's Awards, presented by director-general in acknowledgment of her innovative work in the field. Also in 2000, she was appointed Commander of the (CBE) in the List for services to children's broadcasting. In 2008, , under Wood's leadership, received the BAFTA Children's Award for Outstanding Independent Production Company. In 2013, the conferred an Honorary Doctor of the University (DUniv) upon Wood, recognizing her lifetime achievements in media and education, particularly through her pioneering television productions that blended entertainment with developmental learning. In 2015, she received an Honorary (LittD) from the for similar contributions. These honors underscore her enduring impact on the industry, emphasizing creative excellence and educational value in children's content.

Personal life and legacy

Family and personal background

Anne Wood married Wood, who had a background in television management, and together they raised two children, and . The couple initially lived in and a nearby suburb while Wood pursued her early career in and , with providing support through relocations tied to her professional opportunities. Their daughter became the director of a gallery in , while their son joined , heading production development and serving as a co-owner, reflecting the family's close involvement in her creative endeavors. The Wood family eventually relocated from their roots in to , establishing their home close to , where the supportive family environment allowed Wood to balance her demanding professional life with personal fulfillment. This dynamic was evident in shared activities, such as touring art galleries with and attending frequent performances at the Royal Shakespeare Company with and the children, fostering a household enriched by cultural pursuits. Wood's personal interests were deeply shaped by her experiences raising Katherine and Christopher, particularly in child development and psychology, which informed her intuitive understanding of young minds. She cultivated a cottage garden and restored a meadow of wildflowers at their Warwickshire home, finding solace in gardening as a counterbalance to her career. Her passion for the arts extended beyond family outings, viewing creative expression as integral to personal and familial well-being.

Philanthropy and retirement

In 1999, Anne Wood co-founded the Ragdoll Foundation with her husband Barrie Wood, which was initially funded by a grant of 15% of ' shares to support innovative projects in children's arts and media worldwide. The foundation has since provided grants to organizations promoting creative education and for young audiences, reflecting Wood's commitment to nurturing the next generation of content creators. Family involvement, including support from her son , has helped sustain its mission over the years. Wood retired from her role as managing director of on December 10, 2021, at the age of 83, after more than three decades at the helm. She transitioned leadership to her son Christopher Wood, who became the company's director and person with significant control. In retirement, Wood retained a part-time position as , continuing to offer guidance on new projects while stepping back from daily operations. As a patron of the Children's Media Foundation, Wood has advocated for high-quality British children's programming amid declining public funding. In 2024, she publicly critiqued the challenges facing the sector, noting how platforms like have disrupted traditional kids' TV by prioritizing short-form, algorithm-driven content over educational depth, leaving producers reliant on limited commissions. She emphasized the need for renewed investment to counter the influx of low-cost American imports. Wood's legacy endures as a pioneer in preschool television, with creating over 1,500 programs that have shaped global standards for engaging, child-centered content. In 2024 BAFTA discussions on integrating children's categories into main awards ceremonies, she highlighted the urgency of reviving production to preserve creative diversity and cultural relevance in an era dominated by streaming giants. In November 2025, Wood, along with , received the Lifetime Achievement Award for their work at . Earlier that month, she warned in an that YouTube's algorithm-driven content harms children's imaginative development, bypassing artistic responsibility.

References

  1. https://open.endole.co.uk/insight/people/1684588-anne-wood
  2. https://warwick.ac.uk/services/gov/hongrads/winter2017/anne_biog_-_november_2016.pdf
  3. https://www.thechildrensmediafoundation.org/public-service-media-report/writers/anne-wood-cbe
  4. https://www.imdb.com/name/nm1094701/
  5. https://www.ragdollfoundation.org.uk/our-story/
  6. https://www.c21media.net/news/anne-wood-bemoans-failed-uk-market-as-she-seeks-partners-for-preschool-show/
  7. https://metro.co.uk/2024/04/06/i-created-tots-tv-teletubbies-innocent-fun-twisted-20547953/
  8. https://www.theguardian.com/media/2001/jul/16/mediatop100200196
  9. https://www.ragdoll.co.uk/our-story/in-the-beginning/
  10. https://www.theguardian.com/society/2006/feb/01/childrensservices.guardiansocietysupplement
  11. https://www.nytimes.com/2004/01/04/magazine/she-speaks-3-year-old.html
  12. https://fcbg.org.uk/our-founder/
  13. https://booksforkeeps.co.uk/wp-content/uploads/2021/08/BfK-64-September-1990-optimized.pdf
  14. https://fcbg.org.uk/the-jean-russell-gift/
  15. https://files.eric.ed.gov/fulltext/ED235488.pdf
  16. https://fcbg.org.uk/our-history/
  17. https://www.thebookseller.com/news/fcbg-gears-50th-anniversary-celebrations-703971
  18. https://fcbg.org.uk/conference/
  19. https://www.thechildrensmediafoundation.org/support/patrons-2/anne-wood-c-b-e
  20. https://www.ragdoll.co.uk/about/ourpeople/
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  22. https://www.encyclopedia.com/books/politics-and-business-magazines/ragdoll-productions-ltd
  23. https://www.ragdoll.co.uk/our-story/
  24. https://www.wildbrain.com/trade-news/dhx-media-acquires-ragdoll-worldwide-owner-of-teletubbies-and-in-the-night-garden-children-s-br
  25. https://www.imdb.com/title/tt1372179/
  26. https://www.ragdoll.co.uk/about/
  27. https://www.imdb.com/title/tt0843233/
  28. https://www.hollywoodreporter.com/news/general-news/canadas-dhx-media-acquires-teletubbies-629827/
  29. https://current.org/1998/02/eh-oh/
  30. https://www.wildbrain.com/trade-news/teletubbies-celebrate-20-years-of-global-success
  31. https://www.imdb.com/title/tt0398429/
  32. https://www.awn.com/news/cbeebies-commissions-new-twirlywoos-episodes
  33. https://www.bbc.com/culture/article/20221110-teletubbies-the-bizarre-kids-tv-show-that-swept-the-world
  34. https://www.ragdoll.co.uk/our-shows/botandthebeasties/
  35. https://www.theguardian.com/media/2013/sep/16/teletubbies-owner-bought-canadian-dhx-media
  36. https://www.ragdoll.co.uk/wp-content/uploads/2017/11/Ragdoll_Awards.pdf
  37. https://www.broadcastnow.co.uk/veuve-clicquot-toasts-ragdolls-wood/1214079.article
  38. http://news.bbc.co.uk/2/hi/entertainment/1020282.stm
  39. https://www.birmingham.ac.uk/documents/university/governance/honorary-degrees-of-the-university-of-birmingham-since-2000.pdf
  40. https://www.telegraph.co.uk/culture/tvandradio/3613576/The-mother-of-all-Boohbahs.html
  41. https://www.heraldscotland.com/news/12270980.happy-ending-every-day-of-the-year/
  42. https://find-and-update.company-information.service.gov.uk/company/02654376/filing-history
  43. https://www.ft.com/content/0b13c7e7-e740-46c1-9ae9-6bfa57cc5fd1
  44. https://www.telegraph.co.uk/tv/2024/09/25/how-youtube-destroyed-kids-tv/
  45. https://www.theguardian.com/tv-and-radio/2024/sep/22/cbeebies-at-the-baftas-awards-aim-to-revive-magic-of-kids-tv
  46. https://www.ragdollfoundation.org.uk/our-story/our-people/
  47. https://www.theguardian.com/tv-and-radio/2025/nov/15/youtube-children-content-bad-for-imaginative-life-teletubbies-creator
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