Rowland Rivron

Clive (Kevin McNally) and Carol Smith (Rebecca Lacey) are a Merseyside couple who are struggling to raise their two teenage children, Wayne (Scott Neal) and Debbie (Heather Jones)

Alex is a disgruntled waiter at a snobby exclusive restaurant who falls on hard times. Forced to deal with the contempt and disgust of the upper class, Alex & cohorts attempt to go on a rampage. Meanwhile, General Karprov and Spider plot to involve the inept anarchists into their plans to derail the prime-minister-to-be's campaign.

Whilst delivering toilet rolls to a recording studio, small-time crook Keith pockets a demo tape by the newly disbanded group Toy Department, which he takes to a promoter, Brian. Together they have a chart hit with the 'mystery' group but complications arise when Brian wants a live tour.

A week in the life of Redditch investigative reporter Kevin Turvey. As you would expect, not a lot happens!

Two alcoholic escorts suddenly find themselves involved with a hit gang and an ax murderer.

A successful television presenter decides to quit at the height of his stardom. Abducted from his apartment, he is brought to the village...

There's No Business... is a 1994 British partially improvised comedy film directed by Kevin Molony and produced by Claudia Lloyd for Prospect Pictures. It stars Raw Sex (Simon Brint and Rowland Rivron) as Ken Bishop and his stepson Duane, and Lee Cornes as their musical agent Dickie Valentino, in their attempt to remake a track by Ken's old band, 'The Nice Twelve' for a TV advert for 'Pinkies', a brand of kitchen gloves made by Mort Clayton (Mac McDonald). Alexander Armstrong (Tim) and Sam Graham (Fergus) work for the fictional advertising agency Sprote and Sprote. The film takes its name from the 1954 film There's No Business Like Show Business which itself borrowed the 1946 song of the same name by Irving Berlin, written for the musical Annie Get Your Gun.

This documentary explores the legacy of one of the most notorious British sitcoms of all time. Launching alternative comedy onto our screens, the show made household names of its performers and writers and proved to be a huge influence, despite the BBC reportedly being baffled by what they'd commissioned back in 1982. Never before had a flagship comedy show contained so much violence, depravity and anarchy - it was a shot across the bow to mainstream comedians that things would never be the same again.