March 2020

James Graham on The coughing major ScreenSkills develops and sustains a world-class workforce for UK film, TV (high-end, children’s, unscripted), animation, VFX and games

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Peaky Blinders © BBC/Caryn Mandabach Production Ltd 2019/Robert Viglasky Killing Eve 2 © Sid Gentle Productions Doctor Who © BBC Journal of The Royal Television Society March 2020 l Volume 57/3

From the CEO Last month’s RTS black-tie RTS North East and the The T-word was also much to Television Journalism Border Awards – hosted by the hilari­ the fore at our recent packed early-­ Awards exceeded ous Jason Cook, every inch a Tyne­ evening event on Sky’s wonderful expectations. Sky sider – I experienced another aspect blue-collar comedy, Brassic. Co-created News’s Anna Botting of the UK’s screen-based innovation. by Joe Gilgun and Danny Brocklehurst, was a warm and As Graeme Thompson points out in Brassic is an edgy show that engages empathetic host – this edition, the North East is a region with topical issues such as mental huge thanks to her, and congratula­ that is, perhaps, undervalued by our health. Don’t miss our report inside. tions to all the nominees and winners. industry. We at the RTS are delighted I can’t wait to see James Graham’s Outside London, I recently attended to recognise what a wonderful place it three-part adaptation of his play Quiz two very different awards ceremonies, is to work and are thrilled to provide a for ITV. The subject of this month’s in Cardiff and Newcastle. Both spoke showcase for its talent. cover story could be one of 2020’s volumes about the depth of talent that Talking of the T-word, Seetha Kumar, standout TV dramas. exists in the nations and regions. The CEO of ScreenSkills, talks passionately RTS Cymru Awards was a buzzy event to Television about the importance of and a fitting recognition of the extra­ the UK’s screen industries in nurtur­ ordinary creativity that exists in Wales. ing the skills that are the foundation Later that week, at the glamorous, stone of our global success. Theresa Wise Contents Cover: Quiz (Delfont Mackintosh ) Esmé Wren’s TV Diary The world turned upside down Newsnight editor Esmé Wren on a week to remember As Malorie Blackman’s classic Noughts & Crosses finally 5 20 makes it to TV, Imani Cottrell asks how the adaptors Ear Candy: Because I Watched captured the spirit of a much-loved book Everyone talks about the social power of TV – but 6 the ways it can change us as individuals are often A family affair overlooked, says Kate Holman ITV’s critically acclaimed drama Flesh and Blood marked 22 a departure for the women who created it, hears the RTS Working Lives: Composer Composer Samuel Sim is interviewed by Matthew Bell What makes a serial killer? 7 The experts behind the true-crime series Making The king of empathy 24 a Monster uncover the minds of mass murderers for As his stage play Quiz is reimagined for TV, James Graham an RTS audience 9 tells Steve Clarke how he makes his characters come alive Secrets and lies Brexit: The next phase Screenwriters Jack and Harry Williams, the creators of How well prepared is the UK TV sector for Britain’s 26 ITV’s Liar, reveal the knack of keeping audiences hooked 12 departure from the EU? Kate Bulkley investigates First steps in TV Working class and proud The RTS Futures Television Careers Fair brought Actor Joe Gilgun, who has bipolar disorder, reveals how his 29 a bumper crowd to London own life informs Brassic, the hit Sky One comedy he stars in 14 RTS Television Journalism Awards 2020 Our Friend in the North East Hosted by Anna Botting and sponsored by Avid, the Graeme Thompson outlines what ‘levelling up’ looks like 31 awards were presented at the London Hilton, Park 16 from his perspective Lane. The winners and nominees over six pages Champion for TV talent RTS news and events listings Andrew Billen hears how ScreenSkills CEO Seetha Kumar Reports of Society activities across the nations and 17 tells defied the BBC’s ‘glass cliff’ to reach the top 37 regions, and calendar of forthcoming public events

Editor Production, design, advertising Royal Television Society Subscription rates Printing Legal notice Steve Clarke Gordon Jamieson 3 Dorset Rise UK £115 ISSN 0308-454X © Royal Television Society 2020. [email protected] [email protected] London EC4Y 8EN Overseas (surface) £146.11 Printer: FE Burman The views expressed in Television News editor and writer Sub-editor T: 020 7822 2810 Overseas (airmail) £172.22 20 Crimscott Street are not necessarily those of the RTS. Matthew Bell Sarah Bancroft E: [email protected] Enquiries: [email protected] London SE1 5TP Registered Charity 313 728 [email protected] [email protected] W: www.rts.org.uk

Television www.rts.org.uk March 2020 3 THE POWER TO AMPLIFY YOUR REACH

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Newsnight editor Esmé Wren on a week to remember

t was around this time has done us proud by securing an received the news that the Duke 21 years ago that I first exclusive line-up of guests. It was had finally agreed to the encounter. penned a letter to the then- with Newsnight that Zelda Perkins I knew then it could either be News- Newsnight editor, Sian Kevill, broke her non-disclosure agreement, night’s greatest moment, or, just as begging her to consider my following much persuasion from easily, its worst. application for a work place- presenter Emily Maitlis. Zelda agrees The stakes could not have been ment. Back then, I saw News- to return to the programme to share higher, but I had every confidence night as the brand that represented the her views on the guilty verdict. in the team’s ability to rise to the Ihighest form of accountability and one occasion. that could deliver change. ■ The following day brings publica- As a budding journalist, I was des- tion of the inquiry into the Westmin- ■ To see Emily recognised as Pre- perate to be a part of it. Fortunately, ster sex scandal. This concludes that senter of the Year for a second year Sian took a chance on me, and here I political institutions failed to respond running is a proud moment, followed am, decades later, as the programme’s to historical claims of child sexual by wins for both Interview of the Year second female editor – still very much abuse but, as expected, confirms that and Scoop of the Year for the Andrew believing everything I first saw in the there is no evidence of an organised interview. power of the brand but, more impor- paedophile network at Westminster. But, for me, the top prize is Daily tantly, tasked with the challenge of Newsnight does the only interview News Programme of the Year. With- securing its place in the future news that day with the former Conserva- out doubt, the Prince Andrew inter- landscape. tive MP Harvey Proctor, who won view was a tremendous coup for the compensation from the Met last year programme but it really was just the ■ The week starts as every other – after being falsely accused of child icing on the cake. a panic over resources and staffing. abuse in the disastrous Operation Over the past year, the programme I’d normally be envious of colleagues Midland investigation. has made a huge impact with its who have managed to get away to Italy Tackling difficult subjects is at the Brexit coverage, the investigation into for a week of skiing over half-term. core of why Newsnight has once again unregulated children’s homes, and This time, the coronavirus means I am become essential, rather than optional, compelling coverage from Hong a little less so. With a senior member viewing. A programme that will take Kong. To receive the award that cap- of staff having to self-isolate as a pre- risks, test the boundaries of the nar- tures all this brilliant work delivered caution, it comes down to us relying, rative and conduct forensic interviews. by the whole team is the perfect way as we do on so many occasions, on to secure Newsnight the recognition it the goodwill of other members of the ■ And so to the RTS Television Jour- so richly deserves, not least at this team to fill in the gaps. nalism Awards. I am confident that time of organisational change and As luck would have it, the news our interview with Prince Andrew cost-cutting. agenda hits us with a story the pro- will get its due recognition. Never gramme has invested in heavily before had a member of the Royal ■ Have I achieved what I set out to do recently – Harvey Weinstein and the Family faced an accountability as editor of Newsnight, I ask myself? verdict on his trial. interview, and certainly not one Not until we win again next year. As with the now-infamous Prince concerning his own sexual conduct. Andrew interview, the planning team I reflect on the moment we Esmé Wren is editor of Newsnight.

Television www.rts.org.uk March 2020 5 Ear candy

Because I Watched

Bobby Berk Bobby Berk

Everyone talks about the social power of TV – but the ways it can change us as individuals are often overlooked, says Kate Holman

hether it’s into the lives of viewers at home. He details a mother’s slow acceptance the spike Each episode tells a touching real- of same-sex parenting. in sales of life story about how a specific Netflix In another edition, Helena Bonham canned series has had a lasting impact on Carter recounts how The Crown (in Marks & someone’s life. series 3 she plays Princess Margaret) Spencer It could be plucking up the courage brought together two sisters living on gin and to do stand-up comedy after being opposite sides of the world. tonic or Google searches of priests inspired by Grace and Frankie’s Lily Laugh and cry your way through W– both inspired by season 2 of Fleabag Tomlin or breaking down prejudices the personal stories of acceptance, – never underestimate TV’s power to via diverse stories or people depicted love, heartbreak, friendship and sis- influence people’s behaviour. Yet, on shows such as Queer Eye. terhood from all over the world. sometimes, it is the smallest detail of The fortnightly podcast turns the From crime dramas to comedies, a TV series that can effect a change in attention on the viewer, as a star from the podcasts highlight the unexpected someone’s life. each of the chosen series narrates ways that TV impacts on our lives. Joining Netflix’s host of original one fan’s personal journey triggered Have a listen. You never know, it may podcasts, storytelling series Because by their favourite TV show. encourage you to reflect on the ways I Watched looks back through the Because I Watched features familiar your favourite show has made a last- screen of the latest binge-watch and voices such as Queer Eye’s Bobby Berk. ing difference to your own life. n

6 The Bay harp, guitar and piano. I can’t play any woodwind or brass instruments, but I write for them. TV and film composition allows me to bring the rock and classical worlds together.

How did you get into composing? I was mentored by Michael Kamen, the Grammy-award-winning Ameri- can composer. He heard me perform in a psychedelic school production of A Midsummer Night’s Dream – I was playing electric guitar in a T Rex-style rock band and the concert harp for the dream sequences. At the end, he offered me a job. I learnt more from Michael than anyone else.

And your TV break? Working on a series of three-minute shorts for Channel 4, Better than Sex WORKING – they were covered in music. It was a fantastic calling card.

How has the job changed? When I started, there were far fewer LIVES music libraries and those that existed weren’t up to scratch, so there were more opportunities to break into the industry. Now, outfits such as Audio Network have great composers on their books, and productions can buy music quite cheaply. It’s harder for young com- posers to get their foot in the door now. I tend to work on productions Composer that want more “authored” music.

ITV And the best and worst of the job? I get a huge thrill working with an amuel Sim won two RTS themes of a programme. I have four orchestra at Abbey Road. We are so Craft & Design Awards to six weeks to pull ideas together and blessed in London, which has the best in 2015 for his original then, when the episodes start coming musicians in the world. People man- score and title music for through, I write the music for each agement, though, can be tricky. I’ve ITV period drama Home episode in a week. A script gets you walked into a production and found Fires, and another last out of the blocks, but there’s nothing a war going on between the producer year for the title music of The Bay. like seeing some of the programme, and director – and both were briefing TheS judges described Sim’s theme as even a rough cut, for inspiration. me separately. “haunting and atmospheric”, giving “a Nordic noir feel to Morecambe”, What do you compose on? What’s next? the setting of the ITV crime drama. For an orchestral or chamber music I’m working on Sky’s 10-part ancient piece, I sketch out ideas on the piano Roman epic Domina and finishing the How would you describe your music? or paper. For an electronic score, I second series of The Bay. My scores are eclectic – whether they lean towards beats, synths, sound- are melodic, textual, percussive, scapes and samples. If it’s music for What are your future ambitions? orchestral or electronic depends on a Jane Austen period drama, I’m not It’s an interesting time for composition the subject matter of the programme. going to go for Megadeath-style – the traditional idea of an orchestra I’m trying to create a soundscape for ­guitar, although you never know.… playing themes and motifs has its people to get immersed in. place, but now you see more experi- Which instruments can you play? mental music coming into mainstream What is your composing process? I started to learn the violin at three TV and film. n I sketch out ideas after talking to the and concert harp at six. I can blag my production or receiving a script – that way through most string instruments, Composer Samuel Sim was interviewed time is crucial in understanding the but my main instruments are the by Matthew Bell.

Television www.rts.org.uk March 2020 7 AUDIO NETWORK

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Find out more: Naomi Koh [email protected] | +44 (0) 207 566 1441 The king of empathy

ames Graham was an under- Quiz, the Cough, the Millionaire Major, writ- graduate at Hull University Screenwriting ten by investigative journalists Bob when he became fascinated Woffinden and James Plaskett, which by daily press reports of the casts doubt on the Ingrams’ guilt. “The trial of a respectable home As his stage play Quiz proposition of the book is that the story counties couple accused of is reimagined for TV, is not what we think it is,” explains J cheating their way to the top Graham. “It’s much more complicated prize in ITV’s Who Wants To Be James Graham tells than that. Diving into the book, it was a Millionaire? At the time, Millionaire Steve Clarke how he thrilling to have my preconceptions was one of the biggest shows on TV, disrupted and altered with new evi- achieving audiences of more than makes his characters dence that I’d never even considered.” 8 million; at its peak, an incredible Graham is inspired to write the 19 million tuned into the programme. come alive stage play Quiz, based on Woffinden “I couldn’t believe the audacity of and Plaskett’s book. The play is a huge the crime,” recalls Graham, his eyes coughing discretely), were found guilty success, nominated for an Olivier brightening at the memory. “The idea and given suspended prison sentences. Award, and eventually transfers from that someone would try to pull off a Spool forward to 2015. The stage Chichester to the West End, in the bank heist in front of the cameras, in career of the insanely prolific Graham course of which he adds new material. front of a TV audience, to steal £1m has taken off. Thanks partly to This Next month, Graham’s three-part was just incredible. Like everyone House, set in the Commons during the adaptation of Quiz, directed by the else in the country, I thought they turbulent 1970s, when Labour strug- celebrated Stephen Frears, will be definitely did it.” gled to govern, Graham has emerged shown on ITV. It stars Matthew Mac- Suffice to say, Major Charles Ingram as one of the most talked-about fadyen as Ingram, Michael Sheen as (aka the Coughing Major, as the tab- dramatists in the country. (This House Millionaire presenter Chris Tarrant, Sian loids dubbed him) and his wife, Diana would subsequently be voted the play Clifford as Diana Ingram, and Mark (sitting in the Millionaire audience, she of the decade.) Bonnar as Paul Smith, Chair of Celador and a family friend apparently alerted He is given a book by theatre pro- Television, Millionaire’s producer. Ingram to the correct answers by ducer William Village, Bad Show: The “I had a bit of imposter syndrome �

Television www.rts.org.uk March 2020 9 Matthew Macfadyen plays Charles Ingram in Quiz

� when I first walked into Stephen complete fraud; he’s going to know way Graham’s scripts? “Very involved,” he Frears’s living room,” admits Graham, more about film-making, politics and replies. “I’d only written one of the who looks younger than his 37 years. culture than I do. But he was so gener- scripts when I first met him. He is sitting in the London offices of ous about what I was trying to do. “When he read, that he instantly asked Left Bank Pictures – Quiz’s producer “He asked very precise questions. where the other scripts were. I told him I – and, in his dressed-down way, could He’s not one of these directors who hadn’t written them yet, but I was trying easily pass for a postgraduate student. gives prescriptive or inhibitive notes very hard. He fed his thoughts into the The idea of Graham suffering from that limit you. He would ask questions first script, which had a knock-on effect imposter syndrome is truly baffling that opened up possibilities.” on how I wrote the other episodes.” but it does speak volumes about his The idea of turning Quiz into a TV It will be for the critics to judge how humility. His many other triumphs series came from Left Bank co-founder the TV series stands in relation to the include RTS-award winner Coalition, and CEO Andy Harries. “He came to stage versions of Quiz. What is clear is the story of the machinations that led see the stage show and instantly that Graham has jettisoned a lot of the to the Cameron-Clegg Government in wanted to do it,” remembers Graham. original material from the versions 2010, and, of course, Brexit: The Uncivil Getting Frears on board was some- shown in the theatre, including their War, in which Benedict Cumberbatch thing of a coup. He’d worked with potted history of British TV game shows. plays a deeply troubled Dominic Cum- Harries on the Oscar-winning film In another departure from what audi- mings, then largely unknown outside The Queen, starring Helen Mirren. Quiz ences saw in the theatre, Graham has the Westminster bubble. is Frears’s first TV series since the given roles to some of the TV executives He continues: “I was nervous at first award-winning A Very English Scandal mentioned in the play. Two of the key because Stephen is such a screen legend featuring Hugh Grant as Liberal leader people who helped nurture Who Wants and I know he is critically astute. I Jeremy Thorpe. To Be a Millionaire?, ITV’s director of pro- thought: he’s going to think I am a How involved was the director in grammes, David Liddiment, and his

10 post-Trump, internet/social-media heartening that someone like Graham world, where nothing feels quite trust- might help to calm things down by worthy or stable any more. trying, in his dramatised versions of “Here is a story about an alleged recent events, to understand people crime, where there are many different whose views are diametrically opposed. interpretations about how [the Ingrams] “I almost think that the most radical did it [and, indeed,] whether they did it. thing we could be doing at the moment “It was born out of the age when is creating work that is empathetic and television, news and media were tolerant of different views and dissent,” changing radically. Whether it was the he says. “I hope Quiz is a warm-hearted, advent of the 24-hour news cycle, the charming version of that. It’s not the emergence of social media, or reality TV Brexit movie at all. It’s not going to blending drama with truth and fact with divide people in a similar way, but it faction, I think it comes from the ori- does pose a question: are they innocent gins of what we’re dealing with today.” or are they guilty? Does our justice He adds: “It’s really exciting both to system work or are there flaws in it? return to a story I was obsessed with “Are we, as citizens, culpable for as a younger man, and to be given sometimes being whipped up as a mob another institution – because I love in judging people by our emotions, institutions, whether it’s newspapers rather than our brains? I think it does or Parliament or a referendum cam- present big questions but, ultimately, paign – and for, in this case, television in an entertaining story.” to be a vessel to explore all the nerv- Given the abuse Graham received ousness I was feeling about truth.” for Brexit: The Uncivil War, does he ever Quiz shares with his other writing regret portraying Cummings as a sym- the empathy and even-handedness pathetic, if maverick, figure? towards his characters that is a defin- “There’s a difference between being ing characteristic of his work, perhaps sympathetic and antipathetic. With the defining characteristic. Brexit, I was never going to please Graham has described the story that everybody. I didn’t think that I wouldn’t inspired Quiz as “the most British story please anyone, but I knew I wouldn’t in the history of the world”. Quizzes, please everyone. particularly pub quizzes, are quintes- “As a writer, I don’t know how else sentially British and, as Paul Smith to do it, how else to bring people to likes to say, they feed into two defining life, [how else] to get inside their head, national obsessions – drinking and to get under their skin, to try to under- always wanting to be right. stand what makes them tick. Is Quiz also a very British story “I have a – possibly flawed, possibly because the British are – or perhaps naive – theory that everyone thinks

ITV were – famous for their sense of fair that what they’re doing is right and play? “That’s exactly what it is and it good, and we just happen to disagree entertainment commissioner, Claudia answers why we became utterly trans- with them. I think there is a small Rosencrantz, both appear in the series fixed by this story 15 years ago – and subsection of people in this world who – played by Risteárd Cooper and Aisling why I hope an audience will be trans- are selfish and look out for themselves, Bea respectively. fixed by it today. It tapped into some- but I don’t think that’s most people. What, then, attracted him to the thing innately British about our sense “Even though, for example, I voted story of an apparent crime committed of injustice when people don’t play by remain and thought that Brexit would on a TV game show? The subject mat- the rules. We are the nation of queuing, be a bad thing for our country, what ter seems far removed from the world who invented cricket with its rules of would be the point in simply allowing of Westminster and Whitehall, where fair play and good sportsmanship. my prejudices to cover up my writing? Graham so often sets his stories. Is “But there is a less attractive side, “It was a great privilege to actually go there a connection between this and the tabloid press and its impact on the inside the head of someone who disa- his other work, other than him having justice system; its joy in building peo- greed with me. I have to believe that written it? ple up and seeing them come crashing Dominic Cummings thinks that Brexit “I would still say that it’s political. I down again. That’s part of tabloid cul- will be a good thing for his country, his think everything is political, even if it ture, whether it’s Meghan Markle or family and the people he loves. doesn’t feature politicians and the cor- anyone else.” “Reasonable people can disagree ridors of power,” he says. “I was sur- So, not so very far from Ink, Graham’s with that, but there is no point in prised when I felt so attracted to the story of how Rupert Murdoch turned ­simply presenting people as two-­ idea of this story, but I think it was The Sun into Britain’s biggest tabloid, or dimensional villains. It’s lazy writing, because it tapped into the anxiety that I Brexit: The Uncivil War and how both sides dramatically inert and politically was feeling at the time – and that we all of the referendum campaign manipu- unenticing. I don’t know how else to currently feel – about truth and reality, lated truth for their own ends. write, other than to imagine that what and the threats to that in the post-Brexit, In our polarised political culture, it is people think is positive and good.” n

Television www.rts.org.uk March 2020 11 Brexit The next phase

Economics How well prepared is the UK TV sector for Britain’s departure from the EU? Kate Bulkley investigates

etting clarity on what potential no-deal Brexit means that around the likelihood that, in time, Brexit will mean for the there are few unknown issues and, their Ofcom licences to broadcast UK audio-visual (AV) according to many executives in the channels from the UK to continental sector is, at this stage, creative industries, none with the Europe will become ineffective. a near impossibility. potential to derail one of the most The number of channels based in What is clear is that the prominent drivers of the UK’s eco- the UK dropped by 5% in 2019 due to past three years of Brexit politicking nomic performance. Brexit, according to the European haveG been accompanied by a huge Indeed, some in the sector are looking Audiovisual Observatory. amount of contingency planning for ahead to the potential benefits that an EU rules on content portability is a no-deal Brexit. update to the UK’s Communications Act something else the TV business is tak- Add to that the continued strength 2003 could provide. A new act would ing in its stride. In a no-deal scenario, of TV and film production in the UK, not have to comply with the EU’s UK citizens will lose the ability to thanks largely to a skilled talent pool, Audiovisual Media Services Directive access their subscription content while UK tax breaks and significant invest- (AVMSD). travelling in mainland Europe. ment from the likes of Disney, Netflix “There are arguments to say that, if If the UK falls out of the EU’s con- and Sky, and the consensus is that the we could tailor a better regime for the tent portability agreement, EU citizens sector is well placed to withstand any UK’s media ecosystem, we could do travelling to the UK will be unable to fallout from Britain leaving the EU. even better,” suggests a major broad- watch their TV services in Britain. There are issues that need to be caster’s senior policy expert. “Losing portability is not something ironed out, of course, particularly A number of media companies, we see as a big challenge to our busi- around talent and access to European including Viacom, Discovery, the BBC ness,” said a senior broadcaster. markets for programme sales. With and NBCUniversal, have already taken There are, however, concerns over no-deal still on the cards, some adver- steps to deal with one of the bigger the potential impact of UK content no tisers still appear cautious about their Brexit-­related issues. They have either longer qualifying under European spending, although that is being relocated their European broadcasting programming quotas as “European eclipsed by new worries over the eco- licences – and in some cases their HQs works”. Under existing rules, UK con- nomic impact of the Covid-19 virus. – from London to mainland Europe, or tent competes on an equal footing with Reassuringly, the long visibility of a they have devised other ways to get European content. But, post-Brexit,

12 ‘WE NEED A SYSTEM THAT IS COST-EFFECTIVE, MANAGEABLE AND EASY TO UNDERSTAND’

ever exports relating to quotas on you can’t do that with the proposed the Continent.” points system. Some kid with a great Today, EU countries account for idea won’t qualify, so you would be about a third of British programming losing a big opportunity.” exports, according to Pact. But, even if Another potential loss to producers the rules do change regarding quota concerns their access to European qualification, it may still not reduce the media funding schemes such as Crea- volume of UK content sales to Europe. tive Europe. It offers distribution bene- Ultimately, buying decisions depend fits to producers of independent on the quality of the programmes. feature films and routes to develop- Broadcasters and platforms need qual- ment finance. UK animation and ity content that can please audiences ­documentary makers have tapped and advertisers. “European broadcasters these funds. will have to look to see if there are But Pact argues that they are a mod- alternative sources capable of delivering est part of the low double digits of the same levels of viewing,” says McVay. millions available across the TV and Another issue concentrating minds film sector. “Government will have to in the event of no-deal is: will talent take a view on all the programmes that and production crews be able to move are part of the European club and on freely across the borders of EU states? whether they will support these funds,” At the very least, navigating any new says McVay. “The corollary is: if we visa rules will add administrative time aren’t going to stay in these schemes, and costs and mean more work for HR can the money that the UK has put departments. into these European mechanisms there is a fear that UK content will be In an industry where budgets are come back to our AV sector, rather treated as “foreign acquired” content. tight, this could have a disproportionate than going into roads or another part That could make it more difficult to impact on smaller indies and shows of the economy?” sell UK-produced shows in the EU. that require certain skills, for example, An issue with particular conse- “Our continental competitors are in special effects and animation. But quences for online players is whether already making noises, asking why the McVay believes the sector will cope: the UK, post-Brexit, maintains the EU’s UK should get benefits such as quali- “We need a system that is manageable, copyright directive. This requires plat- fying for these quotas when it is no cost-effective and easy to understand. forms to license content for private longer part of Europe,” says John But production teams are used to cop- users, as opposed to the old rules McVay, CEO of Pact, the independent ing with complex logistics and where platforms were required to take producers organisation. administration.” action to remove content only after an “It’s not an immediate issue,” he That said, the British Government’s infringement notice was filed by a maintains, “but, given some of the proposed points-based visa system is copyright holder. comments by the French CNC based on skill levels, educational quali- There is little visibility on this so far [National Centre for Cinema and the fications and pay levels. These criteria but, given Ofcom’s new role regulating Moving Image] and some others are not best suited to the TV sector online content to prevent harm, it is recently, they clearly think that pun- where, under present proposals, many reasonable to assume that there will ishing the UK is good for their own of the required skills will not qualify. If also be proactive policing for copyright local production industries.” the rules are not modified, it will take breaches. Alice Enders of Enders Analysis time to upskill the UK workforce. Ultimately, though, the UK is firmly thinks this loss of access is potentially Then there is the problem of the established as the world’s second most the biggest issue for TV businesses UK’s ability to attract talent. “A lot of important English-language content based here if the UK fails to reach a value creation in the AV space involves producer and exporter after the US. trade deal with Brussels. “Our potential people who are disruptive and innova- According to one senior broadcaster, removal of the European works quotas tive,” says Ingrid Silver, a media part- the UK has more pressing domestic in our law would nullify a condition of ner at law firm Reed Smith. “If you challenges, such as Ofcom’s PSB the Convention on Transfrontier TV want to replicate the Silicon Valley review, that are likely to have a bigger legislation of 1989, and thus impair for environment, where talent flourishes, impact than Brexit. n

Television www.rts.org.uk March 2020 13 Working class and proud Actor Joe Gilgun, who has bipolar disorder, reveals how his own life informs Brassic, the hit Sky One comedy he stars in

rassic, Sky One’s tale of “I’ve had a colourful past,” admitted Lancashire lads on the Gilgun. He was a child actor on Corona- scam, brought the chan- tion Street for a few years in the mid- nel critical acclaim and 1990s but, when his role was written its highest ratings for a out of the soap, he “went off the comedy show in almost bloody rails and got up to all kind of aB decade last year. The madcap comedy shit for many years”. with a sensitive side, which The Guardian It is the actor’s experiences from this called “a hilarious, warm, brutal mel- period of his life that run through Bras- ange”, returns to our screens this month. sic. Gilgun returned to acting a decade In advance of its second outing, a later, building a career that took him sold-out RTS early-evening event from Emmerdale, to Shane Meadows’ heard from writer Danny Brocklehurst, three This is England films, to E4 sci-fi executive producer David Livingstone comedy-drama Misfits and BBC Films’ and actor Joe Gilgun, who brought his Pride, which tells the story of the gay effervescent personality to the stage. and lesbian activists who supported Brassic not only stars Gilgun, it is also the 1984-85 miners’ strike. based on stories from a difficult period On the set of the award-winning in his life. But, as he was at pains to movie he met the actor Dominic West, point out, it was never his intention to who plays Vinnie’s narcissistic doctor mine the misery of his experiences in Brassic. West encouraged the film’s Livingstone’s company, Calamity Films – the opposite, in fact: Brassic was executive producer, Livingstone, to (whose credits include Pride, Judy and intended to be a celebration of work- listen to Gilgun’s “crazy stories”. Despite Last Christmas) to make the show, the ing-class life, warts and all. being hindered by serious dyslexia, indie’s first TV series. “Any show that represents the work- Gilgun wrote them down “on acres of Brocklehurst and Gilgun sent ideas ing classes is fucking miserable. Some wallpaper”, recalled Livingstone. back and forth via long WhatsApp of the happiest people I know are Gilgun recalled Livingstone’s reac- messages – “podcasts, basically”, said working class; some of the smartest tion when the exec read them: “These the writer, who added structure and lads I know are working class,” he said. are the ramblings of a fucking lunatic.” writer’s polish to the actor’s stories. “I was sick to death of us being The actor agreed: “They were the ram- “There was so much good stuff from depicted as long-suffering. Sure, blings of a lunatic – we needed this Joe’s life and great, funny ideas, but there’s a bit of suffering that goes on bugger here [Brocklehurst] to [make what you’ve got to do is shape it,” said and some of it is hand to mouth, but sense of them].” Brocklehurst. “We had to take that great that’s not to say we’re all fucking mis- “Even though I was a fan of Joe from source material and turn it into a series. erable. That’s a middle-class view of Misfits, a little bit of me thought, ‘Oh “It was such a strong starting point… what it is to be working class.” God, an actor with ideas’,” recalled but then, like with any series, you talk Brassic, defined as broke, penniless, Brocklehurst. “But we got on and I so much, come up with new ideas and without means, boracic lint, skint, on could see really clearly that the stories embellish things, so it becomes its own the bones of yer arse, was created by and ideas Joe had for the show were new thing as you go down the road.” Gilgun and Danny Brocklehurst, who brilliant and funny. They were in a Throughout his life, Gilgun’s dyslexia wrote all but one episode of the first tone that I’d written in a long time has made reading and writing difficult. series. The latter, a journalist at the ago [on Channel 4’s Shameless] and I “What I have got is bloody good ideas. Manchester Evening News before he wanted to do again. I could see there I was made to feel bloody stupid and, turned to screenwriting, has written was a show here that excited me, and I for years, I believed that. Only in the RTS award-winning dramas such as felt we could collaborate really well.” last five or six years have I started to Clocking Off, Shameless and Come Home. Sky One agreed and commissioned realise that I’m not,” he said.

14 Joe Gilgun as Vinnie, second from right, in Brassic Sky

These ideas, he added, are like a “big, acting. [Brassic] is very, very personal to tangled ball of wool; my head doesn’t ‘I WAS SICK me. I knew my idea was a good one. I work in a linear way at all. I have the TO DEATH believed it would go on TV. I have other ideas but I can’t put them together.” ideas – they will happen, absolutely Livingstone admitted to anxiety OF US BEING they will. I believe in myself. For the first about whether Brassic’s mix of broad DEPICTED time in a lifetime, I know my own worth comedy and sensitivity would work on – I’m not dumb and I want more.” screen. “It isn’t something you see AS LONG- For Gilgun, “the whole process has every day,” he said. But, the executive SUFFERING’ been honestly life-changing”. It took producer added: “It really held together five years – from the actor telling sto- – if it can make you cry and roar with ries to Dominic West on the set of Pride laughter, then that’s a good spot to be in.” truthful about it, we can be as funny and scribbling down his ideas on wall- “The tears, the sadness,” reckoned as we like”. paper – for Brassic to reach the screen. Gilgun, “ground the madness of the “I have serious mental health prob- “It was exciting while it was happen- show. We didn’t want to make it too lems,” said Gilgun. “I have these fuck- ing but it went past in a blur and, heavy, but a lot of the positive feed- ing meltdowns, like the shit you see on before you know it, it’s on the fucking back came off the back of the poignant the [programme]. I get very frustrated TV and it’s massive,” said Gilgun. “It’s moments.” and angry. When I go on a down… I’m difficult to put into words; it’s been a Gilgun’s character, Vinnie, like the pissed off; I can’t control how I feel. It life-changing thing.” n actor, has bipolar disorder. “Joe has doesn’t matter that you’ve got a nice been very public about his own bipolar, flat. I don’t finish a day at work and go Report by Matthew Bell. The RTS early- but we were worried at first about deal- home, and everything goes away. I am evening event was held at H Club London ing with that in a comic environment,” bipolar – that’s me. on 30 January and chaired by television said Brocklehurst. “The medicine Vinnie is on, I’m on. journalist and broadcaster Emma Bul- However, after some thought, the The shit Vinnie does, that’s the man I limore. It was produced by the RTS, Sky writer decided, “as long as we’re would have become if it wasn’t for and Premier Communications.

Television www.rts.org.uk March 2020 15 OUR FRIEND IN THE NORTH EAST

Graeme Thompson icture the scene: As a result, the 2020 RTS North East one of the North’s outlines what and Border Awards, held at the end of most popular visitor ‘levelling up’ looks February, had as many non-broadcast attractions, nestling and student categories as TV. on the riverside site like from his One of the biggest cheers of the of a 7th-century night went to the team behind Tees priory, once home to perspective Valley Screen, which picked up a the Venerable Bede, suddenly thrust prize for work in supporting talent, intoP the media spotlight thanks to ambition and growth across the another noted chronicler of history Middlesbrough­ area. – Boris Johnson. It builds on the talent pipeline pro- Well, that was because, at the end duced by the region’s six universities of January, the National Glass Centre - Teesside, Sunderland, Durham, – part of the University of Sunder- Newcastle, Northumbria and Cum- land – found itself hosting a symbolic bria. The institutions offer plenty of “end of the EU era” Cabinet meeting. support, incubators and incentives to The site was closed to visitors as a try and retain graduate talent – but fleet of government cars swept on to the lure of bigger and brighter cre- campus to deposit the PM and his ative hubs can be irresistible. senior team. It is a more positive story for cre- The cameras rolled as Johnson met ative tech in the region, which has staff and students and tried his hand grown 45% in the past five years, with at glass blowing before sitting down a gross value added of around £3bn. for Cabinet in a closed-off section of It’s the highest growth outside Lon-

the café beside the Northern Gallery Hampartsoumian Paul don – more than 200 new companies for Contemporary Art. established in the North East last year, Amid the photo opportunities, stu- to Leeds – raising hopes that a com- attracted by highly skilled creatives dents mused on the PM’s pledge to missioning centre east of the Pen- and relatively cheap running costs. “level-up” spending to win round com- nines might have an impact further Computer games, visual effects, VR/ munities feeling left behind by succes- up the A1. AR and animation are thriving, with sive metro-centric administrations. The area between North Yorkshire big name players such as Ubisoft, The UK2070 Commission, led by and the Scottish Borders is home to ZeroLight and Sage. And the BBC has Lord Kerslake – formerly the UK’s more than 2 million people but announced plans to open a major most senior civil servant – has just accounts for less than 2% of televi- tech innovation hub in Newcastle. published a report showing that the sion production in the UK. So, to answer the students’ ques- UK is now the most unequal large According to screen agency North- tion, what would “levelling up” look country in the developed world. Areas ern Film + Media there are more than like? Improved infrastructure, such as the North East have suffered 370 registered crew available, along devolved decision-making, more most from decades of political and with some 1,000 film-friendly loca- emphasis on the quality-of-life economic neglect. tions – such as the Tees Barrage, advantages of working outside the Take television and the creative which played a key role in the flight capital, plus recognition from com- industries. Over the past 15 years, of George MacKay in the movie 1917. missioners and investors that areas programme-makers and creatives In reality, however, most local crew such as the North East need support here have seen production and com- and production teams struggle to get to reach critical mass. Sounds like a missioning increasingly focus on TV and film work unless they are vote winner to me. ■ London, Manchester, Cardiff and prepared to travel or lucky enough to Glasgow. be picked up by long-running shows Graeme Thompson is Pro Vice-Chancellor Which is why there’s much excite- such as ITV’s Vera, Lime’s Geordie Shore at the University of Sunderland and Chair ment about the move of Channel 4 or CBBC’s The Dumping Ground. of the RTS Education Committee.

16 Champion for TV talent ScreenSkills

t is the best of times: the production boom in television. At the television business is boom- The Billen profile same time, over the years, the BBC ing. It is the worst of times: had less and less money for training, there is a skill shortage, so Andrew Billen hears and, although people delivered homi- wage costs are soaring. Yet lies about “inclusion”, it was never a shouldn’t that make it the how ScreenSkills CEO “powerful driver” in recruitment. bestI of times again? Won’t television Seetha Kumar defied And then there was Creative Skill- be forced to find and train a new set itself, set up by the screen indus- generation of programme-makers the BBC’s ‘glass cliff’ tries back in 1992 as just plain Skillset. who won’t all be white and middle Under the post-1997 Labour govern- class? This, I tell Seetha Kumar, the to reach the top ments, it had received consistent ambitious chief executive of Screen- government funding. The David Skills, is a battle she can win. have a moment in time to do it. I just Cameron-led coalition replaced that “You make it sound so simple,” says think, as always – and I say this to with project funding and, by 2015, Kumar. She is in her office close to people internally – anything worth- when Kumar arrived, even that had Euston station where her skills-body while and challenging is never easy.” only two years left to run. charity works to ensure that film and The difficulties in Kumar’s own “We had a brilliant board, and the television find the people to make the career in television, since she moved board wanted change,” says Kumar, magic happen. She has been telling from India to London in her twenties, the first BAME woman to receive an me how the industry needs to think become a big, knotty strand in our RTS Fellowship, “but I genuinely through a new “skills pipeline”, scrape interview. It was certainly not the wasn’t entirely aware that (a) the the opacity from its gateways, end the best of times when, in 2015, Kumar, project funding was going to end, or biases that exclude and, before all that, a former 20-year BBC staffer, was (b) that internally there was a problem nurture a “whole-child” approach in headhunted from the educational that some of the contracts hadn’t schools, where creativity and technical publisher Pearson to run what was been paid for a period of time.” skills are meshed, rather than divided. then known as Creative Skillset. Contracts? “From the Government. So she still thinks it could all go It was, she says, “a perfect storm”. There was a hiatus in payment.” wrong? “No, I hope that you’re right. I The advent of multichannel, tax The Government hadn’t signed the think we should win. There is a genu- breaks, rising demand for high-end cheques? “There was a hiatus, OK? ine economic and social purpose to drama and the imminent arrival I’m going to put it very politely.” effect change in our industry, and we of the streamers had created a So her first instinct was clearly to �

Television www.rts.org.uk March 2020 17 � resign? “Weirdly, I’m not a quitter. I had worked in big corporates most of my life, so this was a very different experience. When I first arrived, I was a bit like, ‘OK, what’s going on?’. I was shocked, I have to be honest.” The other problem was that Creative Skillset’s canvas had became too broad. It was working in sectors such as adver- tising, publishing and fashion. Kumar rechristened it ScreenSkills and refo- cused it so that it targeted – well, screens. Throughout 2017, staff left and Seetha, were not replaced but, at the end of the year, ScreenSkills won a £19.5m contract sequentially from the BFI and appointed a dynamic new head of film, Gareth Ellis-Unwin. So all is well now? “It’s not as simple as that. ScreenSkills got through the hump and we are rebuilding. I think it’s got good industry support, brilliant skills councils and we can track exactly what we do. However, if we’re going to change our industry seriously and get it to grow and stay growing, particularly in key hubs across the nation’s regions, we need a 10-year plan for skills and talent – and I think

ScreenSkills we should lead it.” The funding facts are these. When Seetha Kumar, CEO, ScreenSkills Kumar arrived, the organisation was Cambridge Convention last year, how- funded to the tune of £28m, the major- ever, Sir Lenny Henry said it was time Brought up Mumbai and Delhi ity coming from government, with to scrap diversity schemes and initia- Lives London; two children £5.3m from the BFI and £3.5m from tives. He argued, instead, for diversity Educated Jawaharlal Nehru Uni- industry. This year, the total is just tax breaks and contestable funds for versity, New Delhi, studied modern £13.3m (£6.8m from industry; more diverse programming. Indian history than £5m from the BFI; and some cash “Where I agreed with him is on the from other sources, including from multitude of initiatives,” she says. “But Late 1980s First jobs in TV in UK Arts Council England and, unusually, for me, the issue is really not to have a 1996 Series producer and creative £500,000 from DCMS to run a specific plethora of initiatives that will take you director, BBC Crime and Health, creative careers programme, but that anywhere, but to link them back to including editor of Crimewatch UK. goes next year). pathways to where the needs are. 2002 Head of life skills, BBC Factual And on diversity? “I just think, across “I’ll give you an example. In and Learning the piece, if you look at the research unscripted, we’ve been running a 2005 Executive editor of Africa that Ofcom has done, that we are mak- series-producer programme and, as of Lives across the BBC ing very slow strides.” mid-March, we have probably more 2006 Launches BBC HD Is the industry racist? “I don’t think than 100 alumni. Their progression has 2008 Controller, BBC online. the industry is racist. There are inci- been fantastic. Many of them are series dents where people have behaved in a producers, if not higher.” Watching The Marvelous Mrs Maisel racist way, they have bullied or behaved Kumar admits, however: “In my Reading Amitav Ghosh’s Ibis trilogy unpleasantly, but I would say it’s unfair lifetime, even when I was at the BBC, Podcasts The Catch and Kill with to say the industry is racist. It’s not.” I have seen what I call ‘initiative-itis’. Ronan Farrow; Where Should We It just mirrors itself? It’s attracted to People want to do the right thing. They Begin? what it recognises? “That’s a human announce it. They get the press. My big Hobbies Latin dance/dancing, the- instinct.” question is: what happens to these atre, reading, cinema, meditation There is now a consensus that the people? And what’s the return rate?” They say ‘An outstanding senior market, as well as justice, demands She has two children, both executive and creative leader’ – more opportunities for minorities, yet grown-up (neither are in the industry) Donald Steel, former BBC head there is a disagreement over how those and was herself brought up in Bombay of press opportunities can be created. Screen- (she does not call it Mumbai). Her late She says ‘It is a tough industry if Skills identifies skills gaps, provides father worked in government and was you’re not picked or sponsored. career information, mentors, trains, cautious about his daughter embarking I had none of that. So I know.’ offers bursaries and even holds work- on anything less than a very respectable shops on unconscious bias. At the RTS career.

18 because they knew I would make sure it worked, whether it was HD or online.” Despite the support of Lorraine Heg- gessey, Jane Lush and Mark Thompson, she could feel the lack of a sponsor. “And also, sometimes, I think the BBC could have been braver in taking more risks with me. They gave me jobs that were what I call ‘glass cliff’.” What does that mean? “It says you’re at the edge of the cliff and it’s glass, so it could crack.” They wanted her to fail? “No, but the jobs had a high risk of failure. They did not want me to fail. If anything, I should take it as a compliment. The point is, as a person, as a creative, do you only want to do those [kinds of] jobs?” And then there was the condescen- sion. “I remember somebody saying to me once, ‘It’s quite extraordinary that you managed to achieve what you have when you have crossed the oceans and the divide.’ I just thought, ‘What the hell?’” Who was that? “Somebody at the BBC. Someone senior.” Patronising? “Really patronising,

Blackmagic Design extraordinary comments. I remember someone else lecturing me about Her mother did not work but was recommended her to someone at the diversity, a white man, and I just said: well educated and a big reader. She told BBC. She was recruited for a pro- ‘I’ve lived it.’ But I thought: ‘How dare Seetha something that determined her gramme on the Bhopal gas disaster, you?’ However, at the end of the day, life: “Do what you love and what you but it was a short-term contract and it you’ve got a limited amount of energy; believe in. Nothing else matters.” was India again. Happily, the producer, you use it positively or negatively. After university in New Delhi and Elizabeth Clough, promised it would Negative energy never wins.” a short spell in print journalism, she lead to greater things and kept her She asks whether I would feel upset arrived in London in the 1980s for promise. Kumar moved to Taking Liber- if I was told I had “come a long way”. I what she describes as “family reasons”. ties, the series that investigated miscar- say I am not sure. “I guess it depends if One plus was that our television was riages of justice. you’d already fought every step of the much better than India’s. Her BBC career thenceforth looks, way and felt quite bruised and raw. “I found England, the UK, not a at least on paper, spectacular. She was When I joined there weren’t many happy, friendly place. It was London editor of Crimewatch UK and is credited people who looked like me. I would in the mid-1980s. It was tough, so I with holding the team together when say, to be fair to most people, some of hoovered up TV. TV was my best its presenter, Jill Dando, was murdered. it is also about how I felt because I was friend. I watched everything from Sons In 2003, she ran the domestic abuse the outsider.” and Daughters, which was daytime stuff, season Hitting Home and, two years later, Kumar left Pearson after three years, to Granada’s World in Action. I thought it executive-edited the award-winning, unconvinced of its strategic direction was fantastic.” cross-media season Africa Lives. (she was right – profits have fallen as Television was less keen to hoover She launched BBC HD and then students have fled the printed word) her up, however, and she doubts if she switched, in 2008, to lead BBC Online, but mainly because of the pull of tele- would have made it in had she not “so where she revolutionised the meas- vision and her desire to be of use to it. desperately wanted it”. “I applied for urement of user consumption. She left “I realised that, actually, I really, really, every job. I wrote endless letters. the corporation, which she still loves, missed this world, which was a won- Nothing.” in 2010 as one reorganisation too many derful thing to know.” Finally, she got work as a researcher loomed. Pearson offered her a job that I ask if she wore a sari after she came on a programme an independent was addressed her passion for education. to London. She says she didn’t, partly making about India. Even that break “But it was bumpy,” she says of her because she wanted to fit in. Nowadays, made her angry: Brits felt they could BBC decades. “It felt quite lonely. You the richness of her life is to feel British become experts on India with a little could ask the same of somebody who and Indian at the same time. help from a native, but not let an was white whether they felt the same. As to where her spiritual home is, Indian work on a British show. Who knows? I just felt that personally. there is no doubt in my mind: it’s It was Alex Graham, founder of Wall But I got a reputation for delivering. ­television, and she wants it crowded to Wall, who spotted her tenacity and So sometimes things came my way with talent. n

Television www.rts.org.uk March 2020 19 Noughts & Crosses As Malorie Blackman’s classic Noughts & Crosses finally makes it to TV, Imani Cottrell asks how the adaptors captured the spirit of a much-loved book The world turned upside down

he TV adaptation of and Paterson Joseph, and a cameo childhood friends who become lovers, Noughts and Crosses, the from Stormzy, who plays newspaper Sephy (Masali Baduza) and Callum first novel in Malorie editor Kolawale. (Jack Rowan). Sephy is a Cross and Blackman’s cult dysto- Executive producer Preethi Mava- the daughter of a prominent politician. pian series for young halli, whose credits include BBC Two’s Callum is a Nought, whose mother adults, is one of the year’s NW, describes it as “an alternate-world used to work as a nanny for Sephy. mostT hotly anticipated new dramas. show”, one in which white and black When their friendship starts to Airing this month on BBC One, the people are segregated, but the ruling change, the pair embark on a passion- six-part series, made by Mammoth class (the Crosses) is black and the ate but dangerous romance. Their Screen, boasts an impressive cast, white Noughts are subjugated. bond is put to the test by the pervasive including Helen Baxendale, Ian Hart At the heart of the narrative are racism and violence.

20 Mavahalli describes the adaptation inevitably, changes had to be made for 20 years ago, Blackman assumed that as a long time coming – it was top of it to work on the small screen. they would be irrelevant by the 2020s, her priority list when she joined Mam- Although much of the series was and told Mavahalli this. “I think what’s moth Screen eight years ago but was shot in South Africa, the show is set tragic is that it’s more relevant than not green-lit until 2016. in an alternate London, whose visual ever,” says the producer. “Divisions, “I read the books when they came style was developed by Mavahalli and prejudice and racism are big issues out and was a massive fan of them,” the team. and talked about even more than they she says. “That’s how it all started, just Adom recalls that he watched a lot of were 20 years ago.” from being a fan, having a passion for TV that could feed into his approach to For Adom, directing such a large- the book and wanting to get it made.” the series. His research took in the scale project before he turned 30 was However, Blackman was initially a big step: “As a black guy, I’ve never resistant to the idea. “Eight years ago, seen a director who looks remotely TV drama entertainment was very ‘WHAT’S TRAGIC like me.… After doing it, I had this huge different to what it is today, with its feeling of achievement and fulfilment. increased ambitions,” explains Mava- IS THAT [THESE “[The cast and crew] didn’t expect halli. But, once the author agreed to THEMES ARE] this guy to be standing there with his sell the rights, she notes that the BBC durag and his slippers,” he laughs. “I was on board straight away: “At the MORE RELEVANT had to rise to the challenge and have a time, Ben Stephenson [who left the THAN EVER’ vision for them to latch on to. If you’re BBC five years ago] was in charge of not confident, your vision can be drama and was a fan of the book. As squashed. soon as he knew we had the rights, intricacies of Nigerian culture, cos- “You have to be really confident in he was very keen for us to develop it. tumes, village life – and even masks yourself. That comes from my rela- From day one, the BBC has champi- – which he wanted to inform the Cross tionship with God. I focused on what I oned it.” world. A court scene shows these influ- know I can do and let God do the rest.

BBC Finding the right tone for the show ences: “There is no jury, there are elders, My faith drove me through all the was crucial. “I think it’s always been a and everyone is wearing African attire, obstacles and here we are, I’ve finished really bold and provocative premise. rather than a judge in a wig and gown.” three episodes of TV for BBC One.” To really pull it off needed a lot of time For the love story between Sephy As for Stormzy’s involvement, the and money,” argues Mavahalli. “Expec- and Callum, Adom wanted to focus on rapper told Blackman that as soon as tations from the audience get bigger the claustrophobic and suffocating he heard Noughts & Crosses was being and bigger and we needed to deliver nature of their relationship, but also on adapted for TV, he was eager to have on that.” The books also have a broad its warmth and intimacy. “It was about a part. and vocal fan base, as well as being getting the nuances of the emotions, “Stormzy’s passion is just unrelent- national curriculum recommended not just having nice visuals but visuals ing,” says Mavahalli. “He is a huge fan texts for English. that apply to the story,” he says. and, of course, we wanted him involved. Director Koby Adom – whose short Mavahalli suggests that the couple’s We flew him out to Cape Town. Apart Haircut was longlisted for a Bafta – relationship has a universality that from us, nobody knew about it. He did helped to create the world imagined goes beyond race and class: “Some the shoot and then we announced it.” by Blackman, and has directed three people might connect with the story Mavahalli hopes the book’s many of the six episodes. for very political reasons, because of other fans agree that the production Having read the novels as a child, the exploration of racism and injustice, has done justice to Blackman’s story. the story had personal resonance for but you could just watch it as two peo- Adom says he would be pleased if him. “There’s a lot of things in the ple who aren’t allowed to be together.” the show not only entertains but also book which I think were magical, and She insists, however, that the series sparks conversation. “Personally, I informed me as a person, as a black is not trying to convey an overtly polit- don’t really see it in a racial sense. man, growing up in London,” says ical message: “The world we’ve created What I think Noughts & Crosses does is Adom. “Reading the books and the draws in post-slavery [conditions] in start to humanise people.” scripts [written by Lydia Adetunji, the civil rights movement in the US, With the novels so close to so many Nathaniel Price and Rachel De-Lahay], apartheid in South Africa and British people’s hearts, the TV series inevitably it’s scary how accurate some of these colonialism. It’s not about one specific carries a heavy load as it introduces presentations are.” experience of what is to be a minority fans, both new and old, to a world Mavahalli says that it was important or what it is to be oppressed.” quite unlike their own, but one with to keep “the spirit of the book” but, When she wrote the novels, almost love at its centre. n

Television www.rts.org.uk March 2020 21 ITV’s critically acclaimed drama Flesh and Blood marked a departure for the women who created it, hears the RTS A family affair

Flesh and Blood

22 f screenwriter Sarah Williams Williams admitted: “Eventually, Kate the gritty, dark murder that so often has proven anything to herself said to me, ‘Well, what actually hap- appears on TV,” she said. about the art of television pens?’ and I realised, ‘Well, it does Filming for 10 weeks on a remarka- storytelling by creating ITV’s need a plot’.” bly sunny Kent coast gave Hooper high profile Flesh and Blood, it’s Suddenly, Williams – who had never plenty of elements to move beyond the truth of the well-worn written a thriller before – knew that she the norm. “We didn’t want a specific phrase:I it’s not where you start, it’s had to create something larger. That location, with a village or a town for where you finish. “something” was a crime. the characters to go down to. Four years ago, Williams began with a “I needed a big event [in the story] “Instead, they’re in a kind of floating plan to write a character-based, family and, although I don’t think of myself as space, like a theatrical tableau. Most series focused on a group of troubled a natural thriller writer, I thought that if, scenes are set around the sea, the siblings. She came up with the concept shingle beach, the two houses and the following a conversation with Silverprint blue sky. The idea was to film with lots Pictures’ creative director, Kate Bartlett. ‘EVERY TIME SHE of colour and energy.” The Silverpoint executive had always Flesh and Blood is the first original admired Williams’s work and had asked APPEARED, IT script written by Sarah Williams to her if she had any projects that they WAS GOLD DUST. make it to TV. Previously, she has been could develop together. Over time – and best known for adaptations of novels, perhaps inevitably – the writer’s origi- IT WAS OBVIOUS including Poppy Shakespeare, Small Island nal idea expanded. It changed direction, THAT WE NEEDED and The Long Song. new characters were added – and, in Her other credits include the due course, it surprised both women. MORE MARY’ well-regarded TV film Wallis & Edward Finally, last month, Flesh and Blood and Becoming Jane, which she co-wrote. emerged on ITV as part family drama, She started her career in television in part thriller – a far cry from that initial at the very beginning, we knew some- 1991 as a researcher and documentary Williams-Bartlett conversation. thing bad had happened, that would producer. Her career as a writer began The series opens with a mystery body keep the viewer’s mind spinning ahead.” over a decade later after she had being removed from a blood-soaked To ease the narrative, she created worked as a drama producer. scene on a beach. Only then does it another key character – a neighbour, “When I was a drama producer, from introduce a group of family members, Mary, played by Imelda Staunton. This day one, I would meet a writer and I each dealing with the new romance of was a lightbulb moment. “She only would think, ‘I should be you’. I would their widowed mother, Vivien, and their had a couple of scenes at the start, but give notes, but I wanted the writer to own messy lives. every time she appeared it was gold give their script to me and let me do Nearing her 70th birthday, Vivien dust. It was obvious that we needed it,” she said. (Francesca Annis) has fallen in love more Mary.” As a screenwriter, though, Williams with Mark (Stephen Rea), a retired She added: “Mary wasn’t on one of understands that hers is a craft that surgeon. Her children’s reaction to her my Post-it Notes when I started but, if continually delivers the unexpected. “I new relationship ranges from wide- you live in a remote place, you can’t really enjoyed writing the thriller part eyed shock to full support. exist without a neighbour: you rely on of Flesh and Blood because I’ve done a Against this backdrop, worries about them. And, the minute Mary crept into lot of adaptations and that means you money, infidelities and much more the story, she started growing.” generally have to stick with the book,” play out in the setting of a picturesque The character enabled Williams to she explained. “But this was my own and highly stylised Kent coast. Rarely, write some darkly witty moments. script and I was let off the leash here. if ever, have the country’s famous “You need to have light and shade in “Plus, ITV’s request for a four-parter white cliffs looked so sumptuous. a script,” she said. “I find it anxiety-­ was good for me. It forced me into It was Williams’s own family back- making if I just feel the tension in a developing a strong plot and, once that ground that inspired Flesh and Blood. story going up and up. Along the way, came, things moved faster. It took “I’m one of six children and have I love a bit of light relief.” almost four years to write episode one, always been fascinated with sibling Williams continued: “The main plot but two, three and four came quickly.” dynamics,” she said at an RTS screen- is the crime, but family stories, espe- She is grateful that ITV decided to ing of the opening episode. “At the cially concerning the siblings, were schedule the four episodes in prime- start, I wanted to get to the heart of important to me. We didn’t want the time over consecutive evenings, turn- that thing you have with your family, audience to feel like it was ‘meanwhile, ing her drama into “event” television. where you’re full of love and support back with the siblings’ when we “In the end, ITV took a risk on my for them, but they can also wind you switched to them. I didn’t want the idea – even without any scripts – even up and find your weak points. I energy to drop when you cut around when the idea didn’t automatically fit thought that love/hate thing would be the family to get to the main plot.” into its genres,” Williams reflected. “It rich territory.” Director Louise Hooper saw the knew that and still went with us.” n But focusing on the siblings soon script as “an essay on womanhood”, proved to be inadequate for her story, but different to the often-used mono- Report by Ross Biddiscombe. The screen- so she added the lives of the parents. chromatic style of the thriller genre. “I ing of Flesh and Blood, followed by a This produced plenty of complex and set a tone that was playful and mis- Q&A session, was held at the Curzon nuanced elements, but no plot and chievous, impish, full of energy and Soho, London, on 20 February. It was

ITV – even after many months – no scripts. swagger. This series does not feel like a joint RTS/ITV production.

Television www.rts.org.uk March 2020 23 The experts behind the true-crime series Making a Monster uncover the minds of mass murderers for an RTS audience What makes a serial killer?

urderers – even Criminal profiler Professor Paul regard to their own individual circum- serial killers – are Britton adopts a “very narrow defini- stances and how that expresses itself in made, not born. tion” of “evil” in the context of serial terms of criminal activity.” This is the thesis killers. “For me, a person is truly evil Dr Samantha Lundrigan, an investi- of new Crime+In- if they come into the world with no gative criminal psychologist and spe- vestigation series deficits,” he said. “[This is a person] cialist in geographic profiling at Anglia MakingM a Monster, which offers a fresh with a full cognitive, functioning back- Ruskin University, said: “The series take on the increasingly popular true- ground; their emotional development offered the opportunity to “take the crime genre. is normal. All of the things are as they [true-crime] genre in a different direc- The series elicits the views of lead- would be for most people. tion and get under the surface of these ing psychologists, interwoven with “Nevertheless, they find their pleas- well-known offenders. dramatic reconstructions, as it revisits ure is in harming, hurting, being cruel “I did ask myself at the beginning, ‘Is the crimes of notorious killers, who to other people.… That, for me, is true there any more that can be said about include Rose West, Levi Bellfield and evil, where there is that clear choice. these people?’ My answer was yes, Aileen Wuornos. Most of the others behave in an evil because [the series]… tries to under- “These cases have been talked about way but, when you look, again and stand the science underneath and look before. Often, in true-crime series, it’s again you see the deficits.” at some of those techniques, such as the police investigators who are the However, Britton added: “It is impor- geographic profiling, that haven’t been contributors, but where do the police tant to recognise that thousands of looked at before.” go when confronted by something like youngsters come from dysfunctional Lundrigan said that she “grew up on the horror of [Rose West’s house] backgrounds and they do not all end up a diet of true-crime documentaries 25 Cromwell Street?” said Dan Korn, in this situation. Just because a youngster and books – it’s what took me into the VP for programming at A+E Networks was offended against, does not mean field I’m in.… I always thought I’d be UK, which runs the Crime+Investiga- that, in turn, they will then offend.” [The Silence of the Lambs character] tion channel. The programme-makers secured the Clarice Starling, but I’m still waiting.” The police turn to forensic and involvement of University of Leicester The psychologist confessed that she criminal psychologists, some of whom forensic psychologist Dr Julian Boon had been “disappointed” with some of – including the panellists at an RTS by assuring him that there “would be the previous true-crime series she had early-evening event in February – nothing salacious or gratuitous” in the been involved with: “[They were] sala- contributed to Making a Monster. series. Making a Monster, said Boon, “dis- cious and graphic, sometimes unnec- The erudite series began its eight- pels the myth that there is something essarily so, focusing entirely on the part run last month and is made by like a generic serial killer. Each one has crime of the offender and not giving David Howard and Rik Hall for Wales- to be painstakingly understood with a voice to the victim. This has been a based indie Monster Films. It aims “to different experience.” go beyond the shibboleths and stereo- Britton, who is a professor at Bir- types, and to treat the serial killer, to a ‘YOU DON’T mingham City University, noted that certain extent, as a patient and to get “there is so much that you still can’t inside that,” explained Korn. BRING IT HOME say – the things that happened are so Sunday Times Crime Club editor Karen WITH YOU appalling”. He argued that TV pro- Robinson interviewed the experts fol- grammes had to find a balance, and lowing the premiere of the series [BUT] YOU END not “shock people so much that they opener about the life of Gloucester UP SLIGHTLY are unable to… see in the life stories of mass murderer Rose West. It made for these offenders [something] that alerts grim but illuminating viewing. DIMINISHED’ [viewers] to what may be going on

24 From left: Karen Robinson, Dr Julian Boon, Dr Samantha Lundrigan and Prof Paul Britton Paul Hampartsoumian Paul close to them”. In particular, [people parole board – which none of this lot [in been involved in. I’m fortunate that should consider]: “Is there a time when the series] will,” said Boon. “Remorse is this work is only a part of [what I do]. I should pick up the phone [to the not something they can genuinely get.” I’m an NHS clinician by origin, so [my police], even though I feel uncomforta- Britton expanded on this: “Most of job is] also helping people to get better, ble or embarrassed?” them don’t have the capacity to feel understanding what’s wrong with Referring to Rose and Fred West’s [remorse]. It’s simply not there. them and being able to discharge ­people victims, he said: “There are other Whether it was ever there, is an inter- who are now better, rather than who young women who haven’t been found esting question. And, if it ever was, are going off to spend the rest of their yet. If something can move it forward then how it became lost is an interest- years in prison.” so that just a few more families know ing exercise and probably the subject Looking back at Making a Monster, of their loved ones, I think it’s worth it.” of an entirely different programme.” Britton believes that the series has The Wests’ crimes, suggested Robin- Viewers can turn off the TV if the avoided “giving a guidebook to poten- son, were “particularly horrifying” crimes are too egregious, but criminal tial serial killers in how not to be because they happened in what psychologists are at risk of taking the caught. That’s important and I don’t appeared to teachers and social workers horror of their work home with them. think we’ve fallen into that [trap].” like a family home. “I am always aware of my environ- And, added Boon, the programme has “For this couple, family life and crimi- ment, because I look at where crime also avoided romanticising the killers or nal life were inextricably linked – you happens,” admitted Lundrigan. “I run their crimes: “You only have to look at couldn’t separate them,” replied Lund- a lot in the countryside… I wonder if, the episode about Bellfield to realise rigan. “The house… looked quite normal when people are running, they think just how unglamorous a figure he is.… but what was going on behind closed about body disposal sites? I do. I’m [The series] is not leaving people with doors was unfathomable. If they had always evaluating my environment.” any illusions to the contrary.” n never got together, I’m sure [Rose] “When you are involved in any of wouldn’t have gone down this path.” The these cases, you don’t bring it home Report by Matthew Bell. ‘Making a Mon- psychologists agreed that serial killers with you – but you leave a bit of your- ster: Screening and Q&A’ was held at the were incapable of remorse for their self behind,” said Britton. “You end up BFI in central London on 4 February, and crimes. “Unless they come up before the slightly diminished by what you’ve produced by the RTS and A&E Networks UK.

Television www.rts.org.uk March 2020 25 oday’s TV dramas require ever more complex story­ lines to attract and satisfy increasingly sophisticated audiences. Yet writers cannot make their thrillers too complicated, or confused audiences willT switch off. Secrets This writing dilemma has been suc­ cessfully negotiated several times by Jack and Harry Williams. They have pulled off the delicate balancing act once again with the second series of and lies the acclaimed ITV show Liar, which is co-produced by SundanceTV. The Williams brothers knew that the Screenwriters Jack and very title of their six-part project would suggest a convoluted plot that Harry Williams, the questioned which characters were creators of ITV’s Liar, lying and who was telling the truth. But the theme of constant lying can reveal the knack of be both a blessing and a curse, accord­ ing to Jack Williams. “Our story is keeping audiences hooked about people hiding secrets from themselves, their spouses, their family – and I think that worked well in the first series,” he said. “We definitely tried to do it again in the second series because, with people lying, you also have the expectation of them being found out. Of course, then other things happen.” Always at the back of their minds while writing is the need for clarity. “The story has to be clear to the viewer because we haven’t done our jobs prop­ erly if they don’t follow it,” said Harry Williams during the Q&A session fol­ lowing an exclusive RTS screening of the first episode of series 2. The brothers’ confidence in negoti­ Froggatt), but it was unclear who was takes ages to look at every version of an ating the complexity issue is well- telling the whole truth. The series ending but, finally, you have to be led founded because, not only had they ended with a shot of Earlham’s dead by the story and, for Liar, we needed already jumped that hurdle in series 1, body lying prostrate in a marsh. The more time to tell everything.” but they were also similarly effective new series picks up from there. The first series became a talking in another of their thrillers, The Missing. “We had to tell the Liar story in two point because it was broadcast as This drama developed dual timelines timelines,” said Jack Williams, “because reports were emerging about allega­ and multiple plots, a structure that it’s important that you see what’s hap­ tions of rape by Harvey Weinstein and creates puzzles which they both pening to Laura in the present day and his criminal treatment of women. enjoy solving. also how it happened. Every time we The programme, its writers and star “Our rule about structure is really just go back in time and see what Andrew Joanne Froggatt were caught up in a case of how we tell the story in the did, it’s a whole other level of intrigue.” questions from the tabloid press and best way,” explained Harry Williams. “If Yet a second series – which took nine the Twitterati concerning whether it you can tell it in one time line, then fine, months to write – was not originally an was legitimate to have a storyline based we would do that. We’re not attemp­ting automatic option. “We explored a lot of on a woman being raped. But Froggatt to be clever for the sake of it.” endings for series 1. But if we’d ended it was always adamant that the series was The first series of Liar centred on an with Andrew just going to prison, it not using sexual assault gratuitously. allegation that surgeon Andrew Earl­ would’ve been shit, so killing Andrew “No, that wasn’t the case at all,” she ham (played by Ioan Gruffudd) raped was the best way to end,” said Harry said. “When our first season aired, sex­ teacher Laura Nielson (Joanne Williams. “In the writing process, it ual assault against women was a

26 She explained that Jack and Harry Williams were very keen for their actors to be in control of these scenes. “We had a great team of people and I’m very fortunate to say that any intimacy scenes have always come from a place of respect, openness and discussion. “Plus, Jack and Harry write so well for women, anyway. They were open about saying to Ioan and myself that we could change anything if it didn’t feel right or if we felt uncomfortable. The intention of Jack and Harry was never to show violence against women on screen, it wasn’t to be a salacious show. It was to raise questions in people’s minds and I’m really proud of that.” For the other female star of the series, Katherine Kelly, there was a different kind of challenge: introducing a new central character into an already successful show. She said that she did a lot of the preparation for the part of the uncompromising Detective Inspector Karen Renton: “I didn’t want her just to be a narrator. She had to be an important and authentic part of the story, someone you believed was the only person who could solve the case.” Kelly helped to decide that her char- acter would show no favour to the rape victims or to any other character. “I discussed who she was with Jack and Harry, about her not being emotional, and her feeling that it would be unpro- fessional for her to have empathy or sympathy for these people. It was an Liar cast, from right: Joanne Froggatt, interesting character to play, because Ioan Gruffudd and Katherine Kelly

ITV you don’t see many cops brought in at this stage of a show when the audience subject that seemed very taboo. Yes, Answering a question on the value of already has sympathies for the sexual assault as a crime is what starts intimacy co-ordinators, Froggatt said: characters.” the thriller process in Liar, but audi- “Our first season aired two years ago, But neither Froggatt nor Kelly need ences accept shows based on murder, so the #MeToo movement hadn’t hap- worry about how to adapt their char- child abduction, paedophilia, so why pened and there were no intimacy acters for a third series of Liar – the aren’t we talking about sexual assault co-ordinators, but they do have them Williams brothers have absolutely no as well? If we do that, then it becomes now and it’s a great idea. plans for that. “Yes, series 2 was about less of a taboo subject.” “It’s as normal now as having a stunt working out who killed Andrew, but it She added: “The series made people co-ordinator. In the past, when I’ve had was also about getting more under the look at themselves and question how to do an intimate scene, I’ve always skin of the characters and finding out they judge other people, especially those treated it like a fight scene because how they tick, going deeper into the who’ve been in these awful situations they’re similar. As actors, it’s our job story. But series 3? No, there’s a defini- that we haven’t experienced ourselves. to make these things look natural.” tive, and very satisfying, ending to “Why is anyone then qualified to She said that acting sex scenes was series 2, so that’s it, no more.” n judge them? In my eyes, I’m not. That’s similar to choreography: “I have con- what hit home with people: the series versations with the other actor and the Report by Ross Biddiscombe. The RTS had something to say in the back- director, telling them that this is the screening and Q&A of Liar was held at ground without hitting people over the way I want to do it. That’s how I’ve the Curzon Bloomsbury in central London head with it. That’s why I wanted to do always done it myself. It’s about creat- on 27 February. The event was produced the project to start with.” ing a safe space.” by the RTS in conjunction with IJPR.

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www.sargent-disc.com www.digitalproductionoffice.com @SargentDisc @DigiProdOffice /SargentDisc /digitalproductionoffice nepotism was a problem at the corpo- ration. “It’s drummed into everyone at the BBC that it’s not allowed. The BBC runs a fair selection process.” First steps The “Wonder women” session saw successful female TV executives in conversation with presenter Ria Heb- den. Voltage Television executive pro- ducer Amanda Lyon, who looks after in TV BBC Two hit Inside the Factory, said: “I’ve never felt that I missed out on anything by being female.” But she The RTS Futures Television Careers Fair noted that a gender split in TV per- sisted: women tended to work in pro- brought a bumper crowd to London ducing jobs, men in technical roles: “I am determined that this should not continue. Women are highly techni- cally competent and I would say to women: ‘Get a camera and shoot.’” BBC news and current affairs direc- tor Meera Thavasothy said progress was being made. “I’ve directed pro- grammes where every technical per- son has been a woman and no one raised an eyebrow. When I started out, that wasn’t the case – these bar- riers can be broken down.” The National Film and Television School’s head of digital effects, John Rowe, argued that there had never been a better time to be a compositor, 3D artist or colourist. Costs were fall- ing and more TV productions were using visual effects, which were once the preserve of movies. Rowe’s digital-effects course started From left: Amanda Lyon, 14 years ago; 90% of graduates have Voltage Television; found work in the creative industries. Ria Hebden, presenter; Moreover, there is virtually a 50/50 Alex Wootten, ITV2; and split between men and women. Meera Thavasothy, BBC

Paul Hampartsoumian Paul Pre-visualisation supervisor Rich- ard Perry’s big break came on Harry ore than (Casualty and Pobol y Cwm), Birmingham Potter and the Goblet of Fire. He worked 40 broadcasters, (Doctors, Shakespeare & Hathaway: Private for 15 months to perfect a dragon. production com- Investigators, Father Brown and its spin- Since then, he explained, digital panies and off,The Sister Boniface Mysteries) and effects “have taken me all over the industry bodies Dumbarton (River City). world for film and TV”. set up home for “Starting as a runner is a really great Digital effects demand “an under- theM day in the Business Design Cen- way to build your career,” said Saun- standing of art and mathematics”, tre, London, to dispense advice to ders. “It gives you the best insight into said Perry. He advised: “Watch lots 1,300 young people hoping to break all the roles on a production.” of films – and pick them to pieces.” into TV. A series of sessions – featur- In the same panel session, Karlvyn The day’s other sessions were: “Get ing expert panels from across the Dove, a second assistant director on ready for your TV job”, run by Jude industry – cast light on television Doctors, argued that experience on the Winstanley, MD of theunitlist.com; genres, skills and opportunities. job trumped everything else. “You can and IMG Studios’ “Starting your career BBC continuing drama head of leave university with a real arrogance in sport TV”, chaired by head of pro- production Nikki Saunders revealed that you can do everything,” he said. duction services Danielle Neville. n there was a huge number of entry- “That is not the case at all – the best level jobs across her department, place to learn is within the industry. Report by Matthew Bell. The RTS Futures including runners, camera assistants “You go in at entry level, ask ques- Television Careers Fair 2020 was held and make-up artists. tions, do things well and move on up.” at the Business Design Centre, London, BBC Studios makes 450 hours of Saunders, one of the BBC continuing on 12 February, and sponsored by IMG continuing drama a year in Elstree drama team interviewed by the pre- Studios, the National Film and Television (EastEnders and Holby City), Cardiff senter Rick Edwards, denied that School and Grass Valley.

Television www.rts.org.uk March 2020 29 Do you need £4,000 for a history of ­television project?

Grants will be given to assist in the long-­standing member of the Apply now for ­completion of new or unfinished RTS. The Shiers Trust grant is now projects, work or literature specific in its 20th year. the 2020 Shiers to the objectives of the Trust. Trust Award ‘Literature’ is defined as including Application procedure audio-visual media such as DVDs Applications are now invited and and websites. It is essential that The Trust can make a should be submitted to the applicants read all the conditions Trustees by Friday 27 March 2020 grant of up to £4,000 and criteria, which can be found on the officialapplication ­ form. towards publishing online at the address below. work on any aspect George Shiers, a distinguished www.rts.org.uk/ of TV history US television historian, was a shiers-trust-award

8 Image: Coronation Street characters Minnie Caldwell (Margot Bryant), Ena Sharples (Violet Carson) and Martha Longhurst (Lynne Carol), 1971 © Allstar/Granada/ITV Newsnight Hosted by Anna Botting and sponsored by Avid, the awards were presented on 26 February at the London Hilton, Park Lane

RTS Television Journalism Awards 2020 Sponsored by

The winners and nominees of all 19 awards are listed over the following five pages� BBC

Television www.rts.org.uk March 2020 31 Current Affairs – International: For Sama Channel 4

Breaking News Current Affairs – International Hong Kong Protesters Storm For Sama Judges’ Award Legislative Council Channel 4 News/ITN Productions for CNN International Channel 4 and PBS Frontline Political teams ‘A triumph of pre-planning, field ‘An outstanding film. The film-maker 5 News, BBC News, Channel 4 production, and brilliant live reporting told her story, combining the intimate News, ITV News and Sky News combined with exemplary use of with the macro, with breathtaking technology.’ courage, stamina and determination.’ Nominees: Nominees: Turkey’s Incursion into Syria, CNN This World – One Day in Gaza, BBC International Current Affairs London for BBC Two Hong Kong, BBC News Channel Exposure – Undercover: Inside China’s Digital Gulag, Hardcash Productions for ITV Camera Operator of the Year Wang Xiqing – BBC News Daily News Programme BBC One of the Year ‘The winner [applied] outstanding Newsnight film-making techniques to an unfold- BBC Two ing and unexpected environment ‘The winner covered all the major [and had the] bravery to tell the story news stories with consistent rigour and despite real threats to personal security.’ originality, as well as making headlines Nominees: with a scoop. The programme made Ben Martin – Channel 4 News, ITN for itself – once again – required viewing.’ Channel 4 Nominees:

Richard Kendal Mstyslav Chernov, Associated Press News at Ten, ITN for ITV BBC News at Ten, BBC News for BBC One ‘The divisions of Brexit put Current Affairs – Home unprecedented pressure on Spotlight on the Troubles: Digital Award political journalists. Many suf- A Secret History Why Are Transgender People fered abuse and threats. BBC NI for BBC Four and BBC One Self-medicating? ‘Relations between the media Northern Ireland Sky News for Snapchat Discover and and the political class are being ‘Brilliant storytelling and wonderfully YouTube increasingly challenged as poli- evocative film-making [with] stunning ‘Revelatory journalism told through ticians bypass journalists. new revelations. A great piece of powerful case studies, [seen by] ‘Against this background, the investigative journalism.’ 1.55 million people, mostly under-35s.’ judges decided that the RTS Nominees: Nominees: should recognise all the political Panorama – Undercover Hospital Abuse Modern Masculinity – Men Need teams across all the UK broad­ Scandal, BBC Panorama for BBC One Meaning and Responsibility, The casters for their important role Exposure – The Priory: Teenage Guardian for The Guardian/YouTube as guardians of democracy.’ Mental Health Uncovered, Hardcash Uncovered – Mexico Femicide, ITN Productions for ITV for Online

32 1 2

3 4 5

6 7 8 All pictures: Richard Kendal

1 Breaking News: Hong Kong Protesters 2 Daily News Programme of the Year: 5 Digital Award: Why Are Transgender Storm Legislative Council Newsnight and People Self-medicating? Interview of the Year: The Prince 3 Current Affairs – Home: Spotlight Andrew Interview – Newsnight 8 Nations and Regions News: BBC South on the Troubles: A Secret History East Today – Shoreham Special 4 Current Affairs – International: 6 Specialist Journalist of the Year: For Sama Rohit Kachroo – ITV News 7 Nations and Regions Current Affairs: Disclosure – Who Killed Emma?

Television www.rts.org.uk March 2020 33 Network Presenter of the Year Emily Maitlis – Newsnight BBC Two ‘In a year of political chaos, her nose for nonsense led to bruising encoun- ters with politicians and her interview with a member of the Royal Family will live on in history.’ Nominees: Tom Bradby – ITV News, ITN for ITV Victoria Derbyshire – Victoria Derbyshire Programme, BBC Two and BBC News Channel News Channel of the Year Sky News ‘In a very hotly contested category, this channel… displayed the greatest range, enterprise and innovation.’ Nominees: BBC Newschannel CNN International News Coverage – Home The Death of Molly Russell BBC News for BBC One ‘Showed creativity, excellent script- writing and innovation.’ Nominees: Britain’s Hidden Children’s Homes – Newsnight, BBC Two The Murder of Lyra McKee – Channel 4 News, ITN for Channel 4 Specialist Journalist of the Year: Rohit Kachroo – ITV News

ITV News Coverage – International The Missing Muslims of Xinjiang – Interview of the Year Nations and Regions News BBC News at Ten The Prince Andrew Interview – BBC South East Today – BBC News for BBC One Newsnight Shoreham Special ‘The team secured great access in a BBC Two BBC South East for BBC One challenging environment. Great ‘An unprecedented interview, demon- ‘Exceptional investment in a great storytelling and a global impact.’ strating enterprise, thorough prepara- regional news story that was a techni- Nominees: tion and… fine journalistic skill, which cal triumph [and] featured a number of The Migrant Crisis: Death on the had a huge impact.’ exclusives.’ Channel – ITV News, ITN for ITV Nominees: Nominees: Inside Syria – Channel 4 News, ITN for Harry and Meghan: An African Journey ITV News London – Domestic Abuse: The Channel 4 – Duchess of Sussex, ITN Productions Crime Behind Closed Doors, ITN for ITV and ITV News for ITV BBC Look North (Yorkshire) – Floods Nov­ News Technology Andrew Neil interviews Boris Johnson, ember 2019, BBC Yorkshire for BBC One First Lives from the Deep BBC News for BBC One Sky News and Associated Press Nations and Regions Presenter ‘At a time when climate change is our Nations and Regions of the Year biggest story, the ability to present live, Current Affairs Riz Lateef 300 metres below the Indian Ocean, Disclosure – Who Killed Emma? BBC London for BBC One brought new insights and perspectives BBC Scotland for BBC One Scotland ‘A highly skilled regional presenter on the damage being done to our seas.’ ‘A brilliant piece of investigation that was [whose] flexibility, sparkle and thought Nominees: meticulously researched,… electri­fying [went] into every piece [she was] doing Click 1000 – BBC Click, BBC News and chilling. A shining example of what and who conveyed authority.’ Vote Coder, BBC News exceptional journalism can achieve.’ Nominees: Nominees: Mark Carruthers – The View; Sunday The Pub Bombings, BBC Birmingham for Politics NI; Election 2019, BBC Northern BBC England Ireland Spotlight – Paisley in Paradise, BBC Tony Morris – ITV News – Granada Northern Ireland Reports, ITV News for ITV

34 1 2 3

4 5 6

7 8 9 All pictures: Richard Kendal

1 Nations and Regions Presenter 2 Network Presenter of the Year: 3 Television Journalist of the Year: of the Year: Riz Lateef Emily Maitlis Nima Elbagir

4 News Coverage – Home: 5 News Technology: First Lives from 6 Scoop of the Year: The Prince Andrew The Death of Molly Russell the Deep Interview – Newsnight

7 Host: Anna Botting 8 News Channel of the Year: Sky News 9 Young Talent of the Year: Martha Kelner

Television www.rts.org.uk March 2020 35 Outstanding News Coverage – International: The Missing Muslims of Xinjiang – Contribution BBC News at Ten

Christiane Amanpour BBC Scoop of the Year Television Journalist of the Year The Prince Andrew Interview – Nima Elbagir Newsnight CNN International BBC Two ‘A journalist who demonstrated an ‘This world exclusive was making unmatched range of investigation, headlines even before it was broad- eye-witness reporting and courage, cast.… an amazing interview.’ with sparkling writing.’ Nominees: Nominees: Undercover with the Clerics: Iraq’s Gabriel Gatehouse – Newsnight, BBC Two Secret Sex Trade, BBC News Arabic for Stuart Ramsay, Sky News BBC News and BBC Two Harry Dunn, Sky News Young Talent of the Year Martha Kelner Specialist Journalist of the Year Sky News

Richard Kendal Rohit Kachroo – ITV News ‘She gets beneath the sports headlines ITN for ITV to underlying issues and has built an ‘A towering global figure in ‘He has a fantastic portfolio of enviable track record in breaking English-speaking broadcast exclusives; in a fine field, Rohit’s stories, pursued with skill and energy.’ journalism, a doyenne of work stood out Nominees: international television pre- above all the Ben Hunte, BBC News for BBC One senters, Christiane Amanpour others.’ Yousra Elbagir was born in London, raised in Nominees: – Channel 4 Tehran, and educated at a Alex Crawford, News, ITN for convent in Buckinghamshire Sky News Channel 4 before university in the US. Dan Rivers – ‘She began her broadcast ITV News, Spotlight on career while still an under- ITN for the Troubles: graduate. Over four decades, ITV A Secret she has covered more or less History every major conflict and inter- viewed pretty much anyone who is anyone. She is a com- mitted campaigner for media freedom and journalist safety.’

See extended video highlights at: https://bit.ly/RTSjourno

36 RTS NEWS Diversity tour ends in Glasgow

“The network speaks”, Representatives from Scot- a forum hosted by the land’s broadcasters and pro- and RTS in partnership duction companies took part with the Creative in a discussion led by the Scotland Scotland of England West Diversity Network performance poet and film- (CDN), visited Bristol in late maker Alison Smith, who is January and Glasgow at the also access and engagement end of February. co-ordinator of the Scottish RTS Scotland hosted the Queer International Film latter event at Channel 4’s Festival. new Glasgow Hub, the fourth RTS Scotland Committee and final event of a UK tour member, Eric Joseph said: that also took in Leeds and “The challenges facing the Cardiff. The events offered a screen industry on ensuring forum for the TV production they reflect and represent David Copperfield: Diverse casting in filmDiverse casting in film: community to come together our society are complex, but The Personal History of and tackle the lack of diver- can be overcome. This was a David Copperfield

sity in the industry. positive event with inspiring Lionsgate “We need to ensure we dialogue.” [the production community] A month earlier, produc- retain diverse talent. CDN practice and do it by working have the best workforce. tion and post-production project manager Adam Haw- together.” Findings from the And, if you don’t have a companies discussed diver- ley said: “It was an impres- series of “The network diverse workforce, you don’t sity in the West of England. sive show of intent from the speaks” events will form the have the best workforce,” The discussion was again production community in basis of a forthcoming report. said Deborah Williams, CDN led by Smith, who focused Bristol – expressing a real Donald Matheson and executive director. on how best to hire and desire to improve industry Suzy Lambert

To date, the RTS bursary scheme has helped 162 stu- RTS expands bursary scheme dents. “We continue to be extremely grateful for the n The Society is broadening schemes, with STV matching “It is fantastic to see great support we receive from the its bursary scheme in 2020, its commitment last year and creative talent such as Dean industry through their gener- increasing opportunities for funding 10 of these bursaries. entering the industry, and we ous funding and the indi- students across the UK. All3Media and the Steve look forward to continuing viduals who offer their time Eligibility has been Hewlett Memorial Fund are to grow our community of as mentors,” said Wise. extended to include students also contributing to the impressive students and STV CEO Simon Pitts taking Higher National Diplo- schemes. graduates in 2020,” said added: “This scheme goes to mas at level 5 or 6 in televi- The RTS bursary scheme Royal Television Society CEO the heart of STV’s diversity sion, film production, has been running since 2014, Theresa Wise. and inclusion aims to journalism or related subjects and 75% of the production Massey said: “The RTS improve social mobility, for the Television Production graduates – including Sky bursary scheme provided an encourage talent and provide and Journalism Bursary, and News camera operator/editor invaluable opportunity to real opportunities in areas for relevant subjects such as Dean Massey – are now meet industry professionals where we need to reach new computer science, engineer- working in the industry. His and network. Without the audiences to stay relevant.” ing, maths or physics for the recent work includes cover- scheme, it would have been This year’s RTS bursary Technology Bursary. ing President Trump’s difficult to afford to do work scheme is accepting applica- This year, 40 bursaries are impeachment and the Aus- experience and make the tions until 30 June 2020. being offered across both tralian bush fires. contacts I have today.” Matthew Bell

Television www.rts.org.uk March 2020 37 RTS CENTRE NEWS

RTS East welcomed director Chloe Thomas

School kids to StoryLab in Cam-

East Centre bridge in February. learn about Thomas has had a busy few years filming ITV period TV and film drama Victoria and Harlots for Hulu – as well as, more recently in Northern Ireland, RTS Isle of Man Channel 5’s new thriller The attended a careers Deceived, written by Lisa exhibition in Ballaker- McGee (Derry Girls).

Isle of Man Centre meen High School, The director discussed her Douglas, in late January, career with Anglia Ruskin talking to more than 40 stu- University senior lecturer dents interested in working and film-maker Hans Petch. in television, both in front of As well as drama, she earlier and behind the camera. worked in comedy (Angelo’s, XxxxxxxxxxHarlots

Sam Bowers from RTS starring Sharon Horgan and Catherine Ashenden Futures and film-maker and Miranda Hart) and on the lecturer Athena Mandis dis- CBBC show Horrible Histories. cussed the opportunities Thomas’s passion for available to young people in storytelling­ has underpinned Thomas explains the media industry. everything. Sharp and Mandis teaches production insightful in conversation, and screenwriting at Queen the director discussed her the director’s art Mary University of London. enjoyment of filming large- She has made short films scale dramas such as Victoria and documentaries, which and working with the highly challenges facing a new innovative films, including have been screened at inter- creative cinematographer director brought on board an the short Keyed Alike, a 360° national film festivals. Nicola Daley on the sumptu- established series and how virtual reality project pro- She is currently in post- ous Harlots, which tells the she has tried to make her duced by Alex Rühl and production with a documen- story of 18th-century sex own mark. As well as shoot- starring Game of Thrones actor tary on the Greek diaspora of workers in London. ing TV dramas, Thomas has Gemma Whelan. north London. She also talked about the continued to make Shreepali Patel

for Sky News and another Students forging a career as a pro- duction co-ordinator on Dublin takes to the sea large-scale dramas, including meet the Sanditon. Sailor, explorer, entre-

After a panel discussion, preneur and, latterly, experts students were able to net- newspaper publisher,

work with and take advice Republic of Ireland Galwayman extraordi- n More than 150 students from professionals working naire Enda O’Coineen held from Bournemouth, Win- at top regional production an RTS Republic of Ireland chester and Solent universi- companies such as Ricochet, audience spellbound at its ties attended the latest RTS Topical TV and Woodcut mid-February event. Southern ‘Meet the profes- Media. O’Coineen took the audi- sionals’ event in February. ‘It’s heart-warming to hear ence through his amazing Hosted at Bournemouth the feedback that the event life: from rebellious school- University and chaired by is mutually beneficial to days through adventures on the centre’s Gordon Cooper, students and professionals the high seas to his risky Enda O’Coineen the event boasted a panel of alike,’ said RTS Southern rescue of an ailing news title, Enda O’Coineen 15 professionals, ranging from Chair Stephanie Farmer. The Sunday Business Post. senior executives to those at ‘It’s so rare for students to He was the first Irish sailor completed his documentary the start of their TV careers. get so close to professionals to take part in the Vendée of this adventure, Journey to The latter included one in the industry. It’s a joy to Globe, one of the most ardu- the Edge. O’Coineen illus- recent graduate who is now see them making the most ous events in sport – sailing trated his talk to the RTS a location camera operator of the opportunity.’ solo around the world. with clips from the film. Last year, Peter Kelly Agnes Cogan

38 and lose Radio 2’ is not a good The BBC’s new look. Make these guys realise boss will face a they’re playing with fire. “Our collective task is to get London Centre baptism of fire, the great British public to realise what is going on and hears Nick Radlo what the consequences might be – and then there might be hy on earth a massive backlash. They are would you want taking a big political risk.” to be DG?” was Elstein agreed there were broadcaster different opinions within the WRoger Bolton’s opening salvo Conservative party. Some as he took the chair of an RTS wanted to break up the BBC London discussion – “The because of its sheer scale; future of the BBC: Notes for others felt it was too dominant the next DG” – in February. in news or not entrepreneurial In a month that saw No 10 enough. But many wanted train its guns on the BBC, changes to the licence fee. Bolton was pointing out how Barwise said new Voice difficult the job has become. of the Listener & Viewer With Director-General Tony research showed that the Hall leaving this summer, the BBC’s public funding was 25% search is on for a replacement. lower than in 2010 – a £1bn Killing Eve: Attracted younger viewers

There are serious issues to BBC shortfall, “which the BBC address for an incoming DG: could have spent on investing the Government wants to in services for the young.” decriminalise failure to pay Decriminalisation of the the licence fee; the fallout ‘Why would you licence fee could cost a fur- from the BBC’s decision to ther £200m – and if the BBC make over-75s not on bene­ is forced to continue giving fits begin paying the licence want to be DG?’ all over-75s a free TV licence, fee again this year; and the that would take a further decline in young people £500m from its budget. accessing BBC services. as a new Director-­General?” – and you’re fired,” Barwise said it was time Bolton was joined by: Alice asked Bolton. countered­ Bolton. the BBC reviewed its funding: Enders, director of research “You get ahead of the Barwise said not all Tory “Let’s look at all the options at Enders Analysis; David game! You’re bold and you’re MPs were anti-BBC: “None – advertising, the German Elstein, former ITV, Sky and brave in the one year that of the measures suggested and Irish systems, subscrip- Channel 5 executive and you have,” said Enders. by ‘sources at No 10’ were in tion, mixed funding. The BBC now Chair of media platform “And then the new Chair the manifesto. There was an should be much more confi- OpenDemocracy; and Pat- comes in, disagrees entirely immediate backlash from dent about bringing its public rick Barwise, emeritus pro- with what you want to do backbench MPs – ‘Vote Tory in to debate the issues.” n fessor of management and marketing at the London Business School. Bolton also asked what The future is bigger and global could happen under a new BBC Chair – due to be cho- n Journalist Nadine Dereza high-speed networks, feeding content between devices. The sen by the Government in chaired an RTS London panel a wide range of platforms and future will therefore belong to 2021 when the incumbent, peering into the future of TV devices, with not just sub- the bigger global tech com- Sir David Clementi, leaves. in early February. What did the scription video on demand panies who can create global “The new Director-General­ experts see on the horizon? (SVoD) but cheaper, ad-sup- platforms. will be in post for only IBC technology advisor Mark ported VoD at perhaps half the Futurologist Matthew Griffin, 12 months before s/he gets a Smith predicted that 5G would subscription rates. CEO of the 311 Institute, spoke new Chair, appointed by this boost the power of mobile Decipher’s Nigel Walley about how artificial intelligence, Government, which will networks to distribute media argued that it was a good time virtual reality and synthetic undoubtedly appoint a chair and entertainment content. to be a TV consumer. But he content could democratise broadly in sympathy with Deloitte media consultant added that people wanted production by giving everyone what the Government finally Khalid Hayat forecast a future a simple way to aggregate the tools to create content. decides it wants to do [with of cloud-based multi-platform, their media choices and move Nick Radlo the BBC]. So what do you do

Television www.rts.org.uk March 2020 39 RTS CENTRE AWARDS

A bumper audience of short about a man with a 300-plus filled Leeds severe case of facial bleeding, College of Music for Full house welcomes picked up two Craft Skills

Yorkshire Yorkshire Centre the RTS Yorkshire awards: Joe Luk for Camera- Student Awards in February. work and Thibs Lacombe for The main awards were film-makers in Leeds Production Design. shared around the region, BBC Look North reporters with the University of Leeds with Beneath My Skin. The Alex Gordon, and the Short Luxmy Gopal and Shirley winning the Comedy and University of York triumphed Form award went to York St Henry presented the awards, Entertainment prize for Jinrun in Factual with The Curiosity of John University’s Chris Healey which were sponsored by Han and David Oloko’s film Edward Pratt, made by Thomas for Build. University of York Daisybeck Studios. Dad Joke Syndrome and News Sandler, Oscar Godfrey and filmBleed the Floor, a comedy Matthew Bell for Katya Fowler’s report on the dangers of consuming RTS Yorkshire Student Factual•The Curiosity of Edward Pratt• Craft Skills – Editing•The Rapture and I• liquorice, It Takes All Sorts. Thomas Sandler, Oscar Godfrey and Alex Rae Thompson, Sheffield Hallam Univer- Television Awards winners Gordon, University of York sity•The Dildo Makers•Ina Emily Swann, Leeds Art University won University of Sheffield Animation•Not Alone•Filipa Santos, News•It Takes All Sorts•Katya Fowler, the Animation prize for Filipa Cara Jeal and Haraldur Pétursson, Leeds University of Leeds Craft Skills – Production Design•Bleed Santos, Cara Jeal and Haral- Arts University Short Form•Build•Chris Healey, York St the Floor•Thibs Lacombe, University of York dur Pétursson’s film Not Alone, Comedy and Entertainment•Dad Joke John University Syndrome•Jinrun Han and David Oloko, Craft Skills – Camera•Bleed the Floor• Craft Skills – Sound•Look at the while Sheffield Hallam Uni- University of Leeds Joe Luk, University of York•Beneath Moon•Nik Robinson, University of Leeds versity students Anastasia Drama•Beneath My Skin•Anastasia My Skin•Amelia Blee, Sheffield Hallam Craft Skills – Writing•Cocoabean•Tanya Shilovich, Amelia Blee and Peter Simison, University•Elementa•Alex Barker, York St Bittar Massally and Jack Denison, Univer- Shilovich, Amelia Blee and Sheffield Hallam University John University sity of Leeds Peter Simison took Drama Bristol hit by Love Bugs

The University of the when he faces a tragedy in a West of England (UWE) Welsh coal mine. The judges scooped four of the five described the film as “bril-

RTS West of England main categories at the liant and heartbreaking”. RTS West of England Student The RTS centre also Awards in February. awarded craft awards at the Harriett Bradbury won the ceremony, held at the Every- Harriett Bradbury won two awards for Love Bugs

Animation award for her man Cinema in Bristol. Jon Craig funny, quirky film Love Bugs, while Pierre Niyongira’s poetic RTS West of England Love Bugs•Harriett Bradbury, Writing, Factual Craft Skills•Building Bridges• journey into Senegal’s rich UWE Luke Denton, Sound; and Pierre Niyon- Student Television gira, Editing; UWE•Sugar Coated• culture, Our City, Your Eyes, was Comedy and Entertainment Craft•Live Awards winners Bait•Rosie Sutton, Production Design; Becky Barnes, Production Design, Bath awarded the Short Form prize. and Joana Amado Simoes, Sound, Spa University•Dressing in Drag• Animation•Love Bugs•Harriett Bradbury, Ashley Kenworthy, Camera; and Toby UWE students also won University of the West of England (UWE) UoG•Tipping Point•Timon Williams, Writing, UWE ­Spiers, Sound; UoG•Intergalactic the Factual prize for Building Comedy and Entertainment•Tipping Empress Stah Power Girl•Maya Point•Timon Williams, Hollie Traynor, Stef Drama Craft Skills•Disco Dynamite• Belle, Camera and Jack Kelly, Sound, Bridges, a film about the De Backer and Holly Bond, UWE Maddy Carson and Meggie Jenkins, Pro- UoG•Scratch•Matt Hollis, Camera; and director’s broken relationship duction Design; Jake Duncan, Camera; Gabriel Michael, Sound; UoG•The Hive Drama•A Dead Canary•James Davis, Elle and Tom Voysey, Sound; UWE•Brother• Ralph, Charlotte Murphy, Rachel Neill and Show•Oliver Walker and Kofi Skingley, with her mother, which Isabelle Soole, Camera; and Mitchell David Richards, University of Gloucester- Judges Commendation, UoG “captivated” the judges, and shire (UoG) Brown, Writing; UWE•Widow•Gruff Jones and Harry Goldslade, Sound; Meggie News Craft Skills•That Looks Dan- the Comedy and Entertain- Factual•Building Bridges•Josephine Jenkins, Production Design; and Jordan gerous•Kofi Skingley, Commendation ment award for Tipping Point. Cressy, Guillermo Quintanilla-Pinto, Liddon, Editing; UWE•Eris•Valeri Lyangu- Certificate, UoG Maximilian Wilson, Pierre Niyongira and zov, VFX, Bath Spa University•Jana•Tom Short Form Craft Skills•Our City, Your University of Gloucester- Luke Denton, UWE Uppington and Cam Rutherford, Writing, Eyes•Joel Douglas, Writing, UWE•The shire students took the Short Form•Our City, Your Eyes•Pierre Gloucestershire College•A Dead Canary• Stage Door•Madeleine Jo Carson, Niyongira, UWE Drama award with A Dead Rachel Neill, Production Design; Mitchell Production Design, UWE•A Binding Animation Craft Skills•Duty•Annabelle Ward and Thirza Alacaraz Stapleton, Oath•Jake Duncan, Camera, UWE•Nike Canary, a black-and-white Edwards-Xu, Camera, UoG•Grit•Matt Sound; James Davis, Directing; James Tekno Commercial•Aleksandra Boriss- Thomas, Sound, Production Design and Davis, Writing; and David Richards, ova, Editing, UoG•The Burrowers•Yaz fairytale about a young boy Editing, UWE• Editing; UoG Ellis, Camera, Screenology battling fantasy and reality

40 Long-running CBBC drama The Dumping Ground pipped ITV

North East & Border the drama Vera at the post to win the coveted Drama award at the RTS North East and the Border Awards in front of an audience of 400 guests in late February. Obsession, made by TriHard Films, took home the Drama Short Form prize, with the film’s star, Kim Tserkezie, winning the Best Drama Performance prize for her “agonisingly gripping perfor- mance” as a victim of domestic abuse. Tees Valley Screen received the prestigious Centre Award in recognition of its sterling work in boosting the region’s The Dumping Ground production presence and BBC skills base. Recently, it brought Sam Mendes’ First World War movie 1917 to film on the Tees Barrage. The North East backs drama Outstanding Contribution award went to sports broad- caster Roger Tames, following who presented a trophy in Affairs prize for Medomsley’s born deaf, took home the a long career as head of sport memory of the media execu- Dark Secret: An Inside Out Spe- Rising Star award for his role at ITV Tyne Tees. tive and former Border TV cial, which revealed horrific in the children’s series Mis- Tyneside comedian Jason presenter John Myers, who abuse at the former County sion Employable, produced by Cook – with the assistance died last year. Durham detention centre. ITV SignPost in Gateshead. of the voice of Strictly Come ITV Tyne Tees and BBC The corporation’s Look “These are such a fantastic Dancing, Alan Dedicoat – North East and Cumbria both North also had reason to cel- celebration of the region’s hosted the ceremony at the enjoyed success on the night, ebrate: Nisha Joshi won the media and creative industries. Hilton Newcastle-Gateshead. with ITV News Tyne Tees win- new Sport prize; Chris Mid- The range of entries and Awards were presented by, ning the News Programme of dis won the award for Edit- outstanding quality demon- among others, broadcasters the Year award and the BBC’s ing; and reporter Emma strate the incredible talent Steph McGovern and Pam Richard Moss named Pre- Wass took home the Out- right here in the North East Royle, and the Star Wars loca- senter of the Year. standing Journalism prize. and Cumbria,” said Graeme tion manager Mally Chung, The BBC won the Current Danny Murphy, who was Thompson, who chaired the awards committee. RTS North East and Current Affairs•Medomsley’s Dark Student Animation•Magnum O’Pup• The RTS centre also pre- Secret – an Inside Out Special•BBC Teesside University sented student awards at the the Border Television North East and Cumbria Student Comedy and Entertainment• ceremony. Awards winners Outstanding Journalism•Emma Wass• 72•University of Sunderland BBC North East and Cumbria Student Drama•Quite by Chance• n A few days before the Centre Award•Tees Valley Screen University of Sunderland Rising Star•Danny Murphy•ITV SignPost awards, the centre held a Outstanding Contribution• Student Factual•Two Monkeys•Univer- Presenter of the Year•Richard Moss• masterclass at Tyneside Cin- Roger Tames sity of Sunderland BBC North East and Cumbria ema on the role played by Drama – Long Form•The Dumping Student Short Form•Things We Wish Children’s•My Life into the Sun• We Could Say•Teeside University digital imaging technicians Ground•BBC Children’s MCC Media Craft Skills – Camera•72•Tee Tze Hou, (DITs) in TV and film. Drama – Short Form•Obsession• Sport•Nisha Joshi•BBC North East and University of Sunderland Tri-Hard Films Cumbria Craft Skills – Editing•Freedom•Lukas DITs work with directors Acting Performance•Kim Tserkezie, Photography•Topher McGrillis•Topher Slapsys, University of Sunderland of photography and are Obsession•Tri-Hard Films McGrillis Photography Craft Skills – Production Design•Quite responsible for image quality, Comedy and Entertainment•We’re Animation Graphics and Titling• by Chance•Amy Murphy and Jerome Wardle, University of Sunderland colour correction and man- Gannin’ Oot Oot•Roundhouse Pictures Ellie Land/Iain Cunningham•Forward Broadcast Factual•Canny Cops• Features Craft Skills – Sound•Beeboop•Andreea aging workflow. Minnow Films Rosu, Alise Goldwater, Asya Alkooheji, Editing•Chris Middis•BBC NE and Daniel Lucas and Dan Glass, Teesside Presented by Caden Elliott, Non-broadcast Factual•Irene’s Ghost• Cumbria University the event attracted an audi- Forward Features/Tyke Films Commercial•Watch This•University of Craft Skills – Writing•Stake Out•Chris News Programme•ITV News Tyne Tees Sunderland Yarwood, Northumbria University ence of students, lecturers, producers and enthusiasts.

Television www.rts.org.uk March 2020 41 RTS CENTRE AWARDS Spare Parts bags Glasgow double

The University of the Everyman Cinema, Edinburgh took home Glasgow, and was hosted by four awards from the STV entertainment reporter

Scotland Centre RTS Scotland Student Laura Boyd. Television Awards in early “Our industry depends February. upon the development of Students from the univer- young people, their skill sity scooped the Animation growing with their confi- award for Margin of Terror and dence, under the guidance the Comedy and Entertain- of their tutors and mentors,” ment prize for Flit. said awards Chair James The Lost Sock won the Pro- Wilson. He added that this duction Design award for year’s films were “as strong Molly Simmons and the as ever, and decisions were Sound prize for RTS bursary long argued and often very student Laura Wiggett. close”. Spare Parts, written by Paul “Scotland is brimming Barrie, gave the Royal Con- with exciting creative talent,” servatoire of Scotland two said Simon Pitts, Chief Exec- wins, in the Drama and Writ- utive of STV, which spon- ing categories. sored the awards. “STV will The film-makers behind Spare Parts

The ceremony was held at Ben Gallacher be offering mentoring to the winners as they start their RTS Scotland Student Karo Pietilä, Astrid Hjermind and Ana Meljo, Alphas•Murray Leitch, University of Stirling journey in this exciting and Royal Conservatoire of Scotland Television Awards winners Craft Skills – Editing•My Urban Fox vibrant industry.” Factual•Grime Scheme Scotland•Daniel Film•Mikey Sneddon, Edinburgh Each of the nominated and Greig, Julian Greenwood, Lawrence Hector, Napier University Animation•Margin of Terror•Kieran Neil Cunninghame, Jack Darrer and Kieran winning films, plus high- McLister, University of Edinburgh Colquhoun, University of the West of Craft Skills – Production Design• The Lost Sock•Molly Simmons, lights of the RTS Scotland Comedy and Entertainment•Flit• Scotland University of Edinburgh Student Television Awards Jack Allen, Elías Nader, Ina Morken, Short Form•Tom Urie: Mental Health and Laurence Jenkins and Carey Melanie Depression•Cameron Thom, Ryan Price, Craft Skills – Sound•The Lost Sock• ceremony, are available on Osborne, University of Edinburgh Emma Cunningham, City of Glasgow Laura Wiggett, University of Edinburgh the STV Player (https://player. College Drama•Spare Parts•Paul Barrie, Victoria Craft Skills – Writing•Spare Parts•Paul stv.tv/summary/rts-student). Jones, Martin MacLeod, Elettra Arnell, Craft Skills – Camera•Adam and the Barrie, Royal Conservatoire of Scotland Matthew Bell Salford University enjoys hometown triumph

The University of Sal- Theatre in Salford. The special and Education, offered networking session with TV ford enjoyed a suc- guest was former Coronation advice on landing a job in industry professionals from cessful night at the RTS Street actor and co-star of new television. At the end of the across the North West region.

North West North West Centre North West Student BBC One sitcom, Scarborough, conference, there was a Matthew Bell Television Awards in Febru- Catherine Tyldesley. ary, winning the Comedy Earlier in the day, RTS RTS North West Student Meulensteen, University of Salford and Entertainment, Drama, North West held its annual Television Awards winners Short Form•Tia•Jamie Walsh, University Factual and News categories. Student Media Conference at of Central Lancashire Animation•Luz•Maria Samaniego, Craft Skills – Camera•Dead of Manchester Metropolitan the Lowry Theatre. Sasha Gallagher, Robert Lallement, Ollie Night•Victoria Barrera Howarth, Univer- University students took The afternoon’s pro- Jones, Remi Rabillat and Tristan Pike, sity of Salford home the Animation prize gramme included a session Manchester Metropolitan University Craft Skills – Editing•Penitence•Joe Comedy and Entertainment•Upcycle Preston, Edge Hill University with Luz and the University with Lime Pictures’ Hollyoaks It!•Molly O’Donnell, University of Salford Craft Skills – Production Design•Zero of Central Lancashire’s Jamie digital team, who explained Drama•Fantopia•Owen Siry, Aaron Lives Left•Rebecca Turner, Manchester Walsh won the Short Form how they use social plat- Smyth Wallace, Charlie Brookes, Lewis Film School Evers, Sam Davies and Harriet Buckley, Craft Skills – Sound•Zero Lives award with Tia. forms to drive engagement University of Salford Left•Lorena Diaz Negrin, Manchester BBC Breakfast presenter Sally and build audiences. Factual•Farm or Flight•Dillon James, Film School University of Salford Nugent presented the awards, Tania Basile, lead talent Craft Skills – Writing•The Redefinition of News•A Roof Over Our Heads•Pien Us•Thandie Ndlovu, University of Bolton

which were held at the Lowry manager at BBC Children’s Metropolitan University Manchester

42 In My Skin won the new award for Best Drama at a sold-out RTS

RTS Cymru Cymru RTS Wales Cymru Wales Awards in late February. The critically well-received standalone comedy-drama, based on writer Kayleigh Llewellyn’s experiences of growing up in Cardiff and made by Expectation Enter- tainment, is returning for a four-part BBC Three series. This year the industry categories were increased from two to five at the awards, allowing broadcast- ers and independent pro- ducers – who filled the venue, Cardiff’s Cineworld – to submit entries. In My Skin

ITV Cymru Wales pro- BBC grammes won two awards: Code Blue, which followed the work of a specialist crime unit, took the Factual award; Wales expands awards and Y Byd ar Bedwar won the News and Current Affairs for its investigation on S4C into The Children’s award went Cameron’s documentary Wignall from ITV Cymru child abuse on Caldey Island, to Yeti Television for its about the Tiger Bay Brawlers Wales and Countryfile’s Sean South Wales. CBBC programme Going for roller derby team, Hell on Fletcher. The judges praised Y Byd ar Gold, which followed the Wheels, came out of the BBC RTS Cymru Wales also Bedwar as a “compelling and progress of two extraordi- Cymru Wales New Directors gave awards in four student moving account of one nary young athletes. Scheme and aired on BBC categories. The University of man’s traumatic memory of Director Toby Cameron One Wales last year. The South Wales won the Drama being sexually abused… sen- from Cardiff indie On-Par judges said it combined “pol- and Short Form prizes, while sitively told, and presented Productions received the ished storytelling and techni- the Factual award went to with great empathy”. Breakthrough award. cal expertise… capturing Aberystwyth University and frantic roller-skate action, the Postgraduate prize to spirited characters and touch- Bangor University. ing personal interviews”. “The standard of what “It’s been a real privilege to we’ve seen tonight from celebrate the incredible tal- students and the industry is ent here in Wales with these just thrilling, and I very new industry awards,” said much hope we can grow RTS Cymru Wales Chair these awards further with Judith Winnan. other industry categories to The awards, held in part- recognise more of the excit- nership with Whisper ing work coming out of Cymru, were hosted by the Wales,” said Winnan. television presenters Ruth Matthew Bell

RTS Cymru Wales Island Report•ITV Cymru Wales for S4C Television Awards winners Industry Award – Breakthrough• Toby Cameron Industry Award – Drama•In My Skin• Student – Drama•D.O.A.L (Department Expectation Entertainment for BBC of Affordable Living)•University of South Cymru Wales Wales Industry Award – Factual•Code Blue• Student –Factual•Rutted Fields• MultiStory Cymru/ITV Wales for ITV Aberystwyth University Industry Award – Children’s•Going Student –Short Form•Stranded• for Gold•Yeti Television for CBBC University of South Wales Industry Award – News and Current Student –Postgraduate•Searching Animation winner Luz Affairs•Y Byd ar Bedwar – Caldey for Happiness•Bangor University

Television www.rts.org.uk March 2020 43 NEWS National events

RTS AWARDS Tuesday 17 March RTS Programme Awards 2020 In partnership with Audio Network Venue: Grosvenor House Hotel, London W1K 7TN

RTS/WILDSCREEN JOINT EVENT Tuesday 31 March Natural history event Venue: TBC (central London)

RTS AWARDS Friday 26 June Xxxxxxxxxx RTS Student Television Awards 2020 Sponsored by Motion Content Group Venue: BFI Southbank, Belvedere Police pair Road, London SE1 8XT

RTS CONFERENCE make a splash Tuesday 15 September RTS London Conference 2020 Principal sponsor YouTube Venue: BFI Southbank, Belvedere in Bath Road, London SE1 8XT McDonald & Dodds

ITV RTS LECTURE Wednesday 23 September “What would happen if of cop, to be out in the field,” where he is or what’s going RTS Steve Hewlett Memorial you took two people said Murphy, who wrote both to happen next,” he said. Lecture 2020 by Emily Maitlis who would not talk to feature-length episodes, Discussing Watkins’ co- Journalist, presenter and author

RTS West of England each other on the street which aired on ITV in March. star, Tala Gouveia, executive Emily Maitlis will deliver this and threw them together?” “You want to root the thing producer Damien Timmer year’s Steve Hewlett Memorial This was the premise for in the place where you’re said: “McDonald needed Lecture. The net proceeds from new ITV detective drama setting it, and Bath’s archi- strength and funny bones. the event will go to the Steve McDonald & Dodds, according tecture feels like a world Tala had both that poise and Hewlett Scholarship Fund, which to its creator, Robert Murphy. apart. It reflects the puzzles the comedy.” provides financial assistance to He was talking after an exclu- the detectives face in the Turning to the long-term journalism and TV production sive RTS West of England show,” added the writer, who plans for the show, Timmer, students from low-income screening of the show in Bath has also penned episodes of a co-founder of Mammoth backgrounds. Post-lecture at the end of February. Shetland and DCI Banks. Screen, which made the drinks reception sponsored The series pairs Jason Wat- Watkins, who recently series, said: “The thought by BBC Studios. 6:00pm for kins as the diffident Bath- played Prime Minister Har- was always that there would 6:30pm born-and-bred DS Dodds old Wilson in The Crown, used be legs for it. How many legs, Venue: The University of and his ambitious boss, DCI an accent coach to prepare we do not yet know.” Westminster, 4-12 Little Titchfield McDonald, who has trans- for the part. The event was chaired by Street, London W1W 7BY ferred from south London “Characters are amalga- Fiona Francombe, studio to further her career. She is mations of people you know. director of The Bottle Yard played by Tala Gouveia. I knew very quickly who he Studios in Bristol. “It was always going to be was. I relished the opportu- McDonald & Dodds was Bath. Cop shows are often set nity to play this guy who filmed at the studios and on in stations. It was important doesn’t speak very loudly, location in the West Country. for Dodds, as a different kind but you never quite know Sophie Dymond

44 Your guide to upcoming events. Book online at RTS EVENTS www.rts.org.uk Thursday 15 October Local events RTS Midlands careers fair Venue: Edgbaston Stadium, RTS DEVON AND CORNWALL Birmingham B5 7QU Wednesday 25 March RTS Devon and Cornwall Stu- Friday 27 November Student dent Television Awards 2020 RTS Midlands Awards 2020 Drinks reception 6:00pm; Venue: The International Television awards presentation 6:30pm Convention Centre, Centenary Venue: Jill Craigie Cinema, Uni­ Square, Birmingham B1 2EA Awards versity of Plymouth, Drake Circus, ■ Jayne Greene 07792 776585 Plymouth PL4 8AA ■ [email protected] ■ 2020 Jane Hudson SPONSORED BY ■ RTSDevonandCornwall@rts. NORTH EAST AND THE BORDER 26 June org.uk ■ Joanna Makepeace ■ joanna.makepeace BFI Southbank, London EAST @sunderland.ac.uk ■ Jayne Greene 07792 776585 ■ [email protected] NORTH WEST Wednesday 3 June 2020 Tickets £53 (£43 for RTS Thursday 26 March RTS Scotland Television members) from the Bristol ISLE OF MAN RTS North West Great Big Awards 2020 Old Vic Box Office on 0117 987 ■ Michael Wilson Telly Quiz 2020 Presented by Karen Dunbar. 7877. Nominee and VIP drinks ■ [email protected] Featuring our fantastic Drinks reception 5:45pm; reception from 6:30pm; general accordionist George. Cost: £10 awards ceremony 7:00pm drinks reception from 7:00pm; LONDON per team of four to six, but free Venue: The Old Fruitmarket, ceremony from 8:00pm. DJ and Wednesday 18 March to RTS members. Sponsored by 87-101 Albion Street, Glasgow bar until late. RTS London Student Television Dock 10. 6:30pm G1 1NQ Venue: Bristol Old Vic, King Awards 2020 Venue: Lowry Theatre, Salford ■ Cheryl Strong Street, Bristol BS1 4ED Hosted by Sabrina Grant. 6:30pm Quays, MediaCity UK, Salford ■ [email protected] ■ Suzy Lambert for 7:00pm M50 3AH ■ [email protected] Venue: Channel 4, 126 Horseferry ■ Rachel Pinkney 07966 230639 SOUTHERN Road, London SW1P 2TX ■ [email protected] Thursday 26 March YORKSHIRE Freelancers’ fair Wednesday 18 March Wednesday 1 April NORTHERN IRELAND TBC Speed date your way into How to survive in streaming Tuesday 24 March Venue: The Vestry, 61 Commer­cial news and current affairs 6:30 for 7:00pm RTS NI Student Awards 2020 Road, Southampton SO15 1GG A chance to pick the brains of Venue: Deloitte, 2 New Street 6:30pm for 7:00pm some of the region’s leading Square, London EC4A 3BZ Venue: Black Box, Hill Street, Thursday 26 March news and current affairs ■ Phil Barnes Belfast BT1 2LA Working in journalism professionals for their advice ■ [email protected] ■ John Mitchell Venue: Solent University (TBC) and tips. Representatives from ■ mitch.mvbroadcast@ ■ Stephanie Farmer ITV Calendar, BBC Look North, MIDLANDS btinternet.com ■ [email protected] and Channel 4 News plus Thursday 19 March award-winning independent RTS Midlands Student Television REPUBLIC OF IRELAND THAMES VALLEY producers such as True Vision Awards 2020 ■ Charles Byrne (353) 87251 3092 ■ Tony Orme Yorkshire, True North, and Drinks reception 6:30pm; ■ [email protected] ■ [email protected] Screenhouse Productions. awards presentation 7:30pm 3:00pm-5:00pm Venue: BBC Birmingham, The SCOTLAND WALES Venue: Left Bank Leeds, Mailbox, Birmingham B1 1AY Wednesday 6 May ■ Hywel Wiliam 07980 007841 Cardigan Road, Leeds LS6 1LJ RTS Scotland Television Awards ■ [email protected] Wednesday 25 March 2020 nominees party Friday 26 June Independent production 6:00pm WEST OF ENGLAND RTS Yorkshire Awards 2020 company drop-in day Venue: Glasgow Art Club, Sunday 29 March Venue: The Queens Hotel, City Refreshments provided 185 Bath Street, Glasgow G2 4HU RTS West of England Square, Leeds LS1 1PJ Venue: Gas Street Social, The Awards 2020 Mailbox, Wharfside Street, Hosted by comedian, screen­ ■ Lisa Holdsworth 07790 145280 Birmingham B1 1RL writer and podcaster Deborah ■ lisa@allonewordproductions. Frances-White and writer co.uk and actor Susan Wokoma.

Television www.rts.org.uk March 2020 45 OFF M E SSAGE

ewsnight, by com- If you missed our cover story on now and the first RTS awards she mon consent on Elbagir four years ago, when she won attended, back in 2001, in Newcastle, a roll since Sky’s in the Specialist Journalist category, when men dominated the winners’ Esme Wren took do check it out on the RTS website. lists. the helm, had a CNN chief international anchor great night at the Christiane Amanpour was presented ■ Talking of which, Off Message was RTS Television with the Outstanding Contribution thrilled to see that this year’s Steve Journalism Awards, winning in four award for her “unparalleled contribu- Hewlett Memorial Lecturer will be Ncategories. Emily Maitlis’s sensational tion to broadcast journalism” and for none other than – yes, you guessed and seminal Prince Andrew interview being “a committed campaigner for right – Emily Maitlis. As we know, won Scoop of the Year and Interview media freedom and the safety of Steve was a regular media commen­ of the Year. In the keenly contested journalists”. tator on Newsnight, so getting the pro­ category for Daily News Programme Accepting her award, the experi- gramme’s lead presenter to give a of the Year, competing against ITV’s enced Amanpour warned against lecture in his honour makes perfect must-watch News at Ten and the BBC political leaders’ attempts to under- sense. One wonders how he would equivalent, the BBC Two current- mine the legitimacy of the press. have commented on the current chal- affairs flagship triumphed. And congratulations, too, to Waad lenges faced by the BBC. Congratulations all round. Also, good al-Kateab, the co-director of For Sama, to see the brilliant Newsnight reporter which bagged yet another trophy ■ And, finally, Off Message makes no Gabriel Gatehouse nominated for following its recent Oscar nomina- apologies for plugging this month’s Television Journalist of the Year. tion, this time in the Current Affairs cover story, James Graham’s reboot – International category. of his stage play Quiz for ITV. ■ No surprise, perhaps, that Sky The three-part adaptation is News was voted News Channel of ■ With Maitlis, Elbagir, and al-Kateab another triumph for head of drama the Year – for the 14th time! That all winning, these awards were a Polly Hill, riding high after the success man John Ryley’s sure touch shows milestone night for women journal- of the expertly cast Flesh and Blood and no sign of waning despite this year ists. The BBC’s political editor, Laura the thrilling White House Farm. being a tough one for him personally. Kuenssberg, emphasised this point It was good to see James at the It has become something of an RTS as she accepted the Judges’ Award, Journalism Awards. Back at his desk, Television Journalism Awards tradi- which was given collectively to all the he is developing several original tion for Ryley’s gang to mob the stage. main broadcasters’ political teams. dramas for TV. These include a series This year was no exception, as around The likes of Kuenssberg, ITV’s set in the Nottinghamshire village 30 of Sky News’s finest joined their Robert Peston and Sky’s Beth Rigby where he was brought up. editor to celebrate on the podium. worked around the clock during the The project is inspired by a real-life Imagine if each one of them had past year to help us all make sense story, but contains fictionalised char- given a speech – we’d all have been of the complexities of Brexit and acters. He’s also working on a couple there until breakfast. December’s tense general election. of ideas for TV based in the real world “TV is magical, it’s special. Political of Westminster politics, familiar ■ It was a good night, too, for CNN. journalism matters so much,” under- terrain for him. Not for the first time, the peerless lined Kuenssberg. She saluted the One of these is set in the fractious Nima Elbagir walked away with an many brave women whose work House of Commons during the last RTS trophy, this time for Television was celebrated at these awards, and days of Theresa May’s regime. Journalist of the Year. pointed out the difference between No shortage of drama, there, then.

46 March 2020 www.rts.org.uk Television RTS PATRONS RTS Principal BBC Channel 4 ITV Sky Patrons

RTS A+E Networks International Netflix International CGTN The Walt Disney Company Patrons Discovery Networks Viacom International Media Networks Facebook WarnerMedia Liberty Global YouTube NBCUniversal International

RTS Accenture EndemolShine KPMG STV Group Major All3Media Enders Analysis Motion Content The Trade Desk Patrons Amazon Video Entertainment One Group UKTV Audio Network Finecast netgem.tv Vice Avid Freeview OC&C Virgin Media Boston Consulting Fremantle Pinewood TV YouView Group Gravity Media Studios BT IBM S4C Channel 5 IMG Studios Sargent-Disc Deloitte ITN Spencer Stuart

RTS Autocue Grass Valley Lumina Search PricewaterhouseCoopers Patrons Digital Television Group Isle of Media Mission Bay Raidió Teilifís Éireann

Who’s who Patron Chair of RTS Trustees CENTRES COUNCIL Education at the RTS HRH The Prince of Wales Jane Turton Lynn Barlow Graeme Thompson Phil Barnes Vice-Presidents Honorary Secretary Tony Campbell RTS Futures David Abraham David Lowen April Chamberlain Alex Wootten Dawn Airey Agnes Cogan Sir David Attenborough OM Honorary Treasurer Caren Davies RTS Technology Bursaries CH CVO CBE FRS Mike Green Stephanie Farmer Simon Pitts Baroness Floella Rick Horne Benjamin OBE BOARD OF TRUSTEES Cat Lewis AWARDS COMMITTEE Mike Darcey Lynn Barlow Will Nicholson CHAIRS Greg Dyke Julian Bellamy Tony Orme Awards & Fellowship Lord Hall of Birkenhead Tim Davie Vikkie Taggart Policy Lorraine Heggessey Mike Green Fiona Thompson David Lowen Armando Iannucci OBE David Lowen Michael Wilson Ian Jones Anne Mensah Judith Winnan Craft & Design Awards Baroness Lawrence of Jane Millichip Anne Mensah Clarendon OBE Simon Pitts SPECIALIST GROUP David Lynn Sarah Rose CHAIRS Programme Awards Sir Trevor McDonald OBE Jane Turton Archives Wayne Garvie Ken MacQuarrie Rob Woodward Dale Grayson Gavin Patterson Student Television Trevor Phillips OBE EXECUTIVE Diversity Awards Stewart Purvis CBE Chief Executive Angela Ferreira Siobhan Greene Sir Howard Stringer Theresa Wise Early Evening Events Television Journalism Bursaries Manager Keith Underwood Awards Anne Dawson Simon Bucks

Television www.rts.org.uk March 2020 47 RTS PROGRAMME AWARDS 2020

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