‘Just that kids’ thing’
The politics of ‘Crazyspace’, children’s television and the case of The Demon Headmaster
in Popular television drama
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

The BBC drama series The Demon Headmaster managed to combine the contrasting terrains of 'quality' children's television drama with the more commercial requirements of 'wacky kidvid' to produce a very radical piece of television. The Demon Headmaster series was a loud counter-blast to all this. It turned on the critics of children and childhood and pointed out the link between their formal, rote-learning methods of education and totalitarianism. The Demon Headmaster was the top-rated children's programme in 1995-96, with an unprecedented audience share of 70 percent of nine-to-twelve-year-olds. Childhood, in The Demon Headmaster stories, is not a problem for the adult world to solve; the problem is the other way around, with children rescuing adults from themselves. This message was doubly underlined because it appeared on television, in 'crazyspace'.

Popular television drama

Critical perspectives


All Time Past Year Past 30 Days
Abstract Views 117 11 2
Full Text Views 37 6 0
PDF Downloads 11 2 1