document_title: All Creatures Great and Small (TV series)

question_text: who played rosie in all creatures great and small

question_tokens: who played rosie in all creatures great and small

text: All Creatures Great and Small (TV series)

text: Cast[edit]

text: Central characters[edit]

text:
James Herriot — Christopher Timothy (series 1–7, 90 episodes)
Siegfried Farnon — Robert Hardy (series 1–7, 90 episodes)
Tristan Farnon — Peter Davison (series 1–7, 65 episodes)
Helen Herriot (née Alderson) — Carol Drinkwater (series 1–3) and Lynda Bellingham (series 4–7) (86 episodes)

text: The leading role is played by Christopher Timothy. Simon Ward (who had played the part in the 1975 film), John Alderton (who had replaced Ward in the sequel, It Shouldn't Happen to a Vet) and Richard Beckinsale all turned down the role. Bill Sellars had wanted to give the role to Timothy from the outset, but the powers that be wanted to cast the role.[1] Sellars, therefore, asked Timothy if he would accept the role of Tristan Farnon. "I had a wife, I had children, I had a mortgage to pay, and I wasn't working. So I said, 'No. It's Herriot or nothing.'" Timothy put everything on the line. "I got home one night, at about 9 o'clock. My wife was washing up in the kitchen. I walked into the kitchen and she said, without turning round, 'You've got the Herriot part.'" Timothy also stated that, after all of the roles had been cast except that of Herriot, one of the directors said, "Why don't we give [the Herriot part] to Christopher Timothy and make him a name?" In 2003, Timothy said that Alf Wight wrote him a letter after the series started, saying "You are the Herriot I wrote about".[2]

text: Siegfried Farnon, based on Wight's real life partner Donald Sinclair, is played by Robert Hardy. Writer Michael Russell sums up the character's composition: "He is capricious, cantankerous, whimsical, arbitrary, unreasonable, unpredictable, ill-tempered, extravagant, effusive, contradictory, etc., yet in the midst of all that, the most loyal and caring of friends."[1]

text: "We all had a meeting together in London," recalled Hardy, "and Bill Sellars said, 'Now, these characters are all based on real people. None of you are to meet these people until we have made at least three episodes.' So I immediately got into my car and fled up to Yorkshire to meet my man, Donald Sinclair. I was intrigued beyond measure by him. He was a true eccentric and, like all true eccentrics, he had no idea himself how odd he was! He absolutely hated what I did, because he had no idea he was at all like that, but when we'd really got into it and were producing them at high speed, his friends used to come to me and say, 'You've got him, that's him.'"[1]

text: "In the early episodes I smoked a pipe, because I knew that Donald did in the early days," continued Hardy. "By the end I was very involved with my costumes and used to wear a lot of my own clothes, because at the beginning the designer put me into some of the most frightful stuff, which really made me unhappy because it just made me look like a block of really absurd tweeds."[1] "[In series 6] Robert Hardy was still getting his costumes from Carters Country Wear in Helmsley," recalled costume designer Janice Rider in 2016. "I purchased his green tweed jacket and several waistcoats in a selection of bottle-green, fawn and mustard colours. He always wore Tattersall checked shirts and, apart from the shape of the collar, they haven't changed a great deal over the years."[1]

text: A bachelor at the time, Siegfried took over Skeldale House from another vet, named Grant. In the 1983 Christmas Special, Siegfried meets an old flame, Caroline Fisher, who has returned after living in America. They later marry and have children, as mentioned in the series 7 episode "Hampered".

text: "Some writers considered [Siegfried] an explosion, and all they needed to do was light the fuse and — bang — he would lose his temper, which was a great bore," explained Hardy. "So I ended up occasionally writing my own scenes. I did make a nuisance of myself, and I'm afraid I made enemies amongst some of the younger writers. But that's necessary. Out of these battles come, if you're lucky, quality. It needs steel and a stone to make a spark."[2]

text: "He would simply say, 'This is nonsense, I'm not doing it,'" laughed Peter Davison, who plays Siegfried's boyish younger brother, Tristan (affectionately called "Mister Tristan" by housekeeper Edna Hall), whose character was based on Brian Sinclair.

text: Upon first meeting Davison, Christopher Timothy joked to Bill Sellars, "Too tall, re-cast!" Davison was concerned: "I thought, 'What if they suddenly noticed I was quite a bit taller than Robert Hardy?'" Timothy continued: "He thought I meant it. He was horrified that I was trying to get him re-cast. I was in no position to do that and I wouldn't have done that joke for the world if I thought it would upset him. He's a lovely bloke, Pete, an absolute gent. I'm very fond of him."[1]

text: "I ended up in more of the series because Robert Hardy really liked the way the two brothers worked," continued Davison. "It gave him more scope for what he wanted to do. I've never learned so much from anyone as I learned from Robert, because I've just never worked with anyone else like him. He is an extraordinary actor. He would never do the same thing twice. In two takes he would give an entirely different performance — he would bark where he had whispered before. I had to keep on my toes, but I managed to keep up with him, I think, though obviously I'm not on his level."[1]

text: Hardy's demand for professionalism became plain to see. "If he thinks that someone is not doing the absolute best they can, he will tell them so," said Davison.[3] "Ted Rhodes, the script editor, asked how I was getting on with Robert," he continued. "I said we were getting on fine. Ted leant over and whispered in my ear: 'Landed gentry, you know. Can be very difficult,' and raised an eyebrow. So I convinced myself they'd made a terrible mistake in casting me. I wasn't a reprobate, as Tristan was supposed to be."[4]

text: "I was very, very shy growing up. I was very shy in company. I was shy at drama school. I came over as quite affable in a way, which served me well, but I wasn't confident," admitted Davison.[1] "I think I lied about every aspect of playing the part. I said I smoked; I didn't smoke. I said I drank; I didn't drink. I said I knew a bit about animals; didn't know anything about animals."[3]

text: Tristan likes nothing more than slipping out to the Drovers Arms for a pint or two of Best Yorkshire Bitter whenever the opportunity presents itself, one of several "intensely irritating habits" that annoy his brother. Others include his penchant for sleeping late, failing his exams, and spending too much time chasing women. In the episode "The Prodigal Returns", when Siegfried mistakenly thinks "little brother" is impersonating a client on the other end of the telephone line, a few home truths come out: "Mr Biggins, if you've got it into your head that young Mr Farnon is a veterinary surgeon of any quality whatsoever, let me disabuse you of that idea immediately. He is nothing more than a slothful, drunken, incompetent lecher who will soon be seeking employment elsewhere."

text: Tristan's party piece is a rendition of "The Mad Conductor" (Benito Mussolini conducting the Neurasthenic Strings), which he performs in "Out of Practice" and "...The Healing Touch". In the former episode, he downs a pint of beer. "That was real beer!" Davison said. "I don't think coloured water would have worked for some reason, and I don't know if they had the alcohol-free beer then?"[1] As for "The Mad Conductor", Davison continued: "I have no idea what I was doing! I just went a bit nuts really."[1]

text: "Meeting [Brian Sinclair] was useful because I'd been worried about how to make my Tristan endearing, even though he behaved appallingly, and now, shaking his hand, I could see how Brian could have managed it."[4]

text: "Peter was so good. We worked well together, " said Hardy of his on-screen sibling. "In the early filming days, I realised he was watching me. He watched and watched, and I said, 'Why are you looking at me all the time?' and he said, 'Because we're brothers, and I want to catch some sort of family thing that I can use so that it's obvious we are of the same family.' I was very impressed by that. He was very, very good."[1]

text: "They highlighted my hair to match Robert's," explained Davison, "and over the next three years I would regularly be seen sitting in a high-end hairdressing salon in a fashionable part of London, with bits of tin foil covering my head."[4]

text: Davison missed twenty-five episodes in the second run of the series because of other acting commitments, including his role as Doctor Who; indeed Alison Lewis, who played Rosie Herriot in the final series, revealed: "I never met Peter Davison because I didn't have any scenes with him."[1] "I didn't ever want to leave the series, it's just that other programmes came up and I wanted to do them," he explained in 2016.[1] "I'd miss the second half of season five because of A Very Peculiar Practice and series 6 I missed because I was doing Campion. I was incredibly lucky to move onto the things I did. There was no plan to it; it's just good fortune, being in the right place at the right time. But in the end, when I'd finished Campion and A Very Peculiar Practice, All Creatures was still going and I never had any problem coming back."[1]

text: Helen Herriot (née Alderson) is played by Carol Drinkwater in the first three series and two specials, then by Lynda Bellingham in the final four series. (Bellingham fell pregnant during series 5, so she was confined to bed scenes for several episodes, with a hole cut out of the mattress to hide her bump.)[1] Mary Hignett plays housekeeper Edna Hall in the first three series, with Mrs Hubbard (Marjorie Suddell) (1983 Christmas Special), Mrs Greenlaw (Judy Wilson) (1985 special and series 4, episodes 1–5) and Mrs Alton (Jean Heywood) (series 7) inheriting the roles. (A housekeeper by the name of Mary preceded Mrs Hall, who is a widow after the death of her husband, Arthur.)[5]

text: With the amount of screen time to fill, the series quickly became much more of an ensemble show, developing all the characters considerably. In particular, the role of Tristan was significantly increased. This was partly because Christopher Timothy was injured in a car accident on Boxing Day 1977 during a fortnight break between the recording of "Out of Practice" and "Nothing Like Experience" in the first series. As a result, the actor was largely restricted to studio scenes, which meant that all the scenes involving location filming be rewritten and include Davison. "I remember Christopher's accident vividly," recalled Robert Hardy. "It was a ghastly shock, and one thought, 'Well, that's the end of that. We shan't be going on.'" Timothy remembers: "The news from the hierarchy was: 'Tragic news about Christopher. Glad he's okay. Send his wife some flowers and re-cast.'"

text: "One of the plans was to make me James Herriot," said Peter Davison, "and then re-cast Tristan." Bill Sellars refused this option: "I said, 'I'm not doing that. It's an awful waste. We'll find another way around it.' We took the rest of the series apart, scene by scene, and all the scenes that Christopher Timothy was involved in, I extracted and took them down to the hospital, threw them on the hospital bed, and said, 'Learn those.'"[2] This accounts for the three-week break in transmission dates between episodes 11 ("Bulldog Breed") and 12 ("Practice Makes Perfect") of the first series.

text: "I was plated and screwed instead of plastered," recalled Timothy, "and I was back at work in nine weeks — which was insane, in retrospect: I could barely walk, I was terrified, I'd lost a lot of weight and everybody worked round me."

text: "They would prop him up against a surgery table," said Peter Davison. "Then he'd start having a conversation with me. And then, at some point in the scene, I would have to move my eyes slowly across the room while two people would come in and literally carry him across to the next position."

text: Recurring characters[edit]

text: Margaretta Scott appears as the aristocratic dog-owner Mrs Pumphrey. Her servant, irked at having to look after Mrs Pumphrey's pampered Pekingese Tricki-Woo, is William Hodgekin (Teddy Turner). He longs for it to "have its chips" and succumb to illness, which is why he grumbles whenever the vets pay a visit.

text: In series 4, new vet Calum Buchanan (John McGlynn), based on Herriot's real-life assistant Brian Nettleton, is introduced. He and Tristan know each other from veterinary school in Edinburgh. He marries fellow Scot Deirdre McEwan (Andrea Gibb) early in series 6, and the pair emigrate to Nova Scotia.

text: The Herriot children, Jimmy and Rosie, are played by several different actors in their various stints. Jimmy is portrayed by Harry Brayne in the 1983 special. Oliver Wilson takes over the role from the 1985 special until the end of series 5. Paul Lyon plays him in the final series. Rosie, meanwhile, is played by Rebecca Smith from the 1985 special until the end of series 5. Alison Lewis takes over for the final series.

text: James' early rival for Helen's affections, the well-off Richard Edmundson, was played by Norman Mann.

text: Several farmers make recurring appearances throughout the series. Mr Biggins (John Sharp) is a notorious payment-dodger who regularly attempts to procure free service out of the practice, as well as decrying the cost of the vets' visits. In one episode he calls Herriot out to question a bill charge from 18 months earlier. On another occasion, in exchange for Herriot's assistance with a puncture on his car, Biggins agrees to settle his account. Little does Herriot know that Biggins post-dated the cheque. Biggins' first name is revealed to be Ezra in the series 7 episode "If Music Be the Food of Love". "John Sharp was just like you see him," recalled Peter Davison. "He was a wonderful raconteur and would tell you these long stories."[1] Christopher Timothy added: "I found myself getting quite moved when I watched an episode recently – not because of what we were doing, but because all those lovely people are no longer with us. John Sharp was a lovely, lovely man."[1]

text: Bill Hartley (Peter Martin, who also plays Arthur Handshaw in series 1 and 2), meanwhile, is a relatively good-natured client, compared to the perpetually disgruntled Ted Grimsdale (Bryan Pringle). "Peter Martin was fantastic," remembered Peter Davison. "He was mainly known then for the Jewson commercials. He was just very funny. He played two parts for us over the years."[1]

text: Knackerman Jeff Mallock (Frank Birch from series 1 to 3 and Fred Feast from series 4 to 7) is regularly waiting in the wings to take ailing livestock to his knacker's yard. Whatever the vets' diagnoses, Mallock always thinks the real reason is "stagnation o' t'lung".

text: Fellow vet Granville Bennett (James Grout), a cat and dog specialist, is often on hand to help out with the more severe small animal cases. His enjoyment of alcohol is always of a concern for James, however, who regularly ends up inebriated and making a fool of himself in front of Bennett's wife, Zoe (Pamela Salem).

text: As evidenced by Peter Martin above, several actors played more than one character throughout the course of the series; none more so than Bill Lund, who played four different people: Mr Sykes in "Fair Means and Fowl", a farmhand in "Pups, Pigs and Pickle", Mr Edgeworth in the 1985 Christmas Special and Mr Bushell in "Hail Caesar!".

text: Geoffrey Bayldon played three characters: Roland Partridge in "Pride of Possession", Mr Mason in the 1983 Christmas Special and confectioner Geoff Hatfield in "Where Sheep May Safely Graze".

text: Anna Turner also played three characters: Miss Thompson in "Big Steps and Little 'Uns", a stall holder in the 1983 Christmas Special and Mrs Pettinger in "A Cat in Hull's Chance".

text: Jack Watson played two cantankerous characters: farmer Isaac Cranford in "Nothing Like Experience" and vet Hilary Mottram in "One of Nature's Little Miracles". He reprised the role of Cranford in the 1990 Christmas Special.

text: Others who played two characters:

text:
George Malpas: Mr Dean in "Dog Days" and Mr Dakin in "The Bull with the Bowler Hat"
Joe Belcher: Dan Cooper in "Dog Days" and Mr Thwaites in "Only One Woof"
Enid Irvin: Mrs Allen in "Sleeping Partners" and Mrs Wheatley in "For Richer, For Poorer"
Alan Hulse: Mr Willis in "Hair of the Dog" and Mr Stott in "The Pig Man Cometh"
Pearl Hackney: Mrs Crump in "Calf Love" and Mrs Hird in "Choose a Bright Morning"
Avril Angers: Miss Dooley in "Pups, Pigs and Pickle" and Molly Shadwell in "A Friend for Life"
Barry Jackson: Ken Billings in "Matters of Life and Death" and Mr Dowson in "Blood and Water"
Madeline Smith: Angela Farmer in "Pride of Possession" and Anne Grantley in the 1983 Christmas Special
Katharine Page: Aunt Lucy in "Golden Lads and Girls" and Mollie Minikin in "Only One Woof"
Fine Time Fontayne: George Forsyth in the 1985 Christmas Special and Joe Bentley in "A New Chapter"
Tony Capstick: Fred Allan in "In Whom We Trust" and Clem Hudson in the 1985 Christmas Special
June Ellis: Mrs Bellerby in "Faint Hearts" and Mrs Mason in "The New World"
Michael Lees: Mr Bond in "Cats and Dogs" and Colonel Bosworth in "The Healing Touch"
Peter Ivatts: Mr Blackburn in "A Dying Breed" and Tom Maxwell in "The Bull With the Bowler Hat" and "Against the Odds"
James Bree: Mr Plenderleith in "Out of Practice" and Humphrey Cobb in "The Bull With the Bowler Hat"
Danny O'Dea: Tom in "Faint Hearts" and Rupe in "The Pig Man Cometh"
Graham Hamilton: a soldier in "Alarms and Excursions" and Sergeant Bannister in the 1983 Christmas Special
Danny James: Smedley in "Dog Days" and Mr Meynell in "The Jackpot"
John Barrett: Kitson in "Breath of Life" and Mr Dent in "Every Dog His Day"
Keith Marsh: George Hindley in "Will to Live" and Mr Howell in "The Prodigal Returns"

text: "They used some genuine Yorkshire characters to play the farmers," recalls Sandy Byrne, the former wife of writer Johnny Byrne. "So he relished writing for them because they were so quirky and funny. One of the guest characters we both adored was Granville Bennett, from whom James never escaped without being utterly plastered. He was played by James Grout, who was wonderful! He very much enjoyed writing for Mrs Pumphrey and Hodgekin too."[1]

text: Robert Hardy concurs: "What I think made the thing a success was those Yorkshire and Lancashire actors we had playing the farmers. They were wonderful. They lent a real authenticity to their stuff, farmers complaining about their bills and all that."[1]

text: Meanwhile, Ted Moult, who played Harold Carter, was a real farmer in the 1940s but became a radio and television personality in the mid-1960s.

text: In addition to the aforementioned roles of Helen Herriot, her children and Jeff Mallock, a few characters were played by more than one actor:

text:
Hilda Biggins: Kathleen Helme and Margaret Jackman
Kit Bilton: Gorden Kaye and Bill Croasdale
Stewie Brannan: Ronald Lacey and Dinsdale Landen
Major Bullen: Norman Shelley and Mark Kingston
Phineas Calvert: Johnny Allan and Alan Partington
Mr Dimmock: John Comer and Harry Goodier
Eleanor "Nellie" Dimmock: Georgina Eastwood and Jane Clifford
Mr Dowson: John Ronane and Barry Jackson
Caleb Mount: Dave King and John Woodvine
Ewan Ross: Alex McCrindle and David Ashton. The character was based on Frank Bingham, Brian Sinclair's first assistant. Bingham died "like many good vets, in a cow byre doing a tough job."[6]
Sister Rose: Jessica Spencer and Irene Sutcliffe
Roddy Travers: Patrick Troughton and James Ellis

text: Aside from the human characters, Siegfried's four dogs make regular appearances at Skeldale House. One of them — a whippet named Christie — was Robert Hardy's own; two belonged to Bill Sellars and a mutt belonged to producer John Nathan-Turner.[4]

text: Production[edit]

text: After a meet-and-greet for the cast in June 1977, filming began the following month.[4] "The first thing we did was a filming block on location in North Yorkshire," explained Peter Davison. "I just remember driving up and seeing this beautiful countryside that I'd never seen before. It was untouched. Initially we stayed in a little place called West Witton in Wensleydale, in between Leyburn and Askrigg. Robert Hardy always stayed [in Low Row] near Reeth, where he'd found this rather grand little bed and breakfast place. He would invite us around for dinner and would normally be sat there working on the script and would go in the next day, bang it on the table and say, 'I've rewritten this, here it is!' It was usually better."

text: Norman Mann, who played Richard Edmundson, recalled: "When we were up in Yorkshire, most of us stayed at the Heifer Hotel in Wensleydale, whilst Robert Hardy stayed in a different hotel. But he used to send a car over to pick us all up and we'd have dinner with him. He was the established name and he always made everybody feel so welcome."[1]

text: "After filming we used to go for wonderful evenings in the Wensleydale Heifer with Tim Hardy and Chris Timothy," remembered Sandy Byrne, "and Alf and Joan would come along. It was always immensely exciting. We made very good friends with Alf and Joan. We saw them several times over the years. Alf was still practising then, so his car would be packed with dogs. Joan was a very easy, down-to-earth person, I liked her very much. We also got to know their children, Jim and Rosie, very well."[1]

text: "The filming block lasted about five weeks and was a social whirlwind," continued Davison. "I drank too much and stayed up too late, and had to learn my lines in the make-up chair the following morning."[4]

text: "Looking back at those early episodes, it's interesting to see what was accepted — or rather, what isn't now. Every living-room scene involved glass after glass of whisky being poured and knocked back, and I was barely ever without a cigarette. Of course, the whisky was really only water with drops of burnt sugar, and I never inhaled the Woodbines. The beer, for some reason, was real, which in the drunken pub scenes caused problems."[4]

text: "Our routine in the beginning was that we would rehearse for a week [at BBC Park Western] in North Acton," explained Carol Drinkwater. "Then we would have Saturday off. Then we would have to be in Birmingham on the Sunday night and Pebble Mill on Monday morning to do the interiors studio scenes there. If there was filming, we would do a six-week block where we would all go north. That's how it started, until eventually Robert Hardy said he wanted it all to be on film, so for the specials we shot the interiors in Yorkshire on a sound stage on film and made it pretty much identical to the studios that we had at Pebble Mill."[1]

text: Peter Davison's memories of the recording process: "We had this weird process where we would rehearse for ten days in London, and you'd go up for two or three days to the studio at Pebble Mill. In those days they weren't done in the rehearse-record system. We did it in the old style way that they used to do when they were doing live television. So we would rehearse all day, and then from 7.30pm you would record, theoretically, as if it were live: sequentially and with no gaps. It never used to work out like that, but that was the idea behind it! But there was no recording in the day, which meant there was always this blind panic at night."[1]

text: "Normally after the seventh and final day of rehearsal, the cast and production team would travel to Birmingham to check into their hotel and digs," recalled assistant floor manager David Tilley. "The production team would meet in the studio that evening to see what state the studio was in. We'd need to check that the set building had been completed and if the sets were dressed ready for camera rehearsals to start the next day. The good thing about using the Birmingham studio was that they were excellent in design and set building. I liked working there, and they had terrific pride in All Creatures. The first day — in this case the Sunday — the cameras, sound, lighting, designers, scenery changes and action properties, costume and makeup rehearsed all the scenes technically. On the second day, camera rehearsal continued in the morning. After lunch, all five cameras were synchronised and the recording commenced on scenes that had already been rehearsed. We also allowed for discontinuous recording with breaks between scenes. Earlier in the 1970s, programmes were recorded continuously with very few breaks, but by this time two-machine editing had been established using two-inch-wide tapes. All the 16mm film inserts had also been transferred to videotape. The sequences could be seen on monitors in the studio during breaks in recording, which allowed the cast, designers and production team to check for continuity from scenes filmed months before so that they could match the studio scenes."

text: "Continuity pictures became so important," explained make-up artist Maggie Thomas. "For instance, we would always see the vets leaving and arriving at [Skeldale House], although we never ever went inside the real house on location and the costume and make-up had to match up exactly several weeks later when we saw them arrive back in the studio set of [Skeldale House] hall."[7]

text: The series 5 episode "Two of a Kind" was the last episode to be filmed at Television Centre. "We moved All Creatures back to Pebble Mill for the sixth series because we found Pebble Mill a bit more flexible and amenable, whereas Television Centre was quite hard lined in terms of union regulations, so trying to just squeeze that extra bit of time out, or change the lunch hours, and get people to agree to that was a lot more achievable in Birmingham," explained production associate Tony Redston. "We also moved from film to 'lightweight' video cameras for the location filming of the sixth series, so for the first time we'd have monitors for instant playback on location. This was double-side, because whilst it meant you could immediately check what you'd been shooting, the downside was everyone then wanted to stand around the monitor and check every take."[1]

text: "Continuity is one of the greatest challenges for a costume designer," explained June Hudson. "It is one of the hardest things to get right. I would take Polaroids and stick them in my script, next to the scenes, so that when you came to do the studio, you just look at that photograph. It was the only way to do it, otherwise you were never, ever going to get it right. The smallest details, whether a top button was done up, if they wore rings on a different hand, if they had a watch on... the viewer notices, so it is a very tough job."[1]

text: "The studio recording took place between 2.30 and 6.00pm, and then again in the evening, 7.30 to 10.00. The recording had to end at precisely 10.00 and all scenes had to be completed. No overruns were allowed as the cost of overtime with such a large cast, technicians, designers and production staff would have been tremendous, so it was very disciplined. At the end of the studio [recording], the recording and film inserts were then laid onto a master videotape."[1]

text: Soundman Alex Christison reminisced about getting the sound right on the show: "The main problem with All Creatures was that we are talking about the days before multi-mic radio microphones were available, so you couldn't just scatter personal mics around each actor and mix accordingly. We were also recording in mono audio, so I didn't even have another track to play with like the dramas do these days with split track. Basically I relied on my boom swinger to get my sound. We'd done away with the old sync lead by then, thank God, which meant I wasn't joined up to the camera; the boom mic would be connected to my Nagra mixer and would be recorded separately to picture. The clapperboard really did concentrate the minds in those days because it was quite a costly process if you got it wrong. Because the cast were so good, they would see the boom in the corner of their eye and know when it was going to be over their head — then they would start speaking."[1] Separate crews were used for studio recording and exteriors.[1]

text: The programme initially ran for three series, with each episode adapting one or two of the Herriot stories—usually a story thread centred on James, and a second centred on Siegfried or Tristan. The continuity of the show followed the general arc of the books: James' arrival at Darrowby in 1937, his growing experience as a vet, his humorous attempts at romance with Helen, and their eventual marriage. The programme ended in 1980 at the stage where the characters were drawn into the Second World War, the final exterior shots broadcast filmed during the winter of 1979. This completed the adaptation of all the novels which Alf Wight had written up to that point. Two 90-minute Christmas Specials were subsequently made, in 1983 and 1985, set after the war and based on his 1981 book The Lord God Made Them All.

text: At the end of the filming of the 1985 special, Christopher Timothy and Carol Drinkwater were asked if they thought that was the end of the series. "I'm fairly certain it is, yes," said Timothy. "There's very, very little material left." But surely there is another animal story every day? "It's a case of what James Herriot has written, though," replied Drinkwater. "He will, indeed, only allow us to use what is written. Which, I think, is fair."

text: "The BBC, planning all their schedules and choosing their programmes, were pestering me after the first series," remembers Bill Sellars. "' We want thirteen more episodes now!' I'd say, 'Where are we going to get all this from, Ted?'"[1]

text: Three years later, the programme was indeed revived, after Sellars was able to persuade Wight to allow new scripts to be written around the existing characters, but not directly based on the Herriot books, with some story lines repeated from the first run. The revived series was one of the first co-productions of the BBC (a practice that has since become commonplace), made in partnership with A&E and the Australian Broadcasting Corporation. Robert Hardy, though, had one stipulation about his returning to his role: he wanted Roger Davenport to write some of the scripts.[1]

text: The revival, set beginning in 1949, ran for four more series, taking the characters into the early 1950s. Peter Davison was busy with other projects and was seen far less frequently in these newer series, with the character of Tristan leaving for Ireland at one point before returning after several episodes. He left again after that (he is only seen in one episode of the sixth series), before returning for the majority of the final series.

text: Carol Drinkwater opted not to return to the series. "Bill Sellars was very, very cross with me for leaving. I think he thought I had been ungrateful. I'd given everything I could and I couldn't think where else I could take the role, because there was no more material. I wasn't leaving in any kind of spiteful thing; it had nothing to do with Chris and I, which is, of course, what everyone thought. Our split was all very amicable. Chris and I, and his wife Annie, are still good friends – there is no problem there. The BBC was so angry with me, they put a ban on using me. So they recast and another actress got the role. I was terribly upset because it was a wonderful role and would have been very good for me. I must say now, looking back on my career, it's one of the few things in my life I would do differently and I wouldn't have left."[1]

text: The revived series gradually became more based around the development of the central characters – particularly after the introduction of Calum and Deirdre, with their romance and subsequent marriage – and it mainly focused on the activities inside Skeldale House, rather than being a series about a veterinary practice. For the final series, all of the new characters were dropped (including Calum and Deirdre), and the series returned to its 1970s roots, focusing once more on the animals. The final broadcast was another Christmas Special, in 1990.

text: "I was glad when we stopped," said Robert Hardy. "I'd had enough. But I did love playing the character. There was some wonderful writing in the early stories, but later there was some which I always tried to change and, in the end, I made up a lot of my own stuff. I had been longing to leave because the filming conditions were so bad, but each time i eventually made up my mind to carry on. I don't know whether I was right or wrong."[1]

text: The script editor for 42 of the 90 episodes was Ted Rhodes. Rhodes was killed during a confrontation with a cyclist in Wimbledon in 2003. He was 69.[1] "I couldn't have done any of it without Ted Rhodes. He was marvellous," said Bill Sellars. "He was a brilliant script editor. He spent his lifetime as a script editor and he had so many ideas. He knew how to put a script together. He knew what the beginning was, he knew the middle and he knew the end., and he could really weave those together to create one whole. They were never disjointed."[1]

text: In 2007, an unfilmed script by the show's script editor Johnny Byrne was recovered and presented to the BBC as a possible Christmas reunion episode, but the BBC did not commission it. Peter Davison joked, "Maybe they just thought we were too decrepit, I don't know!"[8]

text: Over 18–20 December 2011, the BBC screened a three-episode prequel, Young James Herriot, about Herriot's time at University, with Iain de Caestecker in the title role. Co-stars included Amy Manson and Tony Curran.[9]

text: Locations[edit]

text: All exterior scenes were filmed in North Yorkshire, mostly in the village of Askrigg, which doubled for the fictional Darrowby. "We would take over Askrigg and drive the very few motorists crazy by stopping the traffic," remembered Peter Davison.[1] Indeed, three-quarters of the way through the second run the crew was banned from filming in Askrigg due to the disruption it was causing to the lives of the residents.[1] Filming also took place at some of the Dales' countless farmsteads — the same ones that James Herriot visited in the 1960s and 1970s,[6] although the names of villages, farms and people were changed. Exterior shots were originally to be filmed in Derbyshire, but Robert Hardy took offence to the plan and threatened to walk out of the producer's office.[2] Some indoor scenes (including all those of the interior of Skeldale House) were shot at the BBC's Pebble Mill studios in Birmingham, a few months after the on-location portions. This is demonstrated in the first series, when Christopher Timothy is seen walking normally during the scenes filmed in Yorkshire during the latter part of 1977, but by the time the studio shots take place, after his accident, his immobility is quite obvious.

text: "Most of the locations were around Leyburn, where the unit had been based at the Golden Lion Hotel and Eastfield Lodge Hotel, respectively," recalled assistant floor manager David Tilley.[1]

text: "All the timings have to be scheduled in advance," recalled assistant floor manager David Tilley. "It would be a blank sheet of paper when you started. The only thing that was pre-scheduled was the studio recording dates, which were organised by the BBC's Planning department, in conjunction with all the other series using the studios. We would then have to work out everything for each individual episode. We would always do the location filming first, so we assembled in Yorkshire to record the film inserts for 'Pig in the Middle' in the same block as 'Every Dog His Day...' I would have to make sure everyone arrived on time, either by car or bus, and that we had everything we needed to complete the scenes in time."[1]

text: For the first three series, up until the two Christmas specials of 1983 and 1985, most interior scenes were recorded on video at Pebble Mill and edited together with exterior shots. This provided hardships in December 1977, when filming briefly returned to the Dales, after a block of studio recording, to capture the look of winter.[4] The temperatures dropped well below freezing. "The snow was high and the ice was solid," explained Robert Hardy in 2003.[2] "I remember two occasions when we were so cold, from the wind on the tops, that we couldn't speak. We had to stop."[2] Peter Davison recalled: "People would hand me a cup of tea and I would stick my hand in it, rather than drink it, because my fingers were so cold." For the final four series, much of the filming other than at Skeldale House was done wholly on location at the farms. "Studios aren't really like cow byres or horse stables or country farm houses," explained Hardy, "so one had to make believe a great deal in those early episodes. I mean, they made good sets, but it was better later when we stopped using the studio and did all the filming in real locations in Yorkshire. That was when it really started coming alive, because the cameras were in real situations."[1]

text: "In the first series, we had large animals in the studio, with sets for farm barns and cow sheds, which were later filmed on location," explains designer David Crozier. "There were all sorts of things you had to take into consideration, not least of which was how you are going to dispose of the animal's waste, so we were effectively building these stables and cow sheds in the studio for real."[1]

text: "If you light one scene in the pub, your next scene in that pub might be set the next day, so you can't just whack up the same lights. It might be the same room, but it might be a different time of day, so you had to keep looking at the script," explained gaffer Brian Jones. "We didn't do the studio lighting. That was done back in Pebble Mill by Barry Chatfield, who was a gentleman. Barry would sometimes come out to locations, so he could match the lighting for continuity, where the exterior and interiors are supposed to represent the same building, so the pictures would match and the audience would believe the characters would walk from the studio onto location and they'd hopefully believe it was the same building."[1]

text: "On location we were constantly concealing double yellow lines on the roads and pulling television aerials down," continued Crozier. "Road signs were always masked and replaced with period signage. Part of my kit when we were on location was large amounts of camouflage netting, because some stuff we just could not remove, we could only disguise, so this netting was quite popular."[1]

text: "For a film day, it would usually be twelve hours," remembered production associate Tony Redston. "Though, for costume and make-up, they'd be there a couple of hours earlier, and the lighting boys would always be the last to leave. We would often be out in bitter weather in the pouring rain or covered in mud from the farmyards."[1]

text: "I was first scheduled to All Creatures in 1989," explained wardrobe member Helen Scarsbrook. "An average day's filming would often start around 6am at the unit base in Leyburn, which was an old empty school where we kept all the costumes and equipment. The actors would arrive and we would dress everybody. Then we would load up the unit cars — which in Yorkshire were a couple of Ford Sierra estates — so we could pile up the costumes for all the changes. Then we would drive out to location, which was quite often Bainbridge, so quite a long journey."[1]

text: Maggie Thomas was one of the three make-up personnel in the original run. She recalled: "The actual make-up job seemed pretty minimal, until we realised that every storyline had an injured animal in it, and that my designer and I would, as far as possible, be doing them! What we didn't know was that every animal injury in the storyline would require a lot of attention from the make-up department. It soon became very clear that we were going to have our work cut out to achieve some believable-looking animal injuries."[7] "Mostly we always knew in advance what would be needed from reading the script; otherwise, we wouldn't be ready when it came to that part of the day's shoot. We always had a gallon of artificial blood with us, but there were occasions when we couldn't foresee an even that would require our 'expertise'."[7]

text: "It was very important to get the crew on side," explained director Tony Virgo. "The BBC camera crews back then could be very stubborn, and if you weren't careful, you could be stuck with, 'Well, we always do it like this...' or 'No, we can't do that...' But if you said good morning to them all and had a bit of a joke and a laugh, they would bend over backwards for you."[1]

text: James Herriot's Yorkshire, written by the vet and published in 1979, mentions several of his favourite locations in "his" Yorkshire, many of which were used in the television series but with different names. These include West Witton, West Burton, Muker, Semerwater, Countersett, Coverdale, West Scrafton and Middleham.[6]

text:
“
When I left Glasgow to work as assistant to Siegfried Farnon, I had the conviction, like many Scots, that there was no scenery outside Scotland. I had a mental impression of Yorkshire as a stodgy, uninteresting place — rural in parts, perhaps, but dull. I remember Siegfried saying to me a few days after I had first met him, 'Wait till you see Swaledale, Wensleydale and Coverdale, my boy.' [He] was right. I suddenly found myself in a wonderland.[6]
”

text: When it came to the oft-joked-about insertion of an arm into a cow's rear end, Davison said: "People think we cheated, or something. I tell them that the BBC are not going to pay for a stunt cow that I can put my arm up." Robert Hardy added: "It's enchanting, because once you've got your hand inside you can understand how the interior works."

text: What is now Skeldale Guest House, a bed and breakfast named for obvious reasons,[10] provided the exterior shots of the surgery building. The Kings Arms Hotel, which became the Drovers Arms during filming of the later series, features photographs on its interior walls of the cast drinking at the establishment during downtime.[11] The Drovers was made out to be located beside the church in the early series, as evidenced in the episode "The Name of the Game". "It was fun to design the Drovers, which later on they did on location in Askrigg," explained designer David Crozier. "But in the early days these scenes were all done at Pebble Mill."[1] Just up Main Street, past the pub, Lodge Yard was featured in the episode "Against the Odds". The back garden of a nearby house was used as that of Skeldale House in the latter part of the series.

text: For the 1985 Christmas Special, filming was based in Richmond, North Yorkshire. The gymnasium of the barracks of the Green Howards regiment became Skeldale's surgery. The King's Head Hotel, meanwhile, was the scene of James and Helen's anniversary dinner.

text: Parts of the beginning title sequence – in particular, the car passing through the ford — were shot on an unnamed road between Feetham in Swaledale and Langthwaite in Arkengarthdale.

text: "I used to love the old cars," explained Robert Hardy. "Except when they gave up. They were always giving up. We had a permanent mechanic up there and he was always deep inside the bonnet of this or that car. But I had some nice cars to drive, and when they worked they were great fun. And, of course, I was old enough to remember how to double declutch and all that sort of thing, so they weren't a shock to me."[1]

text: Other locations used include:

text:
Ellerton Abbey (Barlby Grange, the home of Mrs Pumphrey)
Leyburn railway station (in the episode "Dog Days")
Bolton Hall (the home of Lord Hulton in the episode "Matters of Life and Death")
East Hauxwell ("Matters of Life and Death")[1]
Coverdale
Hawes (Darrowby Cattle Market)
Coverham[12] (the bridge over the river in the episode "Advice and Consent")

Coverham Abbey (the home of Mrs Bond)

Ivelet Bridge[13] (in the episode "Call of the Wild")
Simonstone Hall (Darrowby Show)
Thornborough Hall, Leyburn[14] (Ministry of Agriculture building)
Great Gill, West Scrafton[15] (in the episodes "A New Chapter" and "Alarms and Excursions")
Village Shop, East Witton[16] (the Altons' cottage in the episode "The Prodigal Returns")
Thornton Steward[17] (in the episode "If Wishes Were Horses")
Langthwaite (J. R. Stubbs' store)[18]
High Row, Reeth[19] (Bob Howell's Music Shop in the episode "Charity Begins at Home")
Market Place, Leyburn (Darrowby Market)[20]
Village Hall, Muker[21] (the venue for the flower show in the episode "Hampered")
The Red Lion, Langthwaite[22] (as the Red Lion, Briston, in the episode "Every Dog Has His Day")
The Bolton Arms, Redmire[23] (in the episode "Beauty of the Beast")
The Green, West Burton[24] (in the episode "Plenty to Grouse About")
Manor House, Middleham[25] (Barraclough home in the episode "Against the Odds")
North Road, Middleham[26] (Geoff Hatfield's confectioners in the episode "Where Sheep May Safely Graze")
Ferndale, Middleham[27] (the Darnley sisters' home in the episode "The Rough and the Smooth")
Constable Burton Hall[28] (home of Major Headingley)
Marsett Lane, Countersett[29] (where Calum proposes to Deirdre on the bus in the episode "Two of a Kind")
Hardraw Beck, Hardraw (in the episode "The Course of True Love")
Goathland railway station (in the episode "City Slicker")
Semerwater (in the episode "The Female of the Species")
Braithwaite Lane, East Witton (in the episodes "Salt of the Earth",[30] "A Dying Breed",[31] and the bus stop in "Against the Odds")[32]
Spennithorne and Harmby Cricket Club (in the episode "Big Fish, Little Fish"). The pavilion built for the summer 1988 recording of the episode remained standing until 2015.[33]
Finghall railway station[34] (which doubled as Rainby Halt in the episode "The Playing Field")
Redmire Village Green (Darrowby bus stop in the episodes "Puppy Love" and "Ways and Means")[35]

text: Several different churches were used during filming:

text:
St Oswald's, Askrigg[36] (exterior shots of Darrowby Church)
Church of St Mary & St John, Hardraw[37] (interior shots of Darrowby Church)
Holy Trinity Church, Wensley[38] (James' and Helen's wedding in the episode "The Last Furlong". This sequence was recorded in December 1977, before the first episode aired)
St. Michael and All Angels Church, Hubberholme[39] (Franco and Katharine's wedding in the episode "Promises to Keep")
Holy Trinity Church, Melbecks[40] (in the episode "Golden Lads and Girls")
St Michael's Church, Spennithorne[41] (in the episode "Where Sheep May Safely Graze")
St Andrew's Church, Grinton[42] (in the episode "Brotherly Love")
St Bartholomew's Church, West Witton (in the episode "Cats and Dogs")[43]
Holy Trinity Church, Coverham (its gate in the episode "Mending Fences"[44] and in the 1985 Christmas Special)
Old Chapel, Thoralby[45] (Hargrove Church in the episode "If Music Be the Food of Love")

text: Episodes[edit]

text: Ninety episodes (including the three Christmas Specials) were broadcast over seven series. Each episode is 48 minutes in length.

text: Theme tune[edit]

text: What became the eponymous theme tune for All Creatures Great and Small was written as KPM library music in 1968 by Johnny Pearson.[46] Titled "Piano Parchment", it was chosen by producer Bill Sellars, who had earlier selected Pearson's "Sleepy Shores" as the theme for the TV programme Owen MD.[46] Two versions of the theme were re-recorded for the opening titles of All Creatures: that of the first run was flute-oriented; meanwhile, the version used for the second was more in line with the piano-based original.

text: All the incidental music used in the show was written by Pearson and performed by him and his orchestra.

text: 1978 soundtrack[edit]

text: The LP, entitled All Creatures Great and Small: The Original Music from the TV Series and Other Favourite Themes and released on Rampage Records in 1978, was produced by Larry Page and Adrian Kerridge. ("Autumn Reverie", also known as "Heather", although featured several times throughout the series, is not on the soundtrack. It was originally featured on Pearson's 1968 Gentle Sounds album.)

text: All tracks written by Johnny Pearson except where stated.

text: Side One[edit]

text:
"All Creatures Great and Small" (2:10)
"First Love" (2:39)
"Love Dream" (2:46)
"Misty Sunset" (3:28)
"Lover's Guitar" (4:36)
"Today I Met My Love" (2:49)

text: Side Two[edit]

text:
"Sleepy Shores" (3:06)
"Over the Hedge Rows" (3:22)
"Sublime Country" (1:52)
"Helena" (2:30)
"Sunshine" (3:18)
"Love Story" (Francis Lai) (4:56)

text: New pieces written after the first run of the series appeared in the second run, but these have not been released as a soundtrack. A few of them appear on Pearson's 1988 two-part release, KPM 1000 Series: Johnny Pearson Piano and Orchestra, including the notable trumpet piece "Country Fayre", the flute-driven "Fields and Hedgerows", the piano-based "A Ride in the Sun" and the orchestral "Thames Rhapsody", "Crystal Breeze", "Odd Moments", "Camelia Dance", "Lovers and Friends" and "Village Green". Also, on the first of the two editions, are two alternate versions of "Piano Parchment", a 60-second edit and a 30-second edit.

text: Home media[edit]

text: All seven series and three Christmas Specials have been released on DVD in Region 1, Region 2 and Region 4. The 1990 Christmas Special (entitled "Brotherly Love") is regarded as being part of Series 7.

text:
DVD Title
No. of Discs
Year
No. of Episodes
Region 1
Region 2
Region 4

Series 1
4
1978
13
14 May 2002
N/A
2 January 2013

Series 1, Volume 1
3
1978
6
N/A
7 April 2003
1 September 2003

Series 1, Volume 2
3
1978
7
N/A
5 May 2003
1 September 2003

Series 1 & 2
8
1978
27
N/A
N/A
5 October 2010

Series 2
4
1978
14
15 October 2002
N/A
2 January 2013

Series 2, Volume 1
3
1978
7
N/A
7 July 2003
5 May 2005

Series 2, Volume 2
3
1978
7
N/A
15 September 2003
5 May 2005

Series 3
4
1979–1980
14
16 September 2003
23 October 2006
4 May 2006

Series 4
3
1988
10
14 September 2004
26 December 2006
11 April 2007

Series 5
4
1988
12
19 July 2005
3 March 2008
2 April 2008

Series 6
4
1989
12
25 July 2006
18 August 2008
2 April 2009

Series 7
4
1990
13
14 August 2007
26 December 2008
18 May 2010

Christmas Specials
2
1983 and 1985
2
16 September 2003
20 October 2008
2 April 2008

Complete Collection
33
1978–1990
90
15 January 2008
9 November 2009
N/A

text: Skeldale House[edit]

text: Although he has not always stayed there, instead living with Caroline later in the series, Siegfried owns Skeldale House, and while he is happy — within reason — to pay for its upkeep and renovation, he is rarely seen getting his hands dirty outside the surgery. Tristan, on the other hand, takes over the household duties from Mrs Hall in "Hair of the Dog" and "Home and Away", and James has to pick up the slack when Helen is out of action, on account of a slipped disc, in the first few episodes of series 5.

text: The Pebble Mill set was laid out to match Skeldale House as it appeared in exterior shots.[1] A door at the side of the building, for example, was used to represent the entrance to the waiting room. On a couple of occasions, the cast had to go inside the Askrigg building to accommodate exterior shots on its windows. For example, in the Series 3 finalé "Big Steps and Little 'Uns", Helen waves James off to war from an opened second-floor window.

text: On the ground floor there are four rooms (clockwise from front to back): unused dining room (see below), the sitting room (the front half being the sitting area; the rear half being the dining area), the kitchen, and the surgery. Aside from the back door, another door in the kitchen leads to the surgery's waiting room. The house's only phone is in the hallway, in a nook by the stairs which also contains a grandfather clock and, later in the series, the door to the basement, where coal and wine are kept. A coat rack originally also appeared here, but was later moved to the foyer. The window above the front door announces that you are at "Skeldale House", a feature that remains today. Regarding the clock: "That clock should have been taken out and burnt," joked director Roderick Graham. "When you are doing retakes, how do you sync the tick-tock from the previous take? It was a nightmare and would drown out the dialogue."

text: "For the studio, we changed the colours of the surgery in the second series in order to give it a bit of time progression," explained David Crozier, the designer. "I'd used the whitewashed look in the first series, because I'd found hundreds and hundreds of photos from that period in Yorkshire of house interiors painted in whitewash. But as we moved closer to wartime, we went with a darker look, which became the fashion at the time."[1]

text: The first floor contains the bedrooms, while the second floor contains a small suite which Siegfried offers to James and Helen in the first episode of series 2. When the couple move to Rowangarth, Calum takes over the suite.

text: In "Merry Gentlemen", the final episode of the second series, we see behind the door immediately on the left as one enters the front door of Skeldale. The original, now-unused dining room, Siegfried uses it as overflow for storage of his reserve wine collection. Covered in dust, the room is brought back to life by Helen and Mrs Hall. The fire is lit, and the Christmas tree is put up in one of the corners.

text: In the early series, the back door opens into a narrow alley; later, the back garden becomes an expansive area of grass, shrubbery and stone walls. An aviary is seen in the episodes "Fair Means and Fowl" and, twelve years later, "A Cat in Hull's Chance".

text: The original set of the interior of the Skeldale House surgery is now located at the Richmondshire Museum in Richmond and is open to the public. Other extensive parts, including the living room and the dispensary, are on display at The World of James Herriot museum in Thirsk, which is also open to the public.

text: Legacy[edit]

text: "There was something about the series. It had the right content," recalled producer Bill Sellars. "It became a world favourite, and at its height was actually watched by twenty million viewers. The BBC, planning all their schedules and choosing their programmes, were pestering me after the first series: 'We want thirteen more episodes now!' I'd say, 'Where are we going to get all this from, Ted [Rhodes, script editor]?'"[1]

text: The series occupied a slot in the TV week that helped solidify it as Sunday-evening fare. In the BBC documentary on the series, David Butcher of the Radio Times said: "At the end of the weekend you don't want anything too taxing, you want some kind of escapist, gentle, heartwarming, cozy kind of drama. A cup of cocoa drama. It's warm and simple and nice and lovely, and it's not going to frighten the horses." Robert Hardy remarked that: "It hit the right moment. There was a feeling still in the towns that the country was a glorious place inhabited by amazing people." TV historian Chris Diamond commented, "It's the perfect post-dinner, pre-bath time slot. You're going to be either hanging about in the living room trying to avoid dishes, or waiting to have a bath."

text: Robert Hardy was concerned that the series would be a brief affair. His worry was that it would "bore the townspeople and irritate the countryfolk". He put its success down to the fact that it featured "real people". Christopher Timothy, on the other hand, thought it had an excellent chance due to the popularity of Wight's books.[2]

text: The cast became household names around the world. "I've had letters from vets, both male and female, who say they became vets because of the series," said Robert Hardy.[2]

text: Christopher Timothy became the most famous vet on the planet, which became a mixed blessing. "After I did All Creatures, it was eight years before I acted on television again," he recalled. "I remember once going to see my agent and, going up the stairs to his office, hearing him screaming down the phone: 'He's not a vet, he's a bloody actor!'"[2] "I asked Pete [Davison] once, 'How is it that you go from one role to the other and I can't get arrested on television?' He said, 'Because I didn't play James Herriot...' I think there's an element of truth in that."[1]

text: "It was a big slice of my career, for which I am very, very grateful," added Robert Hardy. "The series means a great deal to me as it took up such a large span of my life."[1]

text: Reunions and interviews[edit]

text: Christopher Timothy, Peter Davison and Jean Heywood attended Lynda Bellingham's appearance on This Is Your Life in 1993. Christopher Timothy's appearance on the show was in 2000; Robert Hardy, Peter Davison, Carol Drinkwater and Lynda Bellingham were in attendance. (Peter Davison was the subject of the show in 1982, early in the life of All Creatures.)

text: Christopher Timothy and Robert Hardy attended a service of thanksgiving for Alf Wight at York Minster on 20 October 1995, eight months after the author's passing.

text: In 2003, Timothy, Hardy, Carol Drinkwater and Lynda Bellingham appeared together on Stars Reunited. Due to having other commitments, Peter Davison could not be present. Also briefly joining them, and host Dale Winton, on the couch was Jack Watkinson, MRCVS, the Yorkshire vet with whom Timothy worked with a week prior to the filming of the series. Timothy has stated that, for him, it was the best week of the whole series.[2] "I did seriously feel, with all humility, that when I turned up to start filming: 'I'm sort of equipped for this.'" Carol Drinkwater later said of this appearance: "[Dale] did an interview with each of us on our own, and he asked if I had known what a sex symbol I was? I was completely stunned, I had no idea. I mean, I used to get boxes of marriage proposals... I used to bin them, I never read them. I was very naughty. Now I answer all my mail, though there is much less of it now, of course."[1]

text: "Carol will always remain my favourite actress," make-up artist Maggie Thomas recalled. "She was a breath of fresh air; never moody or difficult, a warm, merry and very natural girl. I can remember our first day on location. We were only working with Chris and a cow, which had fallen and become stuck in a small burn (episode "Calf Love"), so Carol had decided to come out to watch and meet everyone. She hadn't got any scenes that first day, so she was dressed for the summer in her own clothes. The shorts she wore were kind of Boy Scout-cum-M*A*S*H ex-army drill, but on her figure they looked anything but. There was always an impishness about her and an air of complete unawareness of her own effect on men. The male members of the crew went into meltdown. She was oblivious, smiling and chatting to everyone, just enjoying the beautiful weather and getting to know who was who on the crew. They all remained in love with her for as long as she was the leading lady."[7]

text: "None of us ever did anything that could harm an animal," explained Timothy in another interview. "The injections were all faked and arms up a cow's bum is not difficult to do — and the cows don't mind too much... in fact, some cows quite like it! Jack Watkinson wouldn't tolerate anything that he deemed as unethical. The directors at one point sent out a note about how animals should be treated in the furtherance of entertainment, but it was always left to the attending vet's discretion. If it had gone against any of his ethical code, Jack would have refused us to do it."[1]

text: Watkinson died in May 2013 after suffering a stroke. He was 84.[47] Watkinson was the on-location technical advisor. "In the studio situation our Veterinary Advisor was Eddie Straiton," remembered Robert Hardy. "He was an incredible character, an absolutely astonishing man."[1] Along with Donald and Brian Sinclair, Alf Wight dedicated his 1972 book All Creatures Great and Small to Straiton.

text: As the 1983 Christmas Special had done, the interview included a tribute to Mary Hignett (Mrs Hall), who died shortly after the series' first run: "She was the warmest-hearted, most genial, most enchanting companion," said Hardy. "She was a total dear; I absolutely adored her, and it was tragic that she died far too soon and left us bereft." Timothy added: "A fabulous lady, and greatly, greatly missed."[2]

text: Timothy, Hardy and Drinkwater reunited again in 2006 at The World of James Herriot museum in Thirsk.

text: A decade later, in October 2016, all four main actors from the original run reunited to mark the centenary of Alf Wight's birth.[48] For their parts, Timothy was 74, Hardy was 89, Davison was 65 and Drinkwater was 68.


document_title: Pumpkin Spice Latte

question_text: when did starbucks start selling pumpkin spice latte

root

text: Pumpkin Spice Latte

text: History[edit]

text: Starbucks started developing the Pumpkin Spice Latte in January 2003 in an attempt to expand on the success of winter seasonal drinks such as the Peppermint Mocha and Eggnog Latte. According to Peter Dukes, Starbucks' director of Espresso Americas, developers tested ten products with consumers, with the Pumpkin Spice Latte coming out in the middle of the group after chocolate and caramel flavors. Dukes said that "developers realized there was something special around the pumpkin flavor, especially since there wasn't anything around pumpkin at the time". The company experimented with different combinations and ratios of pumpkin to spice, ultimately deciding on a recipe with no pumpkin in it.[1]

tag: p

text: In fall of 2003, the final recipe was tested in Vancouver and Washington, D.C.. Sales of the drink exceeded the company's expectations: Dukes said "we couldn't keep up initially... we had to expedite inventory to the stores [at the time 7,225—now nearly 19,000."[2][1] The product went on sale in all U.S. Starbucks stores the following year.

text: The company said that Pumpkin Spice Latte was Starbucks' most popular seasonal beverage, with more than 200 million sold between its 2003 introduction and 2015.[1] After this, sales increased by 234% from 2008 to 2012.[3] The beverage's aroma has since been branded into a range of articles, such as air fresheners and foods such as tortilla chips, produced by companies other than Starbucks.[which?]

text: In August 2015, Starbucks changed the recipe to include pumpkin and remove artificial colours. The ingredients announced included a "pumpkin pie flavored sauce" made with sugar, condensed skim milk, pumpkin puree, coloring and preservative.[4]

text: Nutrition[edit]

text: In 2014, the controversial pseudoscience blogger Vani Hari, better known as "Food Babe", voiced concerns about the ingredients used in Starbucks' Pumpkin Spice Latte.[5] Hari's widely shared article "You'll Never Guess What's in a Starbucks Pumpkin Spice Latte (Hint: You Won't Be Happy)" focused on the use of Class IV caramel coloring (E 150d),[5] which contains low levels of 4-MEI, a potential carcinogen.[6] Caramel coloring is generally recognized as safe by the Food and Drug Administration; human exposure to 4-MEI at normal levels is considered safe by the FDA,[5][7] the European Food Safety Authority,[8] and Health Canada.[9]

text: Prior to the 2015 introduction of pumpkin puree, Hari had also raised concerns over the absence of pumpkin as an ingredient in the drink. Institute of Food Technologists (IFT) spokesperson Kantha Shelke argued that the drink was supposed to evoke the spices used in pumpkin pie, not the taste of pumpkin itself.[10][11]

text: Hari and others also criticised the amount of sugar in the product. Journalist Mandy Oaklander reported in Time magazine that one serving of Starbucks' pumpkin sauce contained 8 grams (0.28 oz) of sugar. A "grande" Pumpkin Spice Latte, containing three servings of syrup, had 49 g (1.7 oz) sugar, 24 g (0.85 oz) of which were from the Pumpkin Spice flavoring.[10] A 16oz pumpkin spice latte contains 380 calories [12]

text: In 2015, Starbucks reformulated the flavor to include actual pumpkin and to remove artificial coloring.[13] In an IFT publication, Shelke said that the change was imperceptible and served only to "appease those who wanted to see real pumpkin on the list of ingredients."[11]

text: Sales and marketing[edit]

text: Starbucks sold more than 200 million Pumpkin Spice Lattes between its launch and 2013, generating revenue at a rate of at least $80 million a year in some seasons, and outselling products such as the Eggnog Latte and the Peppermint Mocha.[14][15]

text: In a 2013 article published in Forbes magazine, Debra Donston-Miller wrote that "products that are available only for a limited time have a kind of built-in marketing that can grow in impact over time."[16] However, marketing experts at Mottis said in 2014 that the success of the Pumpkin Spice Latte could be attributed to Starbucks' marketing campaigns.[17]

text: Starbucks has worked to market to their target market of men and women ages 25 to 40, using contemporary designs and messaging. Starbucks has written that their target market represents the demographics using social media most heavily, including on Twitter, Facebook, and Instagram.[17] IN 2013, the company added a gaming element to the drink's arrival, allowing customers to "unlock" the drink at Starbucks stores nearby by ordering the drink with a code before its official sale date.[2] Between August 2012 and January 2014, there were over 29,000 tweets with the hash tag "#PSL", and in a single fall day use of the PSL hash tag exceeded 12 million.[18][not in citation given]

text: Since the introduction of the Starbucks Pumpkin Spice Latte, other companies have created Pumpkin Spice inspired products. According to Datassential Menu Trends, restaurants' pumpkin-inspired limited-time offers were up 234 percent from 2008 to 2012, while overall limited-time menu offers grew by 143 percent over the same period."[19] These items include pumpkin M&M's, Dunkin' Donuts pumpkin flavored coffee K-packs, and pumpkin flavored whiskey. Companies have also manufactured pumpkin spice lotion, shampoo, and candles.[14]

text: The Starbucks Pumpkin Spice Latte can also be made iced or as a Frappuccino upon request at a Starbucks store. In Fall of 2017 the company added a Chai variety of the drink called the Pumpkin Spice Chai Latte.[20][21] Additionally, Starbucks also seasonally offers pumpkin spice-flavored instant coffee pouches.


document_title: Cell theory

question_text: where is most of the cells dna found

question_tokens: where is most of the cells dna found

text: Cell theory

text: Microscopes

text: The discovery of the cell was made possible through the invention of the microscope. In the first century BC, Romans were able to make glass, discovering that objects appeared to be larger under the glass. In Italy during the 12th century, Salvino D’Armate made a piece of glass fit over one eye, allowing for a magnification effect to that eye. The expanded use of lenses in eyeglasses in the 13th century probably led to wider spread use of simple microscopes (magnifying glasses) with limited magnification.[2] Compound microscope, which combine an objective lens with an eyepiece to view a real image achieving much higher magnification, first appeared in Europe around 1620[3][4] In 1665, Robert Hooke used a microscope about six inches long with two convex lenses inside and examined specimens under reflected light for the observations in his book Micrographia. Hooke also used a simpler microscope with a single lens for examining specimens with directly transmitted light, because this allowed for a clearer image.[5]

text: Extensive microscopic study was done by Anton van Leeuwenhoek, a draper who took the interest in microscopes after seeing one while on an apprenticeship in Amsterdam in 1648. At some point in his life before 1668, he was able to learn how to grind lenses. This eventually led to Leeuwenhoek making his own unique microscope. His were a single lens simple microscope, rather than a compound microscope. This was because he was able to use a single lens that was a small glass sphere but allowed for a magnification of 270x. This was a large progression since the magnification before was only a maximum of 50x. After Leeuwenhoek, there was not much progress for the microscopes until the 1850s, two hundred years later. Carl Zeiss, a German engineer who manufactured microscopes, began to make changes to the lenses used. But the optical quality did not improve until the 1880s when he hired Otto Schott and eventually Ernst Abbe.[6]

text: Optical microscopes can focus on objects the size of a wavelength or larger, giving restrictions still to advancement in discoveries with objects smaller than the wavelengths of visible light. Later in the 1920s, the electron microscope was developed, making it possible to view objects that are smaller than optical wavelengths, once again, changing the possibilities in science.[6]

text: Discovery of cells

text: The cell was first discovered by Robert Hooke in 1665, which can be found to be described in his book Micrographia. In this book, he gave 60 ‘observations’ in detail of various objects under a coarse, compound microscope.[5] One observation was from very thin slices of bottle cork. Hooke discovered a multitude of tiny pores that he named "cells". This came from the Latin word Cella, meaning ‘a small room’ like monks lived in and also Cellulae, which meant the six sided cell of a honeycomb. However, Hooke did not know their real structure or function.[7] What Hooke had thought were cells, were actually empty cell walls of plant tissues. With microscopes during this time having a low magnification, Hooke was unable to see that there were other internal components to the cells he was observing. Therefore, he did not think the "cellulae" were alive.[8] His cell observations gave no indication of the nucleus and other organelles found in most living cells. In Micrographia, Hooke also observed mould, bluish in color, found on leather. After studying it under his microscope, he was unable to observe “seeds” that would have indicated how the mould was multiplying in quantity. This led to Hooke suggesting that spontaneous generation, from either natural or artificial heat, was the cause. Since this was an old Aristotelian theory still accepted at the time, others did not reject it and was not disproved until Leeuwenhoek later discovers generation is achieved otherwise.[5]

text: Anton van Leeuwenhoek is another scientist who saw these cells soon after Hooke did. He made use of a microscope containing improved lenses that could magnify objects almost 300-fold, or 270x.[8] Under these microscopes, Leeuwenhoek found motile objects. In a letter to The Royal Society on October 9, 1676, he states that motility is a quality of life therefore these were living organisms. Over time, he wrote many more papers in which described many specific forms of microorganisms. Leeuwenhoek named these “animalcules,” which included protozoa and other unicellular organisms, like bacteria.[6] Though he did not have much formal education, he was able to identify the first accurate description of red blood cells and discovered bacteria after gaining interest in the sense of taste that resulted in Leeuwenhoek to observe the tongue of an ox, then leading him to study "pepper water" in 1676. He also found for the first time the sperm cells of animals and humans. Once discovering these types of cells, Leeuwenhoek saw that the fertilization process requires the sperm cell to enter the egg cell. This put an end to the previous theory of spontaneous generation. After reading letters by Leeuwenhoek, Hooke was the first to confirm his observations that were thought to be unlikely by other contemporaries.[5]

text: The cells in animal tissues were observed after plants were because the tissues were so fragile and susceptible to tearing, it was difficult for such thin slices to be prepared for studying. Biologists believed that there was a fundamental unit to life, but were unsure what this was. It would not be until over a hundred years later that this fundamental unit was connected to cellular structure and existence of cells in animals or plants.[9] This conclusion was not made until Henri Dutrochet. Besides stating “the cell is the fundamental element of organization”,[10] Dutrochet also claimed that cells were not just a structural unit, but also a physiological unit.

text: In 1804, Karl Rudolphi and J.H.F. Link were awarded the prize for "solving the problem of the nature of cells", meaning they were the first to prove that cells had independent cell walls by the Königliche Societät der Wissenschaft (Royal Society of Science), Göttingen.[11] Before, it had been thought that cells shared walls and the fluid passed between them this way.

text: Cell theory

text: Credit for developing cell theory is usually given to two scientists: Theodor Schwann and Matthias Jakob Schleiden.[12] While Rudolf Virchow contributed to the theory, he is not as credited for his attributions toward it. In 1839, Schleiden suggested that every structural part of a plant was made up of cells or the result of cells. He also suggested that cells were made by a crystallization process either within other cells or from the outside.[13] However, this was not an original idea of Schleiden. He claimed this theory as his own, though Barthelemy Dumortier had stated it years before him. This crystallization process is no longer accepted with modern cell theory. In 1839, Theodor Schwann states that along with plants, animals are composed of cells or the product of cells in their structures.[14] This was a major advancement in the field of biology since little was known about animal structure up to this point compared to plants. From these conclusions about plants and animals, two of the three tenets of cell theory were postulated.[9]

text: 1. All living organisms are composed of one or more cells

text: 2. The cell is the most basic unit of life

text: Schleiden's theory of free cell formation through crystallization was refuted in the 1850s by Robert Remak, Rudolf Virchow, and Albert Kolliker.[6] In 1855, Rudolf Virchow added the third tenet to cell theory. In Latin, this tenet states Omnis cellula e cellula.[9] This translated to:

text: 3. All cells arise only from pre-existing cells

text: However, the idea that all cells come from pre-existing cells had in fact already been proposed by Robert Remak; it has been suggested that Virchow plagiarized Remak and did not give him credit.[15] Remak published observations in 1852 on cell division, claiming Schleiden and Schawnn were incorrect about generation schemes. He instead said that binary fission, which was first introduced by Dumortier, was how reproduction of new animal cells were made. Once this tenet was added, the classical cell theory was complete.

text: Modern interpretation

text: The generally accepted parts of modern cell theory include:

text:
All known living things are made up of one or more cells[16]
All living cells arise from pre-existing cells by division.
The cell is the fundamental unit of structure and function in all living organisms.[17]
The activity of an organism depends on the total activity of independent cells.[citation needed]
Energy flow (metabolism and biochemistry) occurs within cells.[citation needed]
Cells contain DNA which is found specifically in the chromosome and RNA found in the cell nucleus and cytoplasm.[18]
All cells are basically the same in chemical composition in organisms of similar species .[citation needed]

tag: ol

text: Modern version

text: The modern version of the cell theory includes the ideas that:

text:
Energy flow occurs within cells.[19]
Heredity information (DNA) is passed on from cell to cell.[19]
All cells have the same basic chemical composition.[19]

tag: ul

text: Opposing concepts in cell theory: history and background

text: The cell was first discovered by Robert Hooke in 1665 using a microscope. The first cell theory is credited to the work of Theodor Schwann and Matthias Jakob Schleiden in the 1830s. In this theory the internal contents of cells were called protoplasm and described as a jelly-like substance, sometimes called living jelly. At about the same time, colloidal chemistry began its development, and the concepts of bound water emerged. A colloid being something between a solution and a suspension, where Brownian motion is sufficient to prevent sedimentation. The idea of a semipermeable membrane, a barrier that is permeable to solvent but impermeable to solute molecules was developed at about the same time. The term osmosis originated in 1827 and its importance to physiological phenomena realized, but it wasn’t until 1877, when the botanist Pfeffer proposed the membrane theory of cell physiology. In this view, the cell was seen to be enclosed by a thin surface, the plasma membrane, and cell water and solutes such as a potassium ion existed in a physical state like that of a dilute solution. In 1889 Hamburger used hemolysis of erythrocytes to determine the permeability of various solutes. By measuring the time required for the cells to swell past their elastic limit, the rate at which solutes entered the cells could be estimated by the accompanying change in cell volume. He also found that there was an apparent nonsolvent volume of about 50% in red blood cells and later showed that this includes water of hydration in addition to the protein and other nonsolvent components of the cells.

text: Evolution of the membrane and bulk phase theories

text: Two opposing concepts developed within the context of studies on osmosis, permeability, and electrical properties of cells.[20] The first held that these properties all belonged to the plasma membrane whereas the other predominant view was that the protoplasm was responsible for these properties. The membrane theory developed as a succession of ad-hoc additions and changes to the theory to overcome experimental hurdles. Overton (a distant cousin of Charles Darwin) first proposed the concept of a lipid (oil) plasma membrane in 1899. The major weakness of the lipid membrane was the lack of an explanation of the high permeability to water, so Nathansohn (1904) proposed the mosaic theory. In this view, the membrane is not a pure lipid layer, but a mosaic of areas with lipid and areas with semipermeable gel. Ruhland refined the mosaic theory to include pores to allow additional passage of small molecules. Since membranes are generally less permeable to anions, Leonor Michaelis concluded that ions are adsorbed to the walls of the pores, changing the permeability of the pores to ions by electrostatic repulsion. Michaelis demonstrated the membrane potential (1926) and proposed that it was related to the distribution of ions across the membrane.[21] Harvey and Danielli (1939) proposed a lipid bilayer membrane covered on each side with a layer of protein to account for measurements of surface tension. In 1941 Boyle & Conway showed that the membrane of frog muscle was permeable to both K+ and Cl−, but apparently not to Na+, so the idea of electrical charges in the pores was unnecessary since a single critical pore size would explain the permeability to K+, H+, and Cl− as well as the impermeability to Na+, Ca+, and Mg2+. Over the same time period, it was shown (Procter & Wilson, 1916) that gels, which do not have a semipermeable membrane, would swell in dilute solutions. Loeb (1920) also studied gelatin extensively, with and without a membrane, showing that more of the properties attributed to the plasma membrane could be duplicated in gels without a membrane. In particular, he found that an electrical potential difference between the gelatin and the outside medium could be developed, based on the H+ concentration. Some criticisms of the membrane theory developed in the 1930s, based on observations such as the ability of some cells to swell and increase their surface area by a factor of 1000. A lipid layer cannot stretch to that extent without becoming a patchwork (thereby losing its barrier properties. Such criticisms stimulated continued studies on protoplasm as the principal agent determining cell permeability properties. In 1938, Fischer and Suer proposed that water in the protoplasm is not free but in a chemically combined form—the protoplasm represents a combination of protein, salt and water—and demonstrated the basic similarity between swelling in living tissues and the swelling of gelatin and fibrin gels. Dimitri Nasonov (1944) viewed proteins as the central components responsible for many properties of the cell, including electrical properties. By the 1940s, the bulk phase theories were not as well developed as the membrane theories. In 1941, Brooks & Brooks published a monograph, "The Permeability of Living Cells", which rejects the bulk phase theories.

text: Emergence of the steady-state membrane pump concept

text: With the development of radioactive tracers, it was shown that cells are not impermeable to Na+. This was difficult to explain with the membrane barrier theory, so the sodium pump was proposed to continually remove Na+ as it permeates cells. This drove the concept that cells are in a state of dynamic equilibrium, constantly using energy to maintain ion gradients. In 1935, Karl Lohmann discovered ATP and its role as a source of energy for cells, so the concept of a metabolically-driven sodium pump was proposed. The tremendous success of Hodgkin, Huxley, and Katz in the development of the membrane theory of cellular membrane potentials, with differential equations that modeled the phenomena correctly, provided even more support for the membrane pump hypothesis.

text: The modern view of the plasma membrane is of a fluid lipid bilayer that has protein components embedded within it. The structure of the membrane is now known in great detail, including 3D models of many of the hundreds of different proteins that are bound to the membrane. These major developments in cell physiology placed the membrane theory in a position of dominance and stimulated the imagination of most physiologists, who now apparently accept the theory as fact—there are, however, a few dissenters.[citation needed]

text: The reemergence of the bulk phase theories

text: In 1956, Afanasy S. Troshin published a book, The Problems of Cell Permeability, in Russian (1958 in German, 1961 in Chinese, 1966 in English) in which he found that permeability was of secondary importance in determination of the patterns of equilibrium between the cell and its environment. Troshin showed that cell water decreased in solutions of galactose or urea although these compounds did slowly permeate cells. Since the membrane theory requires an impermanent solute to sustain cell shrinkage, these experiments cast doubt on the theory. Others questioned whether the cell has enough energy to sustain the sodium/potassium pump. Such questions became even more urgent as dozens of new metabolic pumps were added as new chemical gradients were discovered.

text: In 1962, Gilbert Ling became the champion of the bulk phase theories and proposed his association-induction hypothesis of living cells.

text: Types of cells

text: Cells can be subdivided into the following subcategories:

text:
Prokaryotes: Prokaryotes are relatively small cells surrounded by the plasma membrane, with a characteristic cell wall that may differ in composition depending on the particular organism.[22] Prokaryotes lack a nucleus (although they do have circular or linear DNA) and other membrane-bound organelles (though they do contain ribosomes). The protoplasm of a prokaryote contains the chromosomal region that appears as fibrous deposits under the microscope, and the cytoplasm.[22] Bacteria and Archaea are the two domains of prokaryotes.
Eukaryotes: Eukaryotic cells are also surrounded by the plasma membrane, but on the other hand, they have distinct nuclei bound by a nuclear membrane or envelope. Eukaryotic cells also contain membrane-bound organelles, such as (mitochondria, chloroplasts, lysosomes, rough and smooth endoplasmic reticulum, vacuoles).[23] In addition, they possess organized chromosomes which store genetic material.[citation needed]

text: Animals have evolved a greater diversity of cell types in a multicellular body (100–150 different cell types), compared with 10–20 in plants, fungi, and protoctista.[24]


document_title: Income in the United Kingdom

question_text: what is the average income in the uk

question_tokens: what is the average income in the uk

text: Income in the United Kingdom

text: Data sources[edit]

text: There are a number of different sources of data on income which results in different estimates of income due to different sample sizes, population types (e.g. whether the population sample includes the self-employed, pensioners, individuals not liable to tax), definitions of income (e.g. gross earnings vs original income vs gross income vs net income vs post tax income).[6]

text: The Survey of Personal Incomes (SPI) is a dataset from HM Revenue and Customs (HMRC) based on individuals who could be liable to tax. HMRC does not hold information on individuals whose income is below the personal allowance (£8,105 in 2012/13).[7] Furthermore, SPI does not include income from non taxable benefits such as housing benefits or job seekers allowance.[2][6]

text: The Annual Survey of Hours and Earnings (ASHE) is a dataset from an annual survey of approximately 50,000 businesses by the Office for National Statistics (ONS) and covers annual earnings, public and private sector pay differential and the gender pay gap. ASHE does not cover individuals who are self-employed.[6][8]

text: The Households Below Average Income (HBAI) dataset is based on the Family Resources Survey (FRS) from the Department for Work and Pensions (DWP). It includes information on equalised household disposable income and can be used to represent the distribution of household income and income inequality (Gini coefficient).[4][6]

text: Other data sources include Average Weekly Earnings, Labour Force Survey, Index of Labour Cost per Hour, Unit Labour Costs, Effects of Taxes and Benefits on Household Income / Living Costs and Food Survey, European Union Statistics on Income and Living Conditions, Pensioners Income Series, Wealth and Assets Survey, National Accounts Estimates of Gross Disposable Household Income, and Small Area Income Estimates.[6]

text: Taxable income[edit]

text: The most recent SPI report (2012/13) gave annual median income as £21,000 before tax and £18,700 after tax.[2] The 2013/14 HBAI report gave median household income (2 adults) as £23,556.[4] The provisional results from the April 2014 ASHE report gives median gross annual earnings of £22,044 for all employees and £27,195 for full-time employees.[8]

text: According to the OECD the average household net-adjusted disposable income per capita is $27,029 a year (in USD, ranked 14/36 OECD countries), the average household net financial wealth per capita is estimated at $60,778 (in USD, ranked 8/36), and the average net-adjusted disposable income of the top 20% of the population is an estimated $57,010 a year, whereas the bottom 20% live on an estimated $10,195 a year giving a ratio of 5.6 (in USD, ranked 25/36).[9]

text: The 2013/14 HBAI reported that 15% of people had a relative low income (below 60% of median threshold) before housing costs.[4]

text: Data from HMRC 2012-13; incomes are before tax for individuals. The personal allowance or income tax threshold was £8,105 (people with incomes below this level did not pay income tax).[7]

text: Income by location[edit]

text: Income can vary considerably by location. For example, the locations (local administrative unit) with the highest incomes were the City of London, Kensington and Chelsea, and Westminster with median annual incomes of £58,300, £37,800 and £35,200 respectively. The locations with the lowest incomes were Hyndburn, Torbay, and West Somerset with median annual incomes of £17,000, £16,900 and £16,000 respectively.

text: Income by age and gender[edit]

text: Data from the Survey of Personal Incomes 2012/13.

text: Income by occupation[edit]

text: The tables below shows the ten highest and ten lowest paid occupations in the UK respectively, as at April 2014.[10]

text:
Occupation
Median full-time gross weekly pay (£)

Aircraft pilots and flight engineers
1,746.6

Air traffic controllers
1,549.4

Chief executives and senior officials
1,533.3

Marketing and sales directors
1,298.7

Advertising and public relations directors
1,289.5

Information technology and telecommunications directors
1,226.7

Legal professionals (not included elsewhere)
1,217.3

Medical practitioners
1,167.1

Brokers
1,149.9

Financial managers and directors
1,143.0

tag: table

text:
Occupation
Median full-time gross weekly pay (£)

Cleaners and domestics
285.5

Nursery nurses and assistants
285.2

Other elementary services occupations (not included elsewhere)
279.9

Retail cashiers and check-out operators
278.7

Leisure and theme park attendants
272.7

Kitchen and catering assistants
268.4

Hairdressers and barbers
267.8

Launderers, dry cleaners and pressers
259.3

Waiters and waitresses
257.6

Bar staff
253.6

text: Post tax household income[edit]

text: Data from the Households Below Average Income (HBAI) report from the Department of Work and Pensions 2013/14:

text: Data from HMRC – Percentile points of the income distribution as estimated from the Survey of Personal Incomes, note this only includes individuals who pay some income tax:

text: Wealth[edit]

text: This section needs to be updated. Please update this article to reflect recent events or newly available information. (October 2015)

text: The net worth information is based on data from HMRC for 2004–2005[11] and includes marketable assets including house equity, cash, shares, bonds and investment trusts. These values do not include personal possessions.

text:
Percentile point
Wealth to qualify
Percentage of total wealth owned
by people at and above this level

Top 1%
£688,228
21% of total UK wealth

2%
£460,179
28% of total UK wealth

5%
£270,164
40% of total UK wealth

10%
£176,221
53% of total UK wealth

25%
£76,098
72% of total UK wealth

50%
£35,807
93% of total UK wealth

text: High income[edit]

text: The Institute for Fiscal Studies issued a report on the UK's highest earners in January 2008. There are 42 million adults in the UK of whom 29 million are income tax payers. (The remainder are pensioners, students, homemakers, the unemployed, those earning under the personal allowance, and other unwaged.) A summary of key findings is shown in the table below:

text:
All taxpayers
Top 10% to 1% (adults)
Top 1% to 0.1% (adults)
Top 0.1% (adults)

Number
29.5 million
4.21 million
421,000
42,000

Entry level for group
£5,093
£35,345
£99,727
£351,137

Mean value for group
£24,769
£49,960
£155,832
£780,043

Average income tax paid
£4,415
£10,550
£49,477
£274,482

Percentage of national personal income
100%
27.6%
8.6%
4.2%

text: The top 0.1% are 90% male and 50% of these people are in the 45 to 54 year age group. 31% of these people live in London and 21% in South East England. 33% of these people are company directors (as reported to HMRC). 30% work in finance and 38% in general business (includes law). The very richest rely on earnings (salary and bonuses) for 58% of income. Income from self-employment (such as partnerships in law or accountancy firms) accounts for 23% of income and about 18% from investment income (interest and share dividends).

text: Sources of income[edit]

text: The Family Resources Survey is a document produced by the Department for Work and Pensions. This details income amongst a representative sample of the British population. This report tabulates sources of income as a percentage of total income.[12]

text:
Region
Employment (salaries & wages)
Self employed
Investment income
Working tax credit
State pensions
Occupational pensions
Disability benefits
Other social security benefits
Other income sources

UK
64%
11%
2%
1%
6%
7%
2%
5%
2%

Northern Ireland
60%
11%
1%
2%
7%
5%
4%
7%
3%

Scotland
66%
7%
2%
2%
7%
7%
3%
5%
2%

Wales
60%
8%
2%
2%
8%
8%
4%
6%
1%

England
64%
11%
2%
1%
6%
7%
2%
5%
2%

North East England
64%
5%
2%
2%
8%
6%
4%
7%
2%

North West England
59%
13%
2%
2%
7%
7%
3%
6%
2%

Yorkshire
64%
7%
2%
2%
7%
7%
2%
5%
3%

East Midlands
65%
9%
2%
1%
7%
6%
2%
5%
3%

West Midlands
62%
8%
3%
2%
8%
6%
2%
5%
3%

Eastern England
56%
22%
2%
1%
5%
7%
1%
3%
2%

London
71%
10%
2%
1%
4%
4%
1%
5%
3%

South East
66%
9%
4%
1%
7%
8%
1%
4%
2%

South West England
60%
9%
4%
1%
7%
10%
2%
4%
2%

text: Other social security benefits include: Housing Benefit, Income Support and Jobseeker's Allowance