For years, fans of Keeping Up Appearances have enjoyed the sight of Onslow, beer in hand, glued to his television. But what exactly was he watching? A mix of real broadcasts, sound effects, and cleverly crafted fakes, Onslow’s television has been a minor mystery in British sitcom history.
Now, with some detective work, we can start piecing together the puzzle.
Throughout the series, the background noise from Onslow’s TV ranged from aeroplanes roaring to dramatic music cues, often without any clear visual context. Some of the more unusual moments include:
- Violet’s Country Cottage (1992) – The scene features a mix of aeroplane noises and a track called "Rocket Rebel" by Curtis Schwartz. Though the soundscape suggests an action-packed film, what Onslow was actually watching remains unclear.
- Richard’s New Hobby (1992) – The episode’s paperwork credits the track "Flashpoint" by Hubert Clifford. But was this part of a real show, or just a cleverly placed music cue?
- What to Wear When Yachting (1992) – Here, Onslow’s TV supposedly played a segment from Diversions, a BBC Enterprises filler program used for scheduling gaps. Though this gives a clue, the specific episode remains elusive.
Several of these mysterious television clips appeared more than once. For example, the Diversions material showed up in at least three later episodes: Hyacinth is Alarmed (1995), Country Estate Sale (1995), and A Barbecue at Violet’s (1995).
Another repeat offender is "Western Panorama" by Len Beadle, a music track heard multiple times, accompanied by the sound of galloping horses.
Director Harold Snoad once admitted to filming five fake movie extracts for Onslow’s TV—titled Virgin’s End, Gangster’s End, German’s End, Hostage’s End, and Pilot’s End. These were shot during gaps in the production schedule, using leftover time from planned filming days.
However, there’s no record of similar films being made for Series 3 and Series 5, which conveniently aligns with when the mystery deepens. Were these missing clips merely borrowed from existing, inexpensive TV archives, or did Snoad quietly create more fake films than officially acknowledged?
What makes Onslow’s television so intriguing is that we rarely see the screen—only the sounds and reactions. This raises an interesting question: did the production team deliberately keep the visuals out of view to avoid licensing fees and maintain flexibility?
With Snoad confirming that he avoided repeating the same clips too often, it’s possible that later seasons abandoned bespoke filming in favor of cost-effective workarounds. Some moments might have been “created” with nothing more than stock music and sound effects, giving the illusion of real content.
After years of speculation, the question remains: what exactly was Onslow watching? Some clips have been identified, while others remain a mystery. Whether it was forgotten BBC archive material, cleverly edited soundscapes, or simply the production team taking shortcuts, the answer might never be fully known.
But one thing is certain—Onslow’s TV wasn’t just background noise. It was part of Keeping Up Appearances’ world-building, adding yet another layer of charm to the much-loved sitcom.
