May 2021

We’re all young

Television www.rts.org.uk Septemberadults 2013 now 1 LOVE TV? SO DO WE!

R o y a l T e l e v i s i o n S o c i e t y b u r s a r i e s o f f e r f i n a n c i a l s u p p o r t a n d m e n t o r i n g t o p e o p l e s t u d y i n g :

TTEELLEEVVIISSIIOONN PPRROODDUUCCTTIIOONN JJOOUURRNNAALLIISSMM EENNGGIINNEEEERRIINNGG CCOOMMPPUUTTEERR SSCCIIEENNCCEE PPHHYYSSIICCSS MMAATTHHSS

F i r s t y e a r a n d s o o n - t o - b e s t u d e n t s s t u d y i n g r e l e v a n t u n d e r g r a d u a t e a n d H N D c o u r s e s a t L e v e l 5 o r 6 a r e e n c o u r a g e d t o a p p l y .

F i n d o u t m o r e a t r t s . o r g . u k / b u r s a r i e s

# R T S B u r s a r i e s Journal of The Royal Television Society May 2021 l Volume 58/5

From the CEO I am thrilled to report fascinating takeaways. There was shows is taking us all by storm. Think on another super-busy much to learn from all the partici- Sex Education and I May Destroy You. line-up of RTS events, pants, not least Sky Media’s head of The phenomenon is another indica- hosted both in London insight and research, Lucy Bristowe, tion of the stunningly high quality of and by the RTS’s cen- who revealed that subscribers to the UK’s scripted output, something LOVE TV? tres across the nations Sky Q watch more content live than we should never take for granted. and regions. do other Sky customers. Don’t miss this month’s Ear Candy, The topics have ranged from mea- I am so grateful to Barb’s Justin dedicated to the ingeniously titled suring online audiences to the future Sampson for sharing fresh viewing Dead Pilots Society podcast, in which of public service broadcasting, and data with the Society, including how high-profile actors bring forgotten celebrated standout content such as audiences responded to season 4 of scripts to life. SO DO WE! the new BBC Two Iraq war film Danny The Crown when it made its debut last Our Comfort Classic is the 1996 Boy and BBC One’s heart-tugging autumn. Thanks to all the other panel- state-of-the-nation masterpiece Our Sunday night flagship, Call the Midwife. lists and to Variety’s Manori Ravindran Friends in the North, which launched the Congratulations to all those who make for chairing this headline-grabbing careers of many extraordinary actors. the show, which recently marked its session. Read Torin Douglas’s report tenth anniversary. in this issue. R o y a l T e l e v i s i o n S o c i e t y b u r s a r i e s o f f e r f i n a n c i a l Our lunchtime event “Hidden fig- Our cover story, written by Harry ures: Understanding audiences in the Bennett, looks at how the once niche s u p p o r t a n d m e n t o r i n g t o p e o p l e s t u d y i n g : on-demand age” provided some category of young-adult scripted Theresa Wise

TTEELLEEVVIISSIIOONN PPRROODDUUCCTTIIOONN Cover: Ackley Bridge (Channel 4) JJOOUURRNNAALLIISSMM Contents EENNGGIINNEEEERRIINNGG Rhianna Dhillon’s TV Diary Hidden figures The television and film critic enjoys being pampered A high-powered RTS panel hears how Barb is poised to CCOOMMPPUUTTEERR SSCCIIEENNCCEE 5 like a celebrity 16 publish regular audience figures for streaming services Comfort Classic: Our Friends in the North A social history that delivers PPHHYYSSIICCSS Matthew Bell salutes Peter Flannery’s epic The creator and three of the cast of Call the Midwife 6 state-of-the-nation drama 18 discuss the secrets behind the extraordinary longevity of the BBC drama MMAATTHHSS Ear Candy: Dead Pilots Society Kate Holman enjoys dramatic read-throughs of Fit for purpose? 7 overlooked gems turned down by commissioners Narinder Minhas finds much to enjoy in What’s the 20 Point of Ofcom?, a new collection of essays examining Working Lives: Writer the role of the communications regulator F i r s t y e a r a n d s o o n - t o - b e s t u d e n t s s t u d y i n g Kayleigh Llewellyn, the award-winning creator of 8 In My Skin, talks to Matthew Bell From the battlefield to the courtroom r e l e v a n t u n d e r g r a d u a t e a n d H N D c o u r s e s a t The team behind the Iraq war drama Danny Boy reveal Young adult goes mainstream 22 their approach to making the BBC Two film L e v e l 5 o r 6 a r e e n c o u r a g e d t o a p p l y . Shows once aimed at under-25s are reaching beyond 10 their target demographic, reports Harry Bennett The royal watch In the wake of Prince Philip’s death, Roger Mosey insists Leader of the Pact 24 that broadcasters covering the Windsors must move Steve Clarke profiles Pact CEO John McVay and with the times F i n d o u t m o r e a t 12 discovers how he helped secure Treasury backing for last summer’s Production Restart Public service TV at the crossroads r t s . o r g . u k / b u r s a r i e s Should traditional broadcasters get special protection in Our Friend in the North West 26 an era of streamers backed by global media giants? An Cat Lewis celebrates MediaCity’s first decade as RTS panel weighs the arguments 15 a UK production hub # R T S B u r s a r i e s 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 2021. [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 May 2021 3 Want to cross the finish line in style, and claim that podium place? Soundtrack the best sporting moments, from the build up to nail-biting finish with Audio Network.

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pril has been a frequent occurrence and I am going strange month. to milk it as much as possible. It marks exactly 10 years of my ■ It has been a very important and career being a film memorable year for film – which critic – my first has seen a much higher level of appearance was on ­representation, in terms of diverse

Radio 1 on April Fools’ Day. My mum, BBC and female film-makers being nom- whoA recorded it (old-school, on a inated – so it really is a pleasure to cassette), plays it back to me down be part of a programme dedicated to the phone and I sound so nervous as Rhianna Dhillon enjoys awards that don’t often get their time I chat to Greg James about why Jake being pampered like in the spotlight. Gyllenhaal’s Source Code was a pretty My job is to pull out interesting great film and why Sucker Punch, star- a celebrity facts about all the crafts and movies ring Vanessa Hudgens... was not. but I also love hearing co-host I was still a student at Reading Joanna Scanlan’s anecdotes about University but had been thrust into being on set. And I am in awe of one of the most exciting jobs I could cinemas and quite enjoyed laying Clara Amfo’s brilliant hosting skills think of. into the truly terrible ones. But, with (and her incredibly white teeth). It was never my plan to be a critic Lauren, the point is that I talk about – that job seemed so out of reach – my top recommendations across ■ I’ve heard people say that it has but Radio 1 was scouting for a new cinema, streaming and TV. not been a great year for film, given film person and decided it wanted a For a critic, finding three to critique the pandemic, but I disagree. I feel “listener on air” approach, rather than and not be critical of is more of a more hopeful about the industry’s a seasoned expert. challenge. Lauren is so engaged and future than I have been in a long They auditioned us without us knowledgeable about film that it while. There seem to have been more realising (as film students, we thought makes the job easy and enjoyable. discussions, debates and arguments we were just taking part in a film about films, perhaps because more debate) and, after several more infor- ■ Critics are used to interview- people have had time to watch them. mal interviews, they offered me the ing celebrities but not necessarily Preferring to wait out the pan- job (although it took about a year to to being treated like one. I’ve been demic, huge films have made way for be convinced that the whole thing given my own dressing room in the smaller ones, so indie films have wasn’t a giant April Fools’ prank) bowels of the Royal Albert Hall for found bigger audiences. I’m dreading and I find new things to love about this year’s Bafta Craft Awards. an influx of movies about the pan- it even now. I have had my hair and make-up demic (nobody wants this) but I’m done by some of the best in the busi- excited to see how the past year will ■ On Monday mornings, I have my ness (I am eternally grateful to any- shape cinema in the coming years. regular slot on BBC Radio 6 Music one who makes me look good for TV). After a rough period, the arts always with Lauren Laverne, which is gen- I scribble last-minute notes while step up and I don’t think this time uinely one of the best ways to kick- downing a glass of Champagne, try- will be any different. start my week. ing not to smear my lipstick and tak- For several years at Radio 1, I have ing selfies for posterity – because, Rhianna Dhillon is a broadcaster and reviewed whichever films are out at let’s be honest, this isn’t going to be a film and TV critic.

Television www.rts.org.uk May 2021 5 COMFORT CLASSIC

ew TV dramas deserve the epithet “Shakespearean” or “Tolstoyan” more than Peter Flannery’s Our Friends in the North, which turns 25 this year. The BBC Two series was epic in scale,F using more than 160 actors and 3,000 extras to tell the story of post- war Britain, its people and its dirty politics. It is also the tale of four New- castle friends, who grow up and grow old over three decades. And it is both moving and magnificent. Frequently judged one of Britain’s best-ever dramas, Our Friends in the North opens in 1964 with Geordie (Dan- iel Craig) and Tosker (Mark Strong) starting a band and hoping old friend Nicky (Christopher Eccleston) will join. Nicky, recently returned from the US, has a guitar case bearing folk singer Woody Guthrie’s legendary words “This machine kills fascists”, and is forsaking pop for politics. Mary (Gina McKee) is going out with Nicky, but Nicky is consumed by ideology, not lust, and Tosker see his opportunity… Over the next three decades, the friends drift in and out of love, and contact. Geordie falls into destitution; Nicky, ever the idealist, is his own worst enemy; foolish Tosker belatedly finds some self-awareness; and Mary, the beating heart of the drama, rises to the top. The final scene, accompanied by Oasis’s Don’t Look Back in Anger, is impos- sibly poignant: at its recollection now, I am welling up. Away from the personal, Our Friends in the North deals with big issues. Cor- ruption looms large throughout, in Our Friends local Newcastle politics, Westminster and the police. Ordinary people suffer, whether they are the tenants of substandard, local-­ authority housing built on bribes; or in the North Geordie, the victim of corrupt police officers and a Soho sex baron (Malcolm McDowell); or the pickets savagely Matthew Bell salutes Peter Flannery’s beaten during the 1984 miners’ strike. Jarrow-born Flannery was writing epic state-of-the-nation drama from experience: he had witnessed the economic devastation wrought on the North East. Our Friends in the North is

angry but never righteously so; it is BBC

6 also warm and funny. Not inaccurately, Flannery has described it as “a posh soap opera with something to say”, although this underplays the series’ huge ambition. As the Royal Shakespeare Company’s Ear candy writer in residence, Flannery had penned a stage version of Our Friends in the North. The 1982 RSC production was Emerald Fennell’s seen by BBC producer Michael Wearing Space Bound gets the full read-through (producer of Boys from the Blackstuff and Edge of Darkness), who was determined to bring it to television. It is often said that the BBC moves slowly, and never more so than with Our Friends in the North. The corporation was fearful that some of the real-life politicians, thinly disguised in Flan- nery’s script, would sue. It was perhaps even more terrified at the budget for a series that was forever expanding in size and scope. Originally, Flannery’s epic ended with the triumph of Margaret Thatcher in 1979; the repeated delays allowed him to take it forward to 1995 as his characters approach middle age. By the time it was shot, a three-hour play had become a nine-part TV drama, with episodes of between 63 and 75 minutes. Shooting was protracted and riven by rows. Directors changed, scripts were rewritten and whole episodes reshot. Eccleston and Strong didn’t get on and spoke only when the camera Dead Pilots Society was rolling. The budget rose to £8m, a

huge amount for the time. Jewell/Invision/AP Taylor Finally, in 1996, Our Friends in the North made it to the screen, and another BBC or every TV flop that Sam Richardson, Tony Hale and fear – that audiences would find the made it past a com- Adam Scott. politics at the heart of the series a missioning team, In its revamped format, each read- turn-off – proved to be entirely mis- ­arguably, there is a through episode is followed by a sepa- guided. Viewers and critics loved it, small-screen master- rate interview programme. and multiple RTS and Bafta awards piece cast unfairly into The creative minds behind hits such followed. the darkness. The next as The Office, Will & Grace and Orange Is Before the series aired, of the lead Fleabag or Line of Duty tossed into the the New Black have eye-opening dis- actors, only Eccleston had much of a Ftelevision abyss, taking with it the cussions about the development jour- profile (he had appeared in Jimmy awards buzz that might have sur- ney of getting a script to screen. McGovern’s Cracker). Our Friends in the rounded the breakout stars and the Standout episodes include: the sur- North launched their careers: Craig flood of fascinating fan fiction that real comedy My Cousin Thor by How I became Bond; Eccleston regenerated could have gushed from a new Met Your Mother producer Ira Ungerlei- as Doctor Who; McKee later starred in global fan base. der; Killing Eve and Promising Young Notting Hill and Strong in Tinker Tailor Luckily, the Dead Pilots Society pod- Woman writer Emerald Fennell’s inter- Soldier Spy. cast is here to bring these forgotten galactic comedy Space Bound; and the Flannery went on to write the multi- scripts back to life. Presented by writer adaptation by Mike Royce (Everybody RTS-award-winning Channel 4 drama and producer Ben Blacker and Friends Loves Raymond) and Kevin Biegel The Devil’s Whore, set during the English producer Andrew Reich, Dead Pilots (Cougar Town) of the 1988 film Big. Civil War, and then to create the long-­ Society gives those overlooked gems While some shows should have running BBC One series Inspector that made it to pilot stage without stayed on the cutting-room floor, the George Gently. being commissioned for a full series misfires of some of TV’s most acclaimed But Our Friends in the North remains the read-throughs they deserve. writers are still worth a listen. They his masterpiece. n Scripts are dramatically revived and might even give hope to all the screen- performed by the likes of Richard E writers yet to get their big break. Our Friends in the North is on BritBox. Grant, Carey Mulligan, Lolly Adefope, Kate Holman

Television www.rts.org.uk May 2021 7 WORKING LIVES Writer

In My Skin BBC

Kayleigh Llewellyn created BBC What is your typical writing day? Growing up in a council house in Three’s In My Skin, which won the I’m quite freewheeling, but that is not Wales, a profession in the media wasn’t RTS’s Drama Series award earlier this something that I would recommend. on the cards. But I had a telly. Watching year. The Cardiff-born writer can be I suffer from a lack of discipline and Victoria Wood and French and Saunders found on the set of the latest series of extreme procrastination. I always say, was the most wonderful thing – I was the coming-of-age drama – when she “If I’m not scared, I’m not writing.” I mesmerised by them. I wanted to do is not writing episodes of Killing Eve. need hard deadlines. what they were doing. However, once I moved to London What does the job involve? Are there differences between creat- and began training, I realised that writ- As a writer, I think it’s easy to become ing your own show and working on ing was what I was passionate about. overwhelmed and feel inadequate. I another writer’s series? like to remind myself that it’s not brain On someone else’s show, you are a cog Has acting helped you as a writer? surgery; it’s storytelling and it is sup- in the machine. That’s not a negative I think it has made me a better writer. posed to be fun. I try to shut off the thing: many hands are working to cre- I’m obsessed with writing dialogue inner critic and listen to my gut. ate an end piece and you have to fall in that actors will relish. I have such a line. To be good at that job, you emulate huge respect for the work they do. I Surely, it must be a trial sometimes? someone else’s voice. You have to use improvisation on set and I encour- The first draft is the hardest: it can take appreciate that other people may not age the actors to contribute. If a line me weeks of procrastination; it feels agree with you, and be humble. of dialogue is sticking in their mouths, like torture at times. I pace from room When you’re creating your own then I’m happy to let them change it. to room in my house, with quite a show, it’s all about finding a way to degree of self-loathing. punch through with your own voice. Do you still act? But there always comes a point when Not often. I loved drama school but I I hit my stride, and then I can turn out You were an actor first? never had what true actors such as a script quickly in a day or two. Then it Yes, I think mostly because I hadn’t Gabrielle Creevy (Bethan) or Jo Hartley becomes joyful. quite realised that writing was a job. (Trina) have in In My Skin, that extra

8 magic ingredient. But I still perform had to quit. By the time I became suc- improv comedy in London – that cessful, I had a lot of debts to pay off. scratches my “show-off” itch. Do you go on set? How did you become a writer? Yes. Aside from the fact that I intensely In 2012, I saw a notice for the Bafta enjoy the company of the people I’m Rocliffe New Writing competition five working with on In My Skin, I also love days before the deadline for entries. being able to rewrite the scripts as we With my best friend, Matthew Barry, go. My being on set allows us the free- who’d written a couple of episodes of dom to work fluidly and evolve scenes Casualty, I wrote a script about my in the moment. And seeing the actors grandmother. and our brilliant director, Molly Man- We won the TV Comedy category, ners, work their magic is thrilling. which was incredible, but, beyond that, [BBC controller of comedy commis- Are there any tricks of the trade you sioning] Shane Allen, who was a judge, can share? ordered the first couple of episodes. I’m a big fan of the “vomit draft”. I plan This meant that I got paid and was able out an episode, and then I start writing to find an agent. My entry into the and don’t stop until it’s finished. The industry was such a gift – but it got key is not to re-read a scene or edit very difficult thereafter. dialogue: if you hit a brick wall, just write any crap and keep going. Once Did the show get made? you write “The end”, shut down your No, but no script is ever wasted. It computer and walk away. opened a lot of doors for me. It’s only when you come back the following day that you allow yourself What was the first TV show you wrote? to read it and start editing. It forces you Sky One’s Stella, which I co-wrote with to finish a draft and, when you have Matthew. We loved working together the whole thing, you can sculpt it. but, early on in my career, I struggled to get the industry to view me as an equal What advice would you give to some- Kayleigh Llewellyn partner. Matthew was the more experi- Karla Gowlett one wanting to write? enced of us and I had a job to convince Watch a lot of TV and identify what people I could do it by myself too. and audiences recognise authenticity. you love and why. Read scripts of shows I knew I needed my own calling card, The hardest part was juggling my that you love and see how the writer so I wrote a short film, Oh-Be-Joyful. It responsibilities to my family, because put it on the page. screened at loads of festivals around the it is not only my story to tell. I had a You don’t have to write autobiogra­ world and won awards, and it showed few months of therapy in the run-up phical scripts, but audiences want a that I could write by myself. Off the to shooting the pilot because I was piece of your heart. Find the courage back of that, I got hired for Casualty. agonising over whether I should be to be vulnerable. doing it. But, while it was exposing and Was that a good training ground? frightening at times, I knew that the What attracted you to Killing Eve? Massively so. And Casualty remains the story would help other people – and It blends genres in a way that I love. most difficult show I’ve written on. that, in telling it, I would heal myself. And I’m also just a huge fan of the Almost every story has been told before, Writing In My Skin has been so cathartic show. Even now, one year into the job, I so you have to be really inventive – – it is the best therapy. still get a thrill writing Villanelle’s name with a tiny budget and lots of other [Jodie Comer’s character] on a script. constraints. What are the best and worst parts of Learning your craft on a show such as the job? What do you want to write about that really sets you up well for a career I love writing – I can’t imagine any other in future? in this industry. It’s a baptism of fire in job that would give me as much free- Issues that have affected me. I want to the best kind of way. dom and joy. I make my own days and I raise awareness about domestic vio- get to collaborate with amazing people. lence, mental health and LGBTQ In My Skin draws on your experience of The worst, especially for people from [issues]. And pierce it all with some caring for a mother with bipolar disor- a working-class background, is that it’s comedy. n der. Does this make it hard to write? bloody hard and very expensive to A writer needs to show unflinching break in. I had a bursary from The Film Kayleigh Llewellyn was interviewed by honesty, which takes bravery. It is and TV Charity to keep me going – Matthew Bell. The writer is represented frightening at first but it gets easier, without its help, I probably would have by Casarotto Ramsay.

Television www.rts.org.uk May 2021 9 Shows once aimed at Sex Education under-25s are reaching beyond their target demographic, reports Harry Bennett

n the day before Netflix released the first series of Sex Education, Jamie Campbell, creative director of the producer, Eleven Film, recommen­ ded the series to his friend’s 18-year-old daughter.O As a high-school drama about the sexual misadventures of teenagers, Campbell assumed Sex Edu- cation would resonate with her. She agreed to call the next day to share her thoughts, but when she did, she said she hadn’t watched it. When she got home, her mother, who was in her late fifties, had already started watching. Given the subject matter, she said she’d prefer to watch it in a parent-­ free zone. Campbell asked her if her mother had liked it: “She said, ‘The thing is, I got up the next day and my mum had stayed up until four in the morning to watch all the episodes.’” Sex Education is just one of many young-adult series that are striking a chord with audiences older than the generation they depict. In the recent past, Normal People, I May Destroy You, Feel Good, Ackley Bridge and Industry have all won audiences in their millions. The mainstream success of young- adult TV signals a change in viewing habits across all demographics. Argua­ bly, it shows a growing sophistication among audiences, who increasingly discriminate more by quality than by genre. This has been matched by a change in programming across all channels to align with these new habits. It is a trend that can be traced, in part, to the rise of the streaming and catch-up services, where broadcasters­­ can promote what were once regarded Young adult as niche shows to help them break through to mass viewership. Netflix could reasonably claim to have been the prime mover in this goes paradigm shift. Unshackled from the linear schedule and the demands of advertisers, the streamer could afford to commission programmes for what, in the past, would have been niche mainstream audiences, and without, say, a specific

age group in mind. Netflix

10 “The process with Sex Education really adult drama Skins, which launched in bore that out,” says Campbell. “Netflix ‘IT HAS ALWAYS 2007, with reinventing the genre and was not looking for a show that would providing it with an authentic edge. cater to a particular demographic in a BEEN A MYTH THAT At the time, there was an abundance strict way. The thing it was interested YOU ONLY WATCH of young-adult series but, as the in was executing the concept of the show’s co-creator Bryan Elsley recalls, show in as authored and free a way PEOPLE OF YOUR “they were quite safe and anodyne”. as possible.” OWN AGE ON Elsley says that it was his son, Skins The platform has, in fact, abandoned co-writer Jamie Brittain, who first demographics altogether in favour of SCREEN’ alerted him to the gap in the market. what Campbell describes as “taste “In all those shows, kids would have communities” (groups of users sharing problems and they’d get worse and similar viewing histories). Even then, the series would bring in older viewers. worse and worse and, eventually, they’d these aggregations are only used to Amazon Prime Video eventually secured go to their mum or dad. So Jamie’s idea drive users to new content. the rights and, Garvie notes, “it has done was: what if your mum and dad’s idea With Sex Education, says Campbell, exactly that”. of a solution is fucking stupid?” Netflix did what it does for every series. The times are changing, however, Elsley hired a team combining TV It put it out on the service indiscrimi­ and, as Garvie observes, “broadcasters veterans and young newbies to ensure nately at first, allowing time for data are slowly weaning themselves off the they could write authentically about analysis to find the “communities” with crack cocaine of a schedule. They can’t the thornier (and hornier) side of teen­ which it resonated. Only once these go cold turkey but, as they themselves agehood. Sexuality, gender, mental had been identified did the streamer begin targeting, by positioning the series on the Netflix homepages of other members of those same “com­ munities” – be they a 58-year-old mother or her 18-year-old daughter. Targeting is one thing, consumption is another but, as Wayne Garvie, Presi­ dent of international production at Sony Pictures Television, points out, the bingeing enabled by streaming services promotes experimentation. Even if you don’t like the first episode of a series, the second is only an auto­ play away – by which time you might be hooked. “With traditional free-­ to-air TV, you’ve got to come back to the same place in a week’s time. It doesn’t lend itself to trying out the Skins esoteric and the eclectic,” he says. Channel 4 A case in point is Alex Rider, Sony Pictures’ eight-part adaptation of become digital channels, it’s going to health, substance abuse – no issue was Anthony Horowitz’s bestselling series change absolutely the kind of choices off limits, and the sixth formers at of young-adult spy novels. Sony had they make.” Skins’ centre were left to their own fully funded the project but, when the Similarly, Campbell has noticed a devices to tackle them. company started selling the show, “virtuous circle” at play in that, seeing The result was a winning rejoinder Garvie noted a problem – even though the mainstream appeal of Sex Education to the conventional young-adult fare “everyone loved it”. What “became on the streamers, linear broadcasters of the time, as Skins removed the gloss clear was that, if you were a linear are “taking more of a chance on shows and applied grit to the genre. broadcaster, you couldn’t work out that would otherwise be traditionally Today’s young-adult shows invaria­ where it would sit in the schedule”. ‘young adult’”. bly tackle tough themes and, in doing This is a serious issue for broadcasters, Channel 4’s approach, says head of so, can break through to mainstream Garvie acknowledges, as “they are terri­ drama Caroline Hollick, is to commis­ audiences – provided that they are fied of losing their core audience, which sion series that, while they might have marketed cleverly or algorithmically is always older than you think”. But he a younger focus or younger protago­ targeted. remembers a “big lesson” he learnt nists, their “storytelling has a sophisti­ Consider such recent shows as I May during his time at the BBC: 20 years ago, cation and its themes and emotions Destroy You, The End of the F***ing World, the most popular programme for young have a universality to them”. Normal People, Ackley Bridge and, of audiences was EastEnders. “It has always In so doing, Channel 4 can minimise course, Sex Education. The stories are told been a myth that you only watch people the risk that Garvie referred to of losing inclusively and the series are targeted of your own age on screen.” the generally older-skewing core audi­ indiscriminately. Viewers young and old Alex Rider may be about an adolescent ence of a broadcaster. are spoiled rotten, so is it any surprise spy, but Sony’s research indicated that Hollick credits Channel 4’s young that so many of us are tuning in? n

Television www.rts.org.uk May 2021 11 Leader of the Pact

John McVay Pact

hen, 20 years ago, dynamic independent TV production John McVay Steve Clarke profiles sector in the world, worth around £3.3bn became CEO of Pact CEO John McVay annually to the British economy. the producers’ That McVay has accomplished all lobby group Pact, and discovers how this without many of the privileges his first outing to that most of his peers grew up with is the world of London TV types did not he helped secure all the more remarkable. What, then, is goW according to plan. Flying down the knack to successful lobbying? Treasury backing from his native Edinburgh and travel- “Evidence and argument and under- ling to Soho via the Heathrow Express, for last summer’s standing the situation the politicians the train caught fire and he was stuck are in,” he says matter-of-factly during on the line outside Paddington for two Production Restart a Zoom call from his north London hours. By the time he arrived at the home before taking another pull on his farewell party for his predecessor, he Covid-secure studios and sets. At a e-cigarette. “People assume I’ve done was conspicuously sober while his stroke, this enabled the UK tele­vision a law degree. I have no training. I’ve new colleagues were too merry to give sector to restart filming after the pan- picked up everything. I have a magpie him their proper attention. demic had shuttered much of the mind. I assimilate things very quickly Two decades later, McVay is widely industry. and retain a lot of information and regarded as one of the most influential In March, Pact received a Special detail. This is very helpful when you media people in the capital. He was Award at the RTS Programme Awards are talking to politicians about detail.” made an OBE in 2019 for his services to while the Broadcasting Press Guild What he doesn’t say is that he clearly the creative industries, and famously presented him with the Harvey Lee has that rare ability of being able to get wore a kilt to his presentation at Buck- Award, a prize for outstanding contri- on with people from all kinds of back- ingham Palace. bution to broadcasting. grounds and to adapt to the ever-­ This year, he has been recognised for McVay’s achievements over two evolving media agenda. his work in persuading the Treasury to decades, the Production Restart initia- Typically, he doesn’t miss a beat set up a £500m insurance fund for tive aside, have helped pave the way when I suggest that he has a chip on productions and for helping to create for what is unquestionably the most his shoulder. “Of course, I have. If I

12 didn’t have an attitude.… You can cut post-punk band Visitors, even appearing my head off and I’ll grow another one, three times on Radio 1’s influential John right? Years ago, someone said to me: Peel Show and releasing several singles. ‘Aren’t you worried that you’ll never A few years ago, an album was released get a job at the BBC?’ I said, ‘No. It is that compiled these various recordings; never going to hire someone like me.’” McVay played keyboards, rudimentary In the days when TV industry con- saxophone and sang. He still keeps a ferences took place physically, McVay’s keyboard in his home office. pushy presence would be an inevitable The band, which played support on part of the proceedings, the same bill as such as this imposing figure, luminaries as The fond of acronyms, stood ‘WE’LL Clash and Cocteau up to speak. Twins, led to McVay To the outsider, what ALWAYS BE developing contacts he said might have THERE TO on the local music sounded arcane. Yet, scene, where he also behind the raw, Scots KICK YOUR worked as a sound swagger lies a deeply SHINS AND engineer and pro- effective operator, who ducer and put on gigs. is a fearless advocate WE’LL NEVER Making music vid- for the 750 or so indies eos inevitably led to that are on Pact’s books. GO AWAY’ working on TV shows He is proud of the fact under the umbrella of that, during last spring’s the Edinburgh Film lockdown, he refunded members half and Television Workshop, an early their subscription fees and gave free ­Channel 4 initiative backed by the membership to new companies for then-powerful ACTT union. John McVay six months. His freelance work came to an end “We’re not always the most popular in 1986, when he took a position run- on… the BBC people with broadcasters,” he admits. ning a TV production training scheme “As I recently said to [BBC Director-­ for underprivileged youngsters backed ‘I suppose I get disappointed General] Tim Davie, ‘Just remember, by Edinburgh council. “We were taking because the BBC is an amazing we’ll always be there to kick your shins kids who normally wouldn’t get in the thing. It’s a really valuable asset that and we’ll never go away.’” door at BBC Scotland and preparing we created for our society and our Unambiguous communication was them for a career in TV, be they want- economy, and I get disappointed one of the skills McVay learnt growing ing to work as a camera operator, in when it lets us down.… It should up on a sink estate in Edinburgh. His make-up or as a writer. be held to the highest standards father was a painter and decorator too “They were talented but they didn’t because it is paid for by us. It repre- fond of a drink, who left the family know the right people.” sents us, so it should be about us. home when McVay, the oldest of iden- His skills as an organiser led to him ‘At Pact, we will die in the ditch tical twin boys, was 14. being appointed the founding director for the licence fee but we won’t His mother had several jobs, includ- of the Research Centre for ­Television die in the ditch for the people who ing as a hospital carer on the night and Interactivity in Glasgow, then spend the money.’ shift. McVay’s grandfa- director of training and ther, a postman who education at Scottish worked on the London- ­ ‘THE BBC Screen and CEO of to-Edinburgh night Scottish Broadcast and On… politics train, was influential in IS NEVER Film Training. When the future Pact CEO’s GOING he was headhunted ‘I’m a Blairite, with quite a num- upbringing. “My gran- to apply for the job of ber of libertarian, free-market dad used to say to me: TO HIRE running Pact, he claims principles.’ ‘If you ever see an he was considered “a opportunity, stick your SOMEONE rank outsider”. hand up whether you LIKE ME’ McVay was inter- know how to do it viewed by nine people On… time off or not.’” from Pact’s council, He left school – a local comprehen- then chaired by the legendary Beryl ‘I love fly fishing for trout or sea sive – at 16 with barely any qualifica- Vertue, one of Britain’s pioneering trout and collecting designer tions and began gigging with his independent producers. “I think I was ceramics. For reading, I particularly brother, who grew up to be a success- there to offer a bit of contrast to the enjoy historical biographies and ful tour manager. “For me, like many other candidates.” But the outsider was books such as Mary Beard’s SPQR others, university wasn’t an option,” now heading for the inside track. and Max Hastings’s history of the says McVay. He and his young family upped Vietnam war.’ The pair performed together in the sticks and moved from Edinburgh to �

Television www.rts.org.uk May 2021 13

� London. “Scotland is a lovely place Pact, and it’s one of the reasons I’ve insurance brokers and insurers, it but, essentially, it’s a village and I stayed so long, is that independent became clear that no one would wanted to play on a bigger stage.” producers are some of the most insure producers against an outbreak His first big win at Pact came in determined, disruptive and entrepre- of coronavirus. 2002 and became law in the 2003 neurial people you’ll ever meet.” By clever lobbying, Pact ensured Communications Act. The combined He adds: “I remember saying to that this was brought to the attention firepower of McVay and another Scot, someone at the BBC, ‘Don’t ever think of Rishi Sunak. At first, the Chancel- Pact’s then-Chair and CEO of Shed you can out-think us.’ I have access to lor’s team at the Treasury was unsym- Productions, Eileen Gallagher, had several hundred of the brightest peo- pathetic. “I remember a conversation persuaded politicians and policy ple in the industry. All you’ve got is with a senior Treasury advisor, who ­makers that indie producers the same three strategy people who said: ‘You bunch of luvvies, you never should finally turn up tomorrow morning.” vote for us anyway. Is this really a McVay and his If winning the ability for indies to problem or are you just whingeing?’” band’s first EP, keep their own rights was Pact stressed that, without a state- Electric Heat arguably the backed insurance scheme, the TV marketplace could grind to a halt and precipitate an acute shortage of con- tent. “This is fundamental to the entire broadcasting ecology, not just my members’ businesses,” McVay told Sunak’s aides. “In May last year, the world was in meltdown – politicians were firefighting,” he recalls. “The fact that we even got a chance to speak to them was a bloody miracle.” The talks dragged on as it emerged that the Treasury would pay for a high-level task force to examine the problem. At the end of July, culture secretary Oliver Dowden announced the Production Restart insurance initiative for film and TV production. single biggest The scheme went live in October. achievement of McVay’s McVay pays tribute to Sara Geater, 20 years at Pact, the achievements of the All3Media COO and former Pact be able to retain the last spring and summer represented Chair, and the other senior producers rights to the shows they made. another milestone in the CEO’s jour- who helped him lead the charge. For years, broadcasters had resisted ney. With TV production held hostage “We made it clear to the Treasury the move. Until then, Pact had been by Covid-19, McVay and his colleagues that this would be good for the pub- divided over whether to campaign needed to think fast about how it lic,” he emphasises. “We weren’t ask- for a larger production quota at broad- could restart safely. ing for a bailout. We were asking for casters or to go all out for owning the In early April, he circulated a paper an indemnity fund that we might IP. Research commissioned at the time written by Hakan Kousetta (who need to use.… There was a return on by McVay suggested that the sector, subsequently became Chair of Pact investment because people would then worth £700m annually, with last December), to stakeholders, stop being furloughed.” average margins of around 3% to 4%, including the BFI and broadcasters, McVay is 61 this year but there is no was facing financial meltdown. This pointing out that insurance was the sign of him slowing down. He con- helped persuade Pact to campaign for major problem preventing production cedes that a succession plan at Pact rights ownership. from restarting. After meetings with will need to be put in place. “There’ll The triumph led to Campaign come a point when young blood and describing Pact as “the most success- new thinking will be needed. I hope ful lobbying organisation in the UK”. that’s not tomorrow but…” How did he pull off this watershed ‘DON’T EVER Broadcasters might not always be change? “It was a combination of the THINK YOU CAN pleased to see him, but they both right people in government and hav- share a common aim: the continued ing the right Chair and right CEO at OUT-THINK… health of the UK’s world-class audio- Pact, plus the ITC. They deserve SEVERAL visual sector, vital to our cultural and credit and paid attention to these economic well-being. white, whingeing producers. [Culture HUNDRED OF “I think we’ve played our part,” he secretary] Tessa Jowell was a cham- reflects. “We’ve shown that, if British pion, so was David Puttnam and THE BRIGHTEST creative entrepreneurs are given the [Labour peer] Alf Dubs.” PEOPLE IN THE opportunity and the right underpin- But how much credit should he ning, they can take on the world.” take? “Some.… The great thing about INDUSTRY’ A bit like John McVay. n

14 OUR FRIEND IN THE NORTH WEST

Cat Lewis

ediaCity in celebrates corporation’s history, the target is to Salford, MediaCity’s first ensure that 60% of production will Greater Man- come from the nations and regions. chester, began decade as a UK Therefore, says KPMG, by 2027-28 its rapid the BBC will have spent cumulatively expansion production hub £700m more outside of London. into a world-­ This will generate an estimated leading TV production centre 10 years additional economic benefit of more ago,M when BBC staff moved in soon than £850m. But it’s not just about after Dock 10 launched its new stu- money and jobs, it’s also about how dios and post-production business. the BBC can increase its ratings and Back in 2007, when Salford City relevance by better reflecting the Council and the Peel Group won their country as a whole. joint bid to house the BBC’s new I’ve never understood why impor- northern base, I received a call from a tant programmes such as Radio 4’s very animated Felicity Goodey, the Today and BBC Two’s Newsnight are main visionary behind the project. always produced in, and broadcast With great passion, she told me how from, London. So it is fantastic to hear MediaCity’s piazza would be bigger that many editions of these shows will than Trafalgar Square and would now be hosted from around the UK. become a tourist destination. Felicity’s However, to ensure proper repre­ interest in Salford’s derelict docks and sentation, it’s equally important that the Manchester Ship Canal began in these programmes have members of

the 1980s, when she was the BBC’s Media Lives Nine their production teams living in the business correspondent for the nations and regions. Now we are all regional news show North West Tonight. and not just in London. Everyone used to working remotely, surely this She was right on both counts. hopes Channel 4’s new bases in is a great way to ensure such shows This once downtrodden area, Leeds, Bristol and Glasgow will mir- have less of a “Westminster agenda” where A Taste of Honey was famously ror the success of the BBC’s move to and are more in touch with audiences? filmed, attracts visitors from across MediaCity – and help the Govern- Plans by Tim Davie and Charlotte the country. Its size has been integral ment’s “levelling up” agenda. Moore for a long-running drama to its success. Having major TV production bases series based in the north are also The BBC employs around 3,000 peo- in different cities also provides routes exciting. Hopefully, it will have more ple on this vast, 80-hectare site, but its into the industry for people from appeal to viewers by capturing the move to Salford as a founder partner diverse backgrounds. Enabling such comedy, optimism and warmth of in MediaCity has resulted in another voices to be heard helps unify the UK Coronation Street, rather than the anx- 4,000 jobs being created. In its recent by ensuring the programmes we pro- ious gloom of EastEnders. report on the impact of the BBC on duce properly represent and engage It’s been really exciting to watch the UK economy, KPMG says employ- our viewers. more jobs, more representation and ment in the digital and creative sector This is increasingly important more creativity happening here in in Salford jumped by 142% between when we are competing with global MediaCity over the past 10 years. 2010 and 2019, while the number of media giants such as Netflix, Amazon Happy 10th anniversary. Let’s hope digital and creative businesses shot and Disney. BBC Director-General the licence fee continues to be used to up by 70%. Tim Davie recently confirmed that he secure and build on its success. n As every TV viewer in the UK pays is doing even more than his prede- the licence fee, it is vital that the BBC cessors in delivering to the whole of Cat Lewis is CEO of Nine Lives Media creates jobs across the whole country the UK. For the first time in the and a former Chair of RTS North West.

Television www.rts.org.uk May 2021 15 It’s a Sin Channel 4 Hidden figures A high-powered RTS panel hears how Barb is poised to publish regular audience figures for streaming services

fter years of refusal by required to share top-line viewing data streaming data could increase under- the global streaming for UK shows with Ofcom and domes- standing of audience behaviour, companies to share tic broadcasters, so that the full reach including the relationship between live their viewing data, of PSB content can be assessed. and on-demand viewing. It’s a Sin pre- new light will soon be At a recent RTS lunchtime event, miered on Channel 4 on 22 January shed on the perfor- “Hidden figures: Understanding TV this year and all five episodes were manceA of Netflix, Amazon and Disney+ audiences in the on-demand age”, immediately available on All 4. – and PSB streaming services such as Barb’s Chief Executive, Justin Samp- The Barb chief said that 4 million All 4 and BBC iPlayer – by the industry son, unveiled previously unreported people watched episode 5 before it ratings body Barb. figures for the fourth series of The aired in Channel 4’s live linear sched- From the late summer, Barb expects Crown. He revealed that 3.7 million peo- ule on 19 February. Far fewer – nearly to publish regular viewing figures for ple watched episode 1 of the Netflix 900,000 – watched the episode live, SVoD services on the same basis as series during the first seven days it was while another 1.4 million watched in those for broadcast television. This will available. Moreover, “episodes 9 and 10 the four weeks following transmission. allow meaningful comparisons to be were watched by around 1.4m people, The data also revealed that just under made for the first time. which points to just under 40% of its 90% of the series’ pre-broadcast audi- The move comes as the Digital, Cul- viewers getting through the whole ence watched on a TV set, with the ture, Media and Sport Committee of series in seven days”. balance split between PCs, tablets and the House of Commons has recom- Sampson also used insights from smartphones. Sampson added: “Not mended that the streamers should be Channel 4’s It’s a Sin to show how surprisingly, the live audience was

16 almost entirely on the TV set, and just the piece, you get the average audience or the BBC, but went to Netflix and it under 10% of the post-broadcast audi- for VoD, which you can look at in surprised us all by being such a big ence watched on a PC, tablet or aggregate with linear, and that gives a success. I know that Anne Mensah smartphone.” proper understanding of the scale of [vice-president of original series at He said this showed the value of viewing, rather than simply taking a Netflix]­ would like more shows like broadcasters collaborating with Barb. very shiny, sexy big number for VoD.” that – and Justin’s information made It was much more challenging with the Lucy Bristowe, Sky Media’s director me think that mainstream now streaming companies, many of which of insight and research, said: “At Sky, we [includes] Netflix and Amazon.” were reluctant to share information. But have a lot of our own data and down- Sampson’s final slide showed the he revealed that Barb was now in talks load information and audience infor- weekly reach of the four biggest with two major streamers over possible mation but it’s quite hard to get into the streaming services, going back to the collaboration, having been firmly real demographics – who’s actually in beginning of August. He said seasonal rebuffed by Amazon a year or so ago. front of the screen watching that piece factors were at play — viewing was “In 2017, we had an enquiry from Amazon about the possibility of meas- uring audiences of The Grand Tour,” he said. “Our answer was yes — with its co-operation — and we highlighted that, as an industry currency, the num- bers would be published to all our subscribers. On that bombshell, the trail went cold. “In light of this challenge, Barb set out to measure audiences for Amazon and other SVoD services with or with- out their involvement. And we’re now on the verge of going live with our solutions, as seen in that sneak pre- view of our figures for The Crown. “We are in the final stages of due diligence, prior to the launch later on The Crown in the summer, and we’d be delighted Netflix for the streamers to have the collabo- rative relationship with us that we of content – and that’s what the Barb typically higher in the winter than the have with the broadcasters.” technology does very well for us. summer — and the lockdown from Sampson noted that Netflix had been “A great recent example was Your 6 January would also have had an effect. helpful with technical information when Honor on Sky Atlantic. From the Barb “Having started this period with a Barb began to attach viewing meters data, we could see the viewing grow- weekly reach of just over 25%, Netflix to the wi-fi routers in some of its ing as we pre-TX-ed it and then keep topped 30% during November, when 5,000 panel homes (traditionally, these growing, and we could layer on the The Crown launched,” he said. “During have always been attached to the TV set). Barb data to see who those people March, it was achieving a weekly reach And, while he wouldn’t “give a run- were in terms of demographics, and of around one-third of all [people] aged ning commentary” on his talks with the [in what other ways] they watched. four and above. streamers, he said a third company was While big data is fantastic, Barb gives “We can see how YouTube is watched about to start a conversation with Barb. us a fuller picture of what is going on.” on a TV set by around one in five people, Speaking in the same RTS session, Wayne Garvie, President of interna- although we know — not shown on this Sarah Rose, chief operating and com- tional production for Sony Pictures chart — that YouTube generates much mercial officer, UK, for Channel 5’s Television, said the figure which stood larger audiences on smartphones, tab- owner, ViacomCBS Networks Interna- out for him in Sampson’s presentation lets and PCs than any broadcaster or tional, welcomed Barb’s new research was the viewing for The Crown, produced SVoD services. as a “game changer” that would reduce by Left Bank Pictures, which is owned “For Amazon Prime Video, the eye is confusion and misunderstanding. by Sony. drawn to two spikes in its audience “It’s the easiest mistake to make He said: “On a platform that is in last December. These both coincided but a number of commissioners have about half UK households of free-to-air with Premier League match days when made it over the years,” she said. “You [viewers], it can now reach free-to-air Amazon had the rights to live-stream look at the Barb statistics for linear numbers. And if you look at The Crown all the games.” viewing and then look at the number audience and a BBC One audience, they Hidden figures no more. n of streams for VoD and add them are probably really similar, so that, to together. But you can’t do that, because me, says that Netflix is mainstream. Report by Torin Douglas. ‘Hidden figures: the number of streams is just the “That has an impact on the question Understanding TV audiences in the stream-starts, which could be people of when you sell a show, and where on-demand age’ was an RTS event held sampling something and either not do you sell it? We had a taste of this on 20 April. It was chaired by Variety liking it or getting interrupted. recently with a show called Behind Her international editor Manori Ravindran. “Now that Barb is measuring across Eyes, which could have played on ITV The producer was Steve Clarke.

Television www.rts.org.uk May 2021 17 Leonie Elliott (left) as Lucille Anderson and Helen George as Trixie Franklin BBC A social history that delivers The creator and three of the cast of Call the Midwife discuss the secrets of the BBC drama’s extraordinary longevity

can’t believe it’s been 10 years,” reflecting the evolving society around The three actors on the panel – said Helen George, who plays them. George, Jenny Agutter, who stars as Nurse Trixie Franklin in Call Its longevity was the topic of discus- Sister Julienne, and Leonie Elliott, who the Midwife. “It’s been a fantas- sion at the RTS event “Comfort and plays Lucille Anderson – each presen­ tic ride, from not knowing if it challenge: celebrating 10 years of Call ted a clip that, in their view, encapsu- was going to be more than six the Midwife”. lated the spirit of Call the Midwife. ‘episodesI to here – 10 years later.” The secret of its success, according Demonstrating her point, George’s Rare is the TV drama that makes it to George, was that, while it was origi- clip was from the finale of the last to its tenth series. But, since the pro- nally based on the memoirs of Jennifer series, in which Trixie makes an impas- gramme detailing the ever-eventful Worth, the show’s creator and writer, sioned plea to keep Nonnatus House in happenings at the nursing convent of Heidi Thomas, continued to have “this public service by reading out the names Nonnatus House first appeared on magnificent way of reflecting what’s of 117 women who it had helped. 15 January 2012, it has become a going on… politically and medically “It seems so relevant today to list Sunday-evening­ staple. back to Nonnatus House in the 1960s. those names, when, on the anniversary The series offers a glimpse of yester- It makes us all realise that we’re going of Covid, names were listed in exactly year London via the microcosm of around in circles slightly, and that the same way. This was filmed way nurses, nuns and soon-to-be mums, things sometimes progress, but some- before Covid, but Heidi has this sixth with their values and impositions times they don’t.” sense to be able to predict,” said George.

18 “And the symbolic nature of that Agutter’s clip was Chummy (played by training as a cervical cytology nurse unity of nurses who are sat opposite Miranda Hart) painting her mother’s – cervical screening was introduced in a bench of suited men felt a relevant nails with care and love. “It’s such a Britain in the 1960s on a voluntary and parallel to the Government and the simple moment and that’s what’s experimental basis. “As we go forward NHS at the moment. It’s an ongoing extraordinary,” she explained. into series 11, I would like to tell a story conversation, which I don’t think has For Leonie Elliott, playing Lucille where cervical cancer is diagnosed. had an end since Clement Attlee Anderson gave her the opportunity to We haven’t done that yet, but we set started the NHS all those years ago.” represent the Windrush generation the seeds for that almost two years Set in Poplar during the late 1950s within Britain’s medical community ago,” said Thomas. and early 1960s, Call the Midwife hasn’t – no pressure, then. Thomas’s immense reservoir of rich shied away from emotive and divisive “That [representation] was impor- stories is arguably another key reason topics in its depiction of women’s tant. One of my favourite moments is for Call the Midwife’s enduring success. health, the slow advance of society, when Lucille finds her church,” she When it comes to uncovering these, and life and death. The pill, abortion, said. “It was an experience that my “I’m looking for stories that grab you teen pregnancy, romance and religion grandad and a lot of my mum’s cous- in the heart or the throat or the stom- have all been examined. ins had – they were christened in ach, not the brain,” she said. “It’s The thalidomide scandal is a case in living rooms and they would have something that surprises me. Some- point, and was the subject of Thomas’ services in the living room. thing that angers me. Something that chosen clip. In the 1950s, the drug was “It’s important for anyone to find will make me weep or simply educate released without being tested properly their community, but it felt extra spe- me on something I did not know. on pregnant women and used as a cial because it spoke to how my family “Once I have been grabbed by a story, treatment for morning sickness. found their community when they I look at ways of fleshing it out. By the But it caused defects and fatalities in came to England.” time we get to script stage, we consult an estimated 10,000 newborns world- Elliott’s chosen clip depicted Luci- with experts on any medical story.” wide before campaigners began ques- lle’s friendship with the elderly Miss With season 10 launched last month, tioning the drug’s impact. Call the Millgrove. “It speaks to the nature of and three further series in the pipeline, Midwife introduced a storyline involv- our show, having so many generations. we can be assured that the stories told ing thalidomide at the end of the And also, for me, Caribbean culture is will continue to be uncompromising. fourth series and continued it beyond. very much about respecting your “With Call the Midwife, there has Covering it “made me realise the elders and having a good rela- never been a story too bold power of Call the Midwife, and also the tionship with them,” she said. or too dark or just too out responsibility,” said Thomas, giving an The rich stories of these there for me to pitch,” insight into the thinking behind her evolving relationships, their said Thomas. “What Call writing of the story. nuances and the subtle the Midwife has given “The thalidomide community have reflection of society me, which not every an informal saying: ‘Nothing about us around them is aided by writer can say they without us’, and, once it became the show’s longevity. get in their career, is a known in the press that we were going Over the years, certain home. A home is to cover this story, we were contacted arcs have slowly come where you are from many directions, and we really to the fore while oth- safe. A home is made a point of hearing those voices. ers fade into the where you can “Because we are a popular drama, background as they do bold things. we could not only reach a large audi- resolve themselves. When you ence, create conversations and pro- “We have the have a com- voke memory with this story, but we luxury of a slow pany like were able to do something no docu- burn,” said ours, mentary could do and go behind the Thomas. “That there’s delivery-room door. That was a privi- might be Luci- nowhere lege and a responsibility that I didn’t lle’s romance you’re want to shirk.” with Cyril, it scared Given the influence of Call the Mid- might be Trixie’s to go.” n wife, which regularly draws eight mil- alcoholism – like lion viewers, Jenny Agutter suggested many people who Report by Shilpa the topic of cystic fibrosis to Thomas. struggle with addic- Ganatra. ‘Comfort It was a subject close to Agutter’s heart tion, she has had and challenge: as the genetic condition runs in her peaks and troughs celebrating 10 years family. and periods of sta- of Call the Mid- The awareness that the programme bility. We deal in wife’ was held brought was significant: “After the drama not melo- on 22 March, and episode was shown, the Cystic Fibrosis drama, so every­ chaired by Erica Trust had more hits on its website than thing has to be Wagner. The event it had ever had,” Agutter said. earnt.” was produced The show isn’t only about the big An upcoming jointly by the RTS Jenny Agutter as Sister Julienne topics, but the little moments, too. example is Trixie and IJPR. BBC

Television www.rts.org.uk May 2021 19 can confirm that, growing up as a kid in south-east London, I never once dreamt about becoming a regulator. You know – running organisations that begin with the letters “Of...”. To be honest, I’m not sure that I know anyone who did. IAnd I’ve certainly not met anyone who had photos of great regulators – if there are any – on their bedroom walls. Me: I just wanted to play for Spurs and open the batting for India. Before you complain, it is possible to feel Indian and British, even English, all at the same time, especially if you weren’t born here. Talking of complaints and not wish- ing to fuel our bitter culture wars, are we turning into a nation of TV com- plainers, offended by the slightest remark that doesn’t fit our rigid view of the world? What’s happened to free- dom of speech? Curiosity? Tolerance? Take, for example, the case of pre- senter Jeremy Vine, who received numerous Ofcom complaints for asking whether the lack of diversity at Prince Philip’s funeral was a “problem”. Or Good Morning Britain’s Dr Hilary Jones, who prompted complaints after she told a Covid-denying pub landlord that he should “stick to pulling pints”. Strangely, the number of complaints is on the increase as audiences for traditional television channels decline. Perhaps it’s a sign of our increasingly divided and tribal society. But how seriously should these com- plaints be taken, given that many appear to be politically motivated and charged? Who should adjudicate and can they really be objective? More widely, what kind of regulatory system does Britain need? At the heart of this debate is Ofcom, Britain’s broadcasting and communi- cations watchdog. As it approaches its 20th anniversary, it seems right to query its role and remit in our rather polarised society. In a fascinating book of essays, What’s the Point of Ofcom?, those fundamental questions are explored in an unapolo- Fit for purpose? getic tone. As John Mair, the editor, writes: “Ofcom is one of the key regula- tors in 21st-century Britain. It is at the Narinder Minhas finds much to enjoy in a intersection of technology, culture and new collection of essays examining the politics… [but] is it fit for purpose?” This crucial question is given added role of the communications regulator spice as we build up to the announce- ment of the new Chair of Ofcom. Who­ What’s the Point of Ofcom?, edited by John Mair, ever is appointed in the coming weeks is published independently, priced £7.99. – some are suggesting it could be Paul ISBN: 979-8742003441 Dacre, the former editor of the Daily Mail

20 – will police the entire communica- since to revive the legislation have Some think that Ofcom is too pow- tions sector, which includes the BBC, always stalled on the altar of the First erful, narrowly framing the national and “soon the giant tech platforms, too”. Amendment – the right to free speech”. conversation along a broadly “woke” The book, thankfully, has a rich As a result of the more “liberal” sys- agenda. Others feel that it doesn’t range of voices across the political tem in the US, Myrie argues that there intervene enough and should show its spectrum. Each essay is carefully is a “trust deficit at the heart of Ameri- sharp teeth. Marcus Ryder, an aca- crafted, from those who believe Ofcom can democracy”, something he wit- demic and former head of current is hopelessly weak to those that think nessed first-hand during last year’s affairs at BBC Scotland, argues that it has assumed too much power. In the extraordinary presidential election. Ofcom’s main job is to fix market fail- end, all of the writers wrestle with that Not surprisingly, he says, the BBC is ures. And, for him, one of the biggest most difficult of questions for any the most trusted news brand across market failures is the lack of diversity.

‘OFCOM USES ‘ONE OF THE ITS POWERS TO ‘[OFCOM] BIGGEST BANISH FROM LEADS TO MARKET THE AIRWAVES THE BLAND FAILURES IS VIEWPOINTS IT LEADING THE THE LACK OF DOES NOT LIKE’ BLAND’ DIVERSITY’

society: what is the right balance America: “In the US, you can say what As an economist, he gently intro- between freedom and constraint? you like – your opinion is protected, duces us to “monopsony theory” as a Sir Alan Moses kicks off with a strong and you can use all your power and way of explaining this lack of diversity: critique of our current system. He was might to beam that opinion right “A monopsony is when you have lots the first Chair of the Independent Press across the land, without giving any of sellers of a product but only one Standards Organisation and argues that counterarguments, without reporting buyer. In these circumstances, it is the self-regulation is the only way forward. the opposing point of view.” buyer who can dictate the price and Ultimately, the best checks and bal- But others contest the idea that how the market works.” ances on any content provider, he says, Ofcom is a neutral regulator, presiding I had never viewed the lack of diver- are the consumers: “It would be worth over broadcasting like some giant sity as a market failure, but now it trying a period without regulation. No referee equipped with VAR for all those makes sense. “It is no coincidence,” regulation for anyone, neither broad- instant replays (forgive the football says Ryder, “that both the tech and casters, nor the press. I doubt whether analogy). television industries seem to suffer… they behave worse, they are far too Ofcom, for Robin Aitken, a former both have the problem of a few large conscious of the need to attract readers, BBC reporter, is a deeply political companies dominating their indus- listeners and viewers.” organisation – a biased referee, if you tries.” He adds: “Monopsonies mean Moses believes that the current rules like – and should be recognised as such. that companies will more likely hire governing the public broadcasters have It may not censor, but it controls public their friends, promote people that look nurtured, in a memorable phrase, a debate: “Whether one calls that ‘censor- like them and retain people that they stifling culture that “leads to the bland ship’ or not is a semantic argument, but like, rather than people who might be leading the bland”. In his view, it is the there is no doubt that Ofcom uses its the best person for the job.” narrow interpretation of the concept of powers to banish from the airwaves This is a book packed with insight. “fairness” that is to blame: “Balance viewpoints and ideas it does not like”. I’ve not even mentioned the brilliant leads all too soon to lack of controversy To make his point, Aitken reminds essay by David Elstein on the decline and lack of controversy to a world of us of the Overton window, a concept of public service broadcasting, or Ste- master-cooking and mistress-dancing; in social theory that there is a ven Barnett’s eloquent reminder of there is often a feeble imprecision in restricted range of ideas that the public Ofcom’s cultural mission. OK, I won’t the BBC’s ability to hold politicians to finds acceptable for mainstream be sending in a late application to be account.” debate. He uses the example of Chair of Ofcom, but I’ve got to say that However, BBC journalist Clive Myrie Ofcom’s ruling against a broadcaster I’ve learnt so much from this absorb- begs to differ. In his essay, he compares for interviewing David Icke about his ing book. the British regulatory framework, with views on how the pandemic “was a I do hope there are people out there its emphasis on impartially, with the ruse by a New World Order to impose dreaming of becoming a regulator. We much more laissez-faire US system. its will”. Whatever your take on Icke, definitely need you – if only to widen As Myrie points out, “similar rules did Aitken argues, there is no doubt that the choice. n exist in America, but were thrown out “Mr Icke’s, and others’, rights to “free more than 30 years ago, when Ronald speech” were compromised” and Narinder Minhas is Co-Managing Direc- Reagan was President, and attempts Ofcom overstepped its remit. tor of Cardiff Productions.

Television www.rts.org.uk May 2021 21 From the battlefield to the courtroom

Anthony Boyle as Brian Wood in Danny Boy BBC Toby Jones and the creators of the Iraq war drama Danny Boy reveal their approach to making the BBC Two film at an RTS event

n 2009, soldiers from the Argyll through the eyes of one of the soldiers the war and ensuing inquiry because and Sutherland Highlanders involved in the case, Brian Wood. his experience touched on key themes. and the Princess of Wales’s “When you’re bringing real, complex “Imagine being a soldier who’s feted Royal Regiment found them- events to an audience, the most effec- for their heroism, who is awarded a selves the subject of a major tive way in is through a singular per- medal, and is then effectively accused inquiry into allegations of tor- spective,” said executive producer Sue of being a war criminal,” explained tureI and the murder of Iraqi prisoners. Horth, who was also behind the Bafta-­ Horth. “How does that feel? At the The inquiry lasted five gruelling winning dramatisation of Damilola same time, what are those split-second years and eventually concluded that Taylor’s story, Damilola, Our Beloved Boy. decisions taken in combat that are the allegations were untrue and “delib- Indeed, it was the storytelling tech- then scrutinised with the full glare of erate and calculated lies”. A decade after nique that made Chernobyl so compel- legal expertise after the event? the story made headlines, the high- ling, and brought home the message “The third component was that Brian stakes investigation and the wider about systemic racism in the US in comes from a family with a 300-years­ theme of morality in war is being When They See Us. heritage of military service. So [having] dramatised in BBC Two’s Danny Boy Wood made an ideal conduit into that intimate family experience to

22 explore those relationships of a father beret home and shape it at home in his you’re playing a dramatist’s view of who’s also a soldier, and a son who’s bathroom, so that it always fell at the a real person,” he said. “My job is to questioning what he may or may not right angle,” said Miller. “Those kinds humanise him, whether the audience have done, felt really rare to us.” of details gave Anthony so much confi- thinks his choices right or wrong. I A special story deserves special dence and he was hungry for all of that.” don’t have to have an opinion on all treatment, and so Expectation Enter- As to the casting, the producers felt of that. I just have to portray him as tainment’s drama airs as a 90-minute they struck lucky with both Anthony clearly as I can.” film, with Olivier award-winner Production took place under Covid Anthony Boyle (Ordeal by Innocence and restrictions, with all the bubbling and The Plot Against America) in the lead role, ‘YOU’RE NOT the paring down of extras that this and Toby Jones (Detectorists and Marvel- required. Iraq was recreated in a chalk lous) as the soon-to-be-disgraced PLAYING A quarry in Buckinghamshire. human rights solicitor, Phil Shiner. REAL PERSON, “There were budgetary implications Toby Jones joined Horth on the RTS as to whether we ever could have gone panel with director Sam Miller and YOU’RE PLAYING abroad, but then, within the Covid writer Robert Jones. Danny Boy was A DRAMATIST’S framework, there was absolutely no named after the battle that began this way we could go to Morocco, Tenerife chain of events, explained the screen- VIEW OF A REAL or wherever to seek that landscape,” writer. It started life as two 60-minute PERSON’ said Miller. “And there were problems episodes, “but it just called out for even if we did, because of the hard- being a one-off, and, in a way, that ware we needed for the scenes. Even if made a lot of editorial decisions for us. you could find desert, would you nec- It helped to tell a punchier story.” essarily find the military pieces that The team had reams of research on you needed to make those scenes?” the Iraq war and the inquiry, plus From the clips shown in the session, source material in the form of Wood’s the end result suggests a show that’s autobiography, Double Crossed: A Code sensitively brought to our screens of Honour, A Complete Betrayal. Even so, while raising weighty questions about said Robert Jones, they felt forced to morals, war and momentary lapses of hone in on the emotional story at its judgement. heart, the story of “our characters, their “Our aim was never to veer too much lives and their families, rather than to one side, not to tell too much of the allowing the inquiry procedure to tell soldier or too much of Phil Shiner’s the story for us”. legal position, but instead keep both As might be expected, he and the those things open and live,” said Miller. team consciously aimed to balance “Because, in some ways, you can say the truth of the real-life event with the both characters lost through this cadence of a high-end drama, espe- sequence. Brian had a very traumatic cially as Wood was involved in the thing at the beginning, and then was production process. taken through this process. And Shiner “It’s not often in a drama like this was barred at the end of this process, that you have a key character who has Toby Jones as so he was really badly hurt. Phil Shiner in the maturity and has done the work “It’s a complex story. I hope that Danny Boy with himself that allows him to have BBC we’ve managed to entertain, but also that relationship with the project, and shed light on it.” still be able to maintain some creative Boyle and Toby Jones. “Anthony was Horth agrees: “Something that we distance,” said Horth. immediately interested in the ambigui- thought about was to keep the audi- “We were aware that we were in ties of the role,” said Horth. “His capacity ence in the present rather than apply- some fairly cathartic moments for him,” to find those ambiguities exciting, even ing our retrospective knowledge on to added Miller. “As film-makers, we though they occur within a space of life the storytelling. found telling some parts of Brian’s story and death, made him utterly compel- “It’s valuable to be able to transport quite emotional at times. He was totally ling. We were obviously completely the audience so that they experience at ease as we went into it, so it helped.” honoured to work with Toby as well. It’s things as they unfold, and to not have To ensure that Wood was comfortable a rare opportunity to get to work with the wisdom of hindsight. If our audi- with Boyle’s depiction of him, the crew the legendary Toby Jones.” ence come away from the film more set up an hour-long meeting between By coincidence, Jones’s wife is a curious or asking more questions than the pair in the rehearsal rooms, which barrister. It meant that she knew all they came to the film with, then I think went so well that it ended up lasting about his character of Phil Shiner, and we’ve done a good job.” n all day. could help offer more context for his Wood was also involved in the battle role. But Jones emphasised that it was Report by Shilpa Ganatra. Journalist scenes to add authenticity, even down his job to ignore Shiner’s reputation Emma Bullimore hosted an RTS Q&A with to giving advice on the way the soldiers and follow the character that Robert Toby Jones, Sam Miller, Robert Jones and wore their uniforms. “He would had written instead. Sue Horth on 28 April. Danny Boy airs on encourage Anthony to take his own “You’re not playing a real person, BBC Two and iPlayer at 9:00pm on 12 May.

Television www.rts.org.uk May 2021 23 The royal watch In the wake of Prince Philip’s death, Roger Mosey insists that broadcasters covering the Windsors must move with the times Getty Images

odernisation” is a Journalism earns its practitioners modernised most successfully. As The dangerous word attacks from both sides. Nicholas Crown reminds us, the reign of Eliza- for broadcasters Witchell, who has covered the royals beth II began with deference and when it comes to fairly and dispassionately for BBC debutantes; now, Twitter is used to coverage of the news programmes, is regularly the announce the death of Prince Philip. Royal Family. So, subject of social media mobs alleging There have been Prince Andrew- ‘too,M is “journalism” if it intrudes too far establishment bias. But Prince Charles shaped missteps in engaging with the into the ceremonial. Both are immedi- famously said: “I can’t bear that man. media, but the Palace has successfully ately construed by critics, especially I mean, he’s so awful, he really is.” embraced the digital world and it has those who like to bash the BBC, to In reality, the monarchy is one of the never been shy of using television as a mean the abandonment of tradition national institutions that has means to reach the people. and a lack of respect for the monarchy. It is completely right that the style There have been ceremonial punish- and tone of the broadcasters should ments in the national press for those ‘NOT OFFENDING change, too. I was in BBC News 20 years who ventured down the modernising ago when the Countess of Wessex was path. These have included the people ONE SET OF taken ill, and we realised that she was in who tried new approaches in the tele- STAKEHOLDERS a category of senior royals that would vising of the Jubilee river pageant in have meant, if the worst had happened, 2012 and those of us implicated in the MANAGED TO that all the networks would be merged scandal of the burgundy-coloured tie CHEESE OFF together for a major obituary. when Peter Sissons announced the We guessed that it might not be death of the Queen Mother, in 2002. OTHERS’ quite what audiences expected for this

24 former employee of Capital Radio, was shut down altogether, even though The challenge, of course, is to be able however estimable. The broadcasters its scheduled women’s football was to sense “the national mood” while long ago dispensed with the idea that a still available on the red button and events are unfolding, and it is an inex- royal death would be announced by iPlayer. Viewing figures plummeted, act science. I remember the meetings the tolling of a bell for a full hour. and this became the most complained-­ on the day of Diana’s death involving The deaths of Diana, Princess of about schedule in the BBC’s history. the Director-General of the time, John Wales, and the Queen Mother were Clearly, this was a case of an abun- Birt, about when it felt “right” to change deftly handled by the schedulers. dance of caution. There was nothing the tone. John oversaw the decision we There was a short period in which the much for the Daily Mail to complain took on Radio 5 Live about when to same content was broadcast across all about. But it shows the tightrope that switch to alternative programming channels and then an appropriate broadcasters have to walk, because not – we went to live tennis at 6:00pm length of obituary programming on offending one set of stakeholders – and at what point the phone lines BBC One and ITV – followed by the managed to thoroughly cheese off should open to temper the “top-down” reversion to a more normal schedule. others. programming with voices that reflected feelings from around the country. The vociferous response from view- ers and listeners to the Prince Philip coverage turned out to be a useful corrective in the days between the death and the funeral. Schedules and news bulletins rapidly retrieved their balance; and the funeral itself was immaculately covered. The BBC Studios events team, with director Claire Popplewell, is one of the corporation’s greatest assets. The UK is also lucky to have such strong news anchors in the likes of Huw Edwards, Tom Bradby, Julie Etchingham and Dermot Murnaghan. It is, of course, inevitable that they will be back at Windsor at some point in the coming years for the death of the Queen. I am not sure we can yet imagine the scale of the national and global response to the end of the reign of Elizabeth II, and there must be no short-changing of this moment in British history.

Getty Images It will also be different in that news will break: a new king will be pro- ITV went back to its regular pro- It also demonstrates that a lesson claimed in all the nations of the UK and grammes on the evening of Diana’s learnt at the time of the Queen Mother’s in countries around the world; ambas- death, and BBC One likewise after the death hadn’t entirely sunk in: the death sadors will have audiences at the Pal- Queen Mother’s obituary. of a much-loved but aged figure is not ace; new coins and banknotes will be Therefore it was a surprise to many regular “breaking news” and, once the prepared. But this is precisely where the when the death of Prince Philip gener- announcement has been made and the journalism will be needed – to assess ated a different response. The news prepared obituary played, there is not the constitutional significance and the teams were sure-footed in their much more to say. level of public support – alongside the announcements that he had died and By hour five, the latest development retrospectives and the respect. in the subsequent coverage. But the may only be a statement of condolence All of this will be challenging at a programming ran at greater length and from the leader of the Scottish Liberal time of national mourning, but it is on more channels than many insiders Democrats. Viewers who tuned in at necessary. Public service broadcasting had expected. 1:00pm for the early reporting were is not easy in a digital world, and in a It had always been the case that bemused to see the same items going diverse, disputatious nation. But we controllers of BBC Two had a selection round and round on every channel for should recognise that modernisation of programmes in their drawer for this the rest of the day and into the night. has happened and will continue – and kind of event: post-obit, they could run And it is curious that Gyles Brandreth that journalism is at the heart of what natural history shows or travelogues telling semi-amusing anecdotes about our broadcasters must offer. n that were incapable of giving offence. Prince Philip can block out all the rest On 9 April, though, BBC Two ran the of the world’s news. Would anyone Roger Mosey is a former head of BBC same royal content as BBC One from really have been offended by updates Television News and is now the Master lunchtime until Newsnight. BBC Four on Covid or international affairs? of Selwyn College, Cambridge.

Television www.rts.org.uk May 2021 25 Unforgotten – an ITV show but available on Netflix ITV PSB at the crossroads Should traditional broadcasters get special protection in an era of streamers backed by global media giants? An RTS panel weighs the arguments

ublic service broadcast- implications of the publication of prominence on the platforms,” said STV ers have a “fleetingly Ofcom’s Small Screen: Big Debate Studios Managing Director David Mor- short space of time” to consultation on the future of PSB and timer. He noted that, as part of its sub- find a better financing the recent DCMS select committee mission to Ofcom, the BBC had warned model – and without report on the subject. that 80% of all TVs produced by 2023 guaranteed prominence “We have to get beyond broadcasting,” would have operating systems installed on smart TVs, “PSB is dead, it is over”. said Emily Bell, founding director and with no incentive whatsoever to put TheseP were just two of the stark warn- Leonard Tow professor of journalism at any of the PSBs in a prominent position. ings aired at an RTS panel discussion the Tow Center for Digital Journalism, “It is just as important that we have “Small beer or big deal: Should we still Columbia University. “What does public legislation to regulate the TV manufac- care about PSB?”. service technology look like, what does turers in a world where people aren’t But the panellists also looked at what it mean to have public service technol- sticking an aerial into the back of their the BBC, ITV, Channel 4 and 5 could ogy? We don’t really have much idea televisions,” he said. themselves do to adapt and thrive. The how prominence works in the digital Jennifer Anafi-Acquah, an assistant discussion, chaired by Jane Martinson, world because we don’t have any access producer working across factual, spe- Marjorie Deane professor of financial to how people are seeing things.” cialist factual and entertainment for- journalism at City, University of London, Both Ofcom and the select committee mats for PSBs and SVoD services, said ranged widely. Key issues included: the agreed that maintaining prominence that younger audiences were moving introduction of legislation to ensure that and universality – to enable audiences away from the PSBs: “As a viewer, I am TV manufacturers have operating sys- to find content across platforms amid receiving my content less and less from tems that carry PSB apps; a better way myriad viewing choices – remains traditional PSB formats.” She acknowl- to measure the prominence of PSBs in important for PSBs. edged that PSBs had backed many the broadcasting landscape; and a “There needs to be political, legislative production companies, and created the clarion call to radically change the intervention about how you guarantee opportunity for her to build a career. main operators’ funding models. prominence for the PSBs – and that With Anafi-Acquah’s generation They started by chewing over the isn’t just about making sure they have making viewing choices from smart-TV

26 menus, built-in apps and social media in the US. “It potentially undercuts the public service technologies that go platforms, “if the PSBs aren’t prominent BBC’s ability to make a change, given beyond the existing broadcasters. But offerings on smart TVs, then PSB is the financial crisis it faces.” you also have to have the mindset of dead, it is over,” said Mortimer. “Unless Vaizey regarded the answer as partly protecting that part of the economy.” we find a way of making it clear that dependent on whether people thought With incentives, Bell suggested, the this is an available option – even then, the BBC could depend on a single PSBs could decide where the markets the future looks really bleak.” revenue stream, irrespective of that were, what to prioritise and [how to] Ed Vaizey, a former culture minister being a licence fee or a subscription. cultivate something that sat outside and now a peer, noted the demand for “It is not wrong for the BBC to have a the pressures of the market. “The one attention and the increasing tendency commercial arm,” he said. “It used to thing we have learnt is that the market of younger generations to look to other sell me DVDs of shows. One has to be does not know best and if you surren- platforms, particularly social media, flexible about it.” der everything to the market you lose was a pressure on PSBs. Anafi-Acquah believed that con- a great deal.” “Prominence is clearly the issue that sumers, particularly younger ones, But if the market doesn’t know what people are debating now, and ensuring were now used to paying for content is best, what next, asked Martinson? prominence… is much easier said than and buying subscriptions. “If the qual- “If it were left to a completely free done,” said Vaizey. “It is a hugely com- ity of the content is great, people will market and people only paid for what plex and technical thing to do.” pay,” she argued. they valued or what they wanted”, the

From left: Jane Martinson, David Mortimer, Emily Bell, Lord Vaizey and Jennifer Anafi- Acquah RTS

Mortimer pointed out that the finan- Bell agreed that there was room for consequences would be unpredictable, cial realities faced by PSBs meant that funding innovation at the BBC. “The Anafi-Acquah worried. “PSBs do a lot producers had to sell their content to licence fee is a historic anomaly. It that is unknown and there’s a lot of Netflix and others. “Unless politicians managed to establish this idea in the value in this that is unknown.… We are prepared to fight for a properly public imagination that they owned would be in danger of losing a lot of the funded BBC and a fairly regulated ITV, something. Subscriptions are always behind-the-scenes benefits that PSB STV and Channel 4, then the [PSB] transactions. It would be nice to pre- has provided for the infrastructure.” game is up,” he said. serve some of that communal owner- She reiterated her desire to operate The PSBs urgently needed to find ship that the introduction of the in a world where there were more part- a financing model that worked in the licence fee created in 1922.” nerships with SVoDs: “It would be good streaming era: “We have a fleetingly She emphasised that audiovisual if PSB content could be made available short space of time as creatives to policy in the UK needed to protect the in co-operation with platforms such as focus on this challenge. Legislators PSBs, together with the cultural and YouTube, because that is where younger have a very short space of time to democratic values they represent, from audiences are viewing content. work out what can be done at a the onslaught of commercial platforms. “From my perspective, going forward national level to make sure the PSBs “You have to think about the regulatory would be going to where the audiences can survive, let alone prosper.” landscape and the large platforms. That already are, rather than trying to run The panel debated whether the BBC has been done in Europe, but now that uphill to bring back audiences to tradi- should switch to a subscription model. we are no longer part of Europe, we tional forms.” n “I wonder whether it was foolish to have to think about that separately,” say to the licence-fee payer, ‘You get urged Bell. “This is not about changing Report by Stuart Kemp. ‘Small beer or everything free on the iPlayer for ever’,” everything tomorrow. This is about a big deal: Should we still care about PSB?’ said Mortimer, a former long-serving 10- or 20-year pathway from where we was an RTS event held on 26 April. It was BBC executive, who now heads STV are now to where we might be going.” chaired by Jane Martinson and produced Studios, having run his own production She continued: “You have to regulate by Jonathan Simon, Vicky Fairclough and company and worked at NBCUniversal the platforms, create incentives for Kirsten Stevenson.

Television www.rts.org.uk May 2021 27 RTS NEWS Mann. Rogan gave him prac- tical help, too – work experi- ence on his Panorama film Life at 100 during his final year at university, Jonas Mondua has recently landed a job as a production secretary on series 2 of Net­ flix hit Bridgerton; previously, he has been a production assistant on two other high- end dramas, Top Boy and Black Narcissus. He graduated from the University of York in 2017 and jokes that he now feels “like an old man”. Mondua credits the RTS bursary scheme with “expanding my mindset”. Before winning a place on the scheme, he admits his “knowledge of the industry was very limited”. Bursary events and dinners gave him the opportunity to speak to some of the top talent in the industry. “They Black Narcissus: Jonas Mondua worked on the BBC One serial

BBC gave me a good idea of what is possible in television,” he says. “Talking to individuals who are leaders in their field Taking their first steps meant I had to come out of my comfort zone. “It really stretched me and As this year’s RTS bursary schemes open for applications, put me in an uncomfortable place but it has certainly Matthew Bell learns how two of the very first intake equipped me for my work

RTS bursary RTS scheme have fared in the television industry now, where I have to talk to cast members, agents and pplications are now into the media industry. Hospital and 24 Hours in A&E, executive producers.” welcome for the “We take a very flexible on which he was an assistant Mondua says the bursary Society’s 2021 bur- approach to the courses we producer. scheme launched his career sary schemes. support, as the industry has so Mann credits the RTS bur- in the industry: “It has been AThe RTS hopes to award many different roles – from sary scheme for giving him a amazing, working on shows 35 scholarships for TV pro- director to location scout, set start in television. “The bur- that I thought would take me duction or related subjects, designer or costume-maker.” sary helps you get your foot years to get on to. But, at the with another 10 scholarships The bursary scheme began in the door – without it, I end of the day, it is up to you going to technology students. in 2014, and Adam Mann and would have struggled,” he to make good use of it – you “We are really looking for- Jonas Mondua were two of says. “With a working-class have to put the work in.” ward to welcoming another its first bursary scholars. upbringing, there are so He added: “I encourage band of talented, determined Since graduating from many barriers to getting into black students and those and enthusiastic students,” Teesside University in 2017, the broadcasting industry. from other ethnic groups to said RTS CEO Theresa Wise. Mann has worked on a raft of The RTS bursary can help apply. I want you to know it’s “All of the students we programmes, including Dan- to break them down.” possible to succeed, no mat- support come from low- iel Dewsbury’s RTS award- His bursary scheme men- ter what your background.” income households and dem- winning series The Mighty tor, documentary film-maker The closing date for appli- onstrate an impressive work Redcar – his first job, as a James Rogan, was a key influ- cations to this year’s RTS ethic, as well as bringing new researcher – and medical ence. “I absorbed anything he bursary schemes is 30 Sep- voices and life experiences observational documentaries told me like a sponge,” recalls tember. n

28 he resilience and in the studio, programme- ingenuity of the TV makers have taken to using industry during the dressed-up manikins, rather past year was once than people, as extras. Tagain demonstrated at an Not that Emmerdale has RTS North East and the Bor- shied away from shooting der session in which pro- more ambitious scenes with gramme-makers described elaborate stunts involving how they kept shows on air special effects. The RTS was during the pandemic. shown a clip of a hair-raising “Covid: Creativity in a road accident that led to a crisis”, hosted by presenter/ massive explosion, all exe- producer Chris Jackson, cuted within the parameters heard from Emmerdale direc- of Covid-secure filming. tor Ian Bevitt and one of the Teesside-based indepen- soap’s stars, Lisa Riley, who dent producer Matt McGough, plays Mandy Dingle. who runs Ithica Films, told They explained how the the RTS that, after last year’s show, the first domestic soap first lockdown, never again to return to production fol- would he complain about lowing last spring’s lockdown, having too much work. “We had adapted to the age of were worried that this would coronavirus. bring down the company, In pre-Covid days, being but our head of finance on the Emmerdale set resem- worked out that we’d be OK bled “Ben-Hur in the morning from March until September,­ and Benny Hill in the after- even if we didn’t win a single noon”, said Bevitt, picturing new job,” he recalled. “It was the stately pace of work at a huge relief to know we Lisa Riley in Emmerdale

the beginning of the day and ITV could ride this out.” frenzied afternoons. The furlough scheme He said the introduction of helped Ithica to stay afloat such measures as rigorous until filming started again in social distancing had made Carry on filming early autumn. “Working filming the Yorkshire-set remotely was very difficult soap no longer a “kick bol- but, fortunately, we had a lot locks scramble”, as nothing Steve Clarke hears how the ITV of projects in post-production was left to chance. Four sepa- soap Emmerdale has adapted so we could continue work- rate, self-contained “cohorts” ing,” added McGough.

were established so that, if North East & the Border and held the pandemic at bay Once the pandemic ends, there was an outbreak of certain Covid-secure prac- Covid in one, the other three a minimum distance of two contact down to a minimum. tices are likely to remain. could continue working. metres maintained between Scripts have been rewritten “For most of the 20-odd Riley, videoed giving a the camera operator and to take account of the new years I’ve been doing this, whistle-stop tour of the stu- those being filmed. All this protocols. Scenes where two the writer has not been in dios where Emmerdale is is strictly enforced with the cast members are seen pass- the same room as the direc- recorded, showed how no famous two-metre pole, now ing, say, a cup of coffee to tor,” said Bevitt. “Now that one was allowed into the ubiquitous on set. one another have been writers and directors are building before their tem- Surfaces are regularly sani- banned to prevent the same communicating more, it perature was taken. “Nor- tised, while costumes are laid surfaces being touched. takes all of the Chinese mally, I’d come to work and out in the order in which Paper scripts are now whispers out of it. go to dressing room nine and they are to be worn to mini- avoided in favour of digital “One of the positives of the meet six of my gorgeous mise touching. ones – a shift that Victoria Zoom meeting culture is that fellow cast members – but The building has been Griffin, production co-­ the writer, regardless of not now, when I’m all on my divided into three zones: red, ordinator for CBBC’s Danny where they are, can join the own,” she explained. for actors and crew, green for and Mick, said contributed to director at a script meeting. All actors do their own hair producers and the script sustainability in the produc- To be able to talk though any and make-up. The cast are department, and blue (also tion process. problems in the same virtual kept away from crew, with for actors and crew), to keep With fewer actors allowed room is a real advantage.” n

Television www.rts.org.uk May 2021 29 RTS CENTRE AWARDS A paean to ‘my dad’ woos Lenny Henry

Lidia Bieniarz’s A Film Staffordshire University “The Midlands is re- the inspiring standard of their About My Dad was a students picked up two main emerging as the story­telling work,” said RTS Midlands double winner at the prizes at the online ceremony, heartland for the screen sec- Chair Kully Khalia.

Midlands Centre RTS Midlands Student which was hosted by BBC tor. This is reflected in the BBC Birmingham spon- TV Awards in April. The Anglia Asian Network DJ Bobby brilliance of the entries – the sored the awards. Ruskin University student Friction. Thomas Read won judges were blown away by Matthew Bell took the Sir Lenny Henry the Non-scripted award for Award for outstanding work Living Off Grid – Brithdir Mawr, RTS Midlands Student Sir Lenny Henry Award• and the Short Form prize. while Georgia Leigh Taylor’s A Film About My Dad•Lidia Bieniarz, ­Television Awards winners Anglia Ruskin University “The film was very mov- filmCallie took the Scripted Animation•Polaris•Ellen Gordon, Craft Skills: Camera•Lowkey – Bushrod• ing,” said Henry, who recorded prize. Callie also won the Nottingham Trent University Thomas Read, Natalie Argent and Tom Connor, Staffordshire University a message for the ceremony. award for Writing. Non-scripted•Living Off Grid – Brithdir Mawr•Thomas Read, Craft Skills: Editing•Colorblind•Agata “The whole thing about Nottingham Trent Univer- ­Staffordshire University Kazmierczak, Anglia Ruskin University fathers and their children, sity’s Ellen Gordon was also Scripted•Callie•Georgia Leigh Taylor, Craft Skills: Sound•Polaris•Ellen Gordon, fathers and daughters par- a double winner, triumphing Staffordshire University Nottingham Trent University ticularly, resonates in my in the Animation and Sound Short Form•A Film About My Dad• Craft Skills: Writing•Callie•Georgia Lidia Bieniarz, Anglia Ruskin University Leigh Taylor, Staffordshire University heart. It’s proper lovely.” categories with Polaris.

Dara Ó Briain received the Outstanding Con- RTS Ireland Television tribution award at the Awards winners

Republic of Ireland inaugural RTS Ireland Outstanding Contribution• Television Awards in March. Dara Ó Briain Drama•Normal People• The comedian and TV Element Pictures for RTÉ presenter gave a deadpan Entertainment•Dancing with the and very funny acceptance Stars•ShinAwiL for RTÉ One speech, lauding “an award Factual Series•David Brophy’s Unsung Heroes•Tyrone Productions that’s chosen for you by a for RTÉ shadowy committee of Factual Single•Abbeyfealegood• industry insiders with no Atom Films for RTÉ One Factual Specialist•The Funeral accountability, promoting Director•GMarsh TV for RTÉ One the first year of their awards News and Current Affairs•RTÉ – that’s the award that really Investigates – Inside Ireland’s Covid RTÉ for RTÉ means something”. Battle: Life and Death• Animation•The Voyage• Peering closely at the JAM Media for RTÉ award, Ó Briain added: “You Children’s•Tina Times Two• can see where they scratched Dyehouse Films for RTÉ Graham Norton’s name off.” Sport•New Gaels•Poolbeg Dara Ó Briain in RTÉ show The Panel Productions for RTÉ

Normal People won in the RTÉ Drama category, with pro- ducer Emma Norton accept- abundance of world-class TV ing the award on behalf of talent in this country. Element Pictures. “Normal Comic lands top “In such an extraordinarily People was a total joy to make,” difficult year for all those she said, adding that Daisy who work in the creative Edgar-Jones and Paul Mescal prize in Dublin industries, we would like to were the “perfect Marianne pay a special tribute to the and Connell”. She praised resilience and talent of all director Lenny Abrahamson Ireland. It featured a raft of TV with the Stars); Factual Series those who work in television, for “having the vision to stars introducing the categor­ (Tyrone Productions’ David on all sides of the camera. ­create something distinctive ies, including Derry Girls and Brophy’s Unsung Heroes); and We salute your excellence.” and truthful”. Bridgerton actor Nicola Cough- Specialist Factual (GMarsh The Broadcasting Authority Muireann O’Connell, pre- lan, and comedian Ed Byrne. TV’s The Funeral Director). of Ireland, RTÉ, Screen Ire- senter of Virgin Media One’s RTÉ swept the board, RTS Republic of Ireland land, Sky, TG4 and Virgin The Six O’Clock Show, hosted the ­winning all the programme Vice-Chair Niall Cogley, who Media Television sponsored ceremony, which was broad- awards, including: Entertain- organised the awards, said: the awards. cast on Virgin Media One in ment (ShinAwiL’s Dancing “There seems to be an Matthew Bell

30 A CITV revival of a RTS Southern much-loved children’s Television Awards TV show won the Fac- winners

RTS Southern tual Entertainment Factual Entertainment•How• prize at the RTS Southern Terrific Television for CITV Documentary or Factual•When Awards in late April. Tariq Ali Met Malcolm X•TVT Pro- Described by the judges as ductions for Smithsonian Channel Regional News Magazine a “modern classic brought Programme•ITV News Meridian bang up to date”, Terrific Strand within a News or Magazine Programme•Frontline Non- Television’s How was “a high- Medical NHS Workers (Unsung energy, high-production-value Heroes)•Alastair Fee, BBC South revival… the series feels Regional TV Journalist• Ben Moore•BBC South modern and fresh while still Sports Journalist• familiar in its nod to the ‘How Lewis Coombes•BBC South boss’, Fred Dinenage.” Short Form Content• Conjoined Twins•Dave Young, The online awards cere­ Pod Films for Channel 4 News mony, hosted by Dinenage, Camerawork•Russell Sheath• BBC South currently the presenter of ITV Factual Entertainment winner: How Grophics/Animation•Tito Olawole• News Meridian, and BBC South ITV Mambo Media Today’s Anjana Gadgil, featured Post-production•Liam Camps• Woodcut Media messages from a host of local Student – Animation•Spellbound• TV celebrities, including Nick Amelia Parker, Arts University Bournemouth Knowles, Clare Balding, Dan TV classic back Student – Non-scripted•Melita• Snow and Gloria Hunniford. Matthew Smith and Mitoshka TVT Productions won the ­Alkova, Arts University Bournemouth Student – Scripted•No Change• Factual award for When Tariq Zak Jaques, University of Surrey Ali Met Malcolm X, a “stunning to winning ways documentary [that] combines compelling personal testimony presented with the Regional the Sports Journalist award. the talented students who with unique archive footage”, TV Journalist award, was ITV News Meridian won in have kept on working said the judges. “operating at the top of his the Regional News Magazine throughout successive lock- Three of the four news game”, said the judges. “He Programme category. downs really deserved their categories went to BBC South found unusual ways to tell The winners of the student awards,” said RTS Southern journalists. Alastair Fee’s film Covid-related stories, focus- awards came from the Arts Chair Stephanie Farmer. Unsung Heroes, about the work ing on areas of society other- University Bournemouth Topical Television, Terrific of NHS porters, cooks and wise forgotten during the (Animation and Non-scripted), Television and Woodcut cleaners, won in the Strand pandemic, reminding us all and University of Surrey Media sponsored the awards, within a News or Magazine­ of its devastating impact.” (Scripted). which were produced by Programme category. Moore’s BBC South col- “The hardworking profes- Farmer and Vanessa Edwards. Ben Moore, who was league Lewis Coombes took sionals across the region and Matthew Bell Plymouth and Falmouth divide the spoils

Plymouth College of horse-racing trainer, trium­ work that had gone into use of the set dressings and Art and Falmouth Uni- phed in the Non-scripted making it”. small details to tell the story, versity students shared category. The judges were Yergalem Caramini, also praising the “fabulous origi-

Devon and Devon Cornwall the prizes at the Devon drawn to a “fantastic story, from Plymouth College of nality and the flawless, pro- and Cornwall Student Televi- well told, with strong charac- Art, received the Craft Skills: fessional quality achieved sion Awards in April. ters and great access”. Production Design award for during lockdown”. Falmouth University film- Plymouth College of Art La Volpe. The judges loved the Matthew Bell makers won both the Scripted student Sonny Layton and Non-scripted awards. The scooped the Animation RTS Devon and Cornwall Jamie Doughty and Peter Dixon, Scripted prize went to Pure, a award for 1977, a short film Student Television Awards ­Falmouth University drama about two troubled about his father’s travels in Scripted•Pure•Julia Johnson, ­ winners Hannah Wakely, Charlotte Agnew, teens. The judges “felt it France and Spain, which Animation•1977•Sonny Layton, Justas Lapiené, Juri Choi and tackled a big subject really the judges described as Plymouth College of Art Grace Fortune, Falmouth University well and with maturity”. “mesmerising and original”. Non-scripted•Man, Beast and the Craft Skills: Production Design• Heart to Win•Hal Bartlett, Will Eastwick-­ La Volpe•Yergalem Caramini, Man, Beast and the Heart to The judges added that they Field, David Jones, Ross Charette, Plymouth College of Art Win, a documentary about a “could feel the love and hard

Television www.rts.org.uk May 2021 31 RTS NEWS

Sabrina Grant is having productions, with bar and a busy year, presenting call-centre jobs to earn the new BBC Two craft money. “I was doing any-

RTS Futures series Saved and Remade, thing just to make ends as well as working on her meet, but I started to get regular gig, the BBC One frustrated,” she admitted. daily show Morning Live. Grant changed tack and Grant, who made her name landed a job in TV production, on Channel 4 consumer show starting as a runner on Brit- Supershoppers, looked back at ain’s Got Talent. “It was invalu- her early life and TV break- able training – I learnt so through at an RTS Futures much about what it takes to event last month, in the put a programme together,” company of ITV talent man- she said. She graduated to ager Lauren Evans, whom researching programmes, but she first met as a fellow stu- “that was as far as I wanted dent at the Brit School. to go because presenting was Grant was brought up by what I wanted to do”. her mother on a south Lon- Meeting presenter Anna don council estate and, from Richardson gave her the an early age, inspired by the opportunity to present and likes of Zoe Ball, Cat Deeley Grant grabbed it with both Sabrina Grant

and Davina McCall, wanted to BBC hands: “I was doing some be a TV presenter. “I loved styling for her and she sug- what they were doing,” she gested me to screen test for recalled. “I had a real love for a role co-presenting Super- presenting but I had no idea… How to make shoppers with her on Chan- how to get on the screen.” nel 4.” Two screen tests later, And, she added, most pre- Grant got the job: “That was a senters “didn’t look like me”. it in presenting massive turning point for me.” Passing an audition for the Offering advice to young- Brit School moved Grant sters set on a career as a closer to her goal. She hosted you have to your bow, the on a performance.” A degree presenter, Grant pinpointed a radio show, took media more of an all-rounder you in acting from Mountview “resilience, patience, persis- studies and then, post-16, are,” said Grant. “[With pre- Academy of Theatre Arts tence and self-belief” as the studied musical theatre. “As senting] you’re being genu- followed, and then stage key attributes needed. a presenter, the more strings ine, but you’re also putting work and tours in school Matthew Bell

Much of the discussion He said: “Politicians give Virtual press focused on the regular online us the bare minimum of press conferences held by detail. It is up to us as jour- Government ministers and nalists to interrogate their conferences public health officials. To answers.… That’s where you the chagrin of reporters, the get the real bombshells.” are ‘theatre’ format persisted even when Social media had also health restrictions were lifted. made the journalists’ jobs All agreed that digital harder. Abuse from the pub- The challenges of cov- encounters between journal- lic was common. “I get a lot ering Covid-19 in a ists and officials were no of abuse along the lines of tight-knit community substitute for physical contact, ‘That’s a stupid question to RTS IsleRTS of Man

were put under the where there was more scope NYTimes.com ask,’ said Moulton. “I know microscope last month at an to interrogate the authorities. I’m Marmite… It’s tough, but RTS Isle of Man event “The Richard Butt, editor of Isle controlling.… We don’t you’ve got to live with it. It’s new news, one year on”. of Man Newspapers, dis- ­necessarily get answers out of not pleasant when you read Nine news outlets serve missed the virtual press the people [there]. It depends something horrible about the island, and the RTS cen- conferences as “theatre”. who’s on the panel.” yourself.” tre heard from a wide range “Politicians enjoy the pro- Manx Radio’s news editor, Often, he said, the public of media across TV, print, file.… That’s one of the main Tim Glover, shared his col- failed to read the full story, radio and online about how motivations behind them.” leagues’ frustrations but said preferring to comment based their journalists had fared Isle of Man TV’s Paul there was still scope for on the headline alone. during the pandemic. Moulton agreed: “They are so reporters to do their jobs. Steve Clarke

32 Salford enjoys a strong night

Dorothea Scarleta Ste- Granada Reports presenters rian picked up two Elaine Willcox and Gamal prizes at the North West Fahnbulleh hosted the

North West North West Centre Student Television awards ceremony from their Awards early this month. studio. “We’ve seen some The University of Salford wonderful work tonight and student’s film, Staying Sane it’s doubly impressive in light (During a Global Pandemic) of the year we’ve all had,” triumphed in both the Non- said Willcox. Fahnbulleh scripted and the Craft Skills: added: “Keep creating, devis- Camera categories. ing and producing all of this University of Salford stu- phenomenal work and, no dents scooped another two doubt, we will see you all Non-Scripted and awards on the night: the working in this industry Craft award winner Scripted prize for In Vitro and some time very soon.” Dorothea Scarleta Sterian the Craft Skills: Editing Channel 4 News reporter Scarleta Sterian Dorothea award for Look/Listen. Ayshah Tull, actor Julie Hes- UCEN Manchester Film mondhalgh and BBC Breakfast RTS North West Student Dorothea Scarleta Sterian, School students won two hosts Dan Walker and Louise Television Awards winners University of Salford Craft Skills awards, for Pro- Minchin were just four of Craft Skills: Editing•Look/Listen• Animation•Last Week•Jamie Walsh, Matt Hughes, University of Salford duction Design (Starting Now) many TV figures who sent University of Central Lancashire Craft Skills: Production Design• and Writing (Forget Me Not). messages of support and tips Non-scripted•Staying Sane (During a Starting Now•Izzy Pye and Kitty Fish, The Animation award went to the student nominees. Global Pandemic)•Dorothea Scarleta UCEN Manchester Film School Sterian, University of Salford Craft Skills: Sound•First Man•Jedd Mac- to Jamie Walsh’s Last Week Dock10 provided post- Scripted•In Vitro•Mackenzie Thomson, Rae, Billy Varden and Geraint Thomas, (University of Central Lan- production support for the Dylan Freeman, Liam Lyall and Alfie Manchester Metropolitan University cashire) and the Sound prize awards, which were pro- Gadsby Kane, University of Salford Craft Skills: Writing•Forget Me Not• Craft Skills: Camera•Staying Sane Simone Walsh, UCEN Manchester to a Manchester Metropolitan duced by Rachel Pinkney. (During a Global Pandemic)• Film School University team for First Man. Matthew Bell

enjoy a Sunday-night tele­ newscasters, has won him This Country, Inside No 9 and vision drama. many fans. So, too, has his the 2019 Gavin & Stacey The To February 2001, to be taste in colourful neck- and Christmas special. exact, when an episode of footwear. The nation’s retail- UPSIDE ITV’s Heartbeat was seen by ers of exciting ties and socks 13.2 million people. may never recover from his Starstruck with Now we know what binge- exit this December. modern romance H makes the case proof TV looks like. Normality may be beckoning, for live viewing Allen goes in search but we still need a regular fix Whoever said that crime Farewell, colourful of his own boffolas of laughter. The brilliant new doesn’t pay? Not Jed Mercu- socks and ties BBC Three and HBO Max rio and BBC One. Congratu- Talking of departures, BBC comedy Starstruck, starring lations to everyone involved Jon Snow has been synony- comedy director Shane the hugely talented Rose in the sensational success of mous with Channel 4 since Allen’s decision to leave the Matafeo, is certain to tickle Line of Duty’s sixth season. he began presenting Chan- Beeb to head Boffola Pictures our funny bones. Almost 13 million viewers nel 4 News back in 1989, when leaves a big gap to fill. Matafeo, winner of the watched the Big Reveal of Margaret Thatcher was still Allen joined the corpora- 2018 Edinburgh Comedy criminal mastermind H. You Prime Minister. tion in 2012 from Channel 4. Award, plays a London mil- need to go back a long way His willingness to wear his His hits and award-winning lennial juggling two dead- to find an audience bigger heart on his sleeve, a trait commissions have included end jobs who accidentally than that sitting down to then unusual among British Fleabag, Peter Kay’s Car Share, sleeps with a movie star.

Television www.rts.org.uk May 2021 33 RTS PATRONS RTS Principal BBC Channel 4 ITV Sky Patrons

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

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

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 Fiona Campbell RTS Futures David Abraham David Lowen Tony Campbell Alex Wootten Dawn Airey Agnes Cogan Sir David Attenborough OM Honorary Treasurer Stephanie Farmer RTS Technology Bursaries CH CVO CBE FRS Mike Green Rick Horne Simon Pitts Baroness Floella Kully Khaila Benjamin OBE BOARD OF TRUSTEES Tim Marshall AWARDS COMMITTEE Mike Darcey Lynn Barlow Will Nicholson CHAIRS Gary Davey Julian Bellamy Stephen O’Donnell Awards & Fellowship Greg Dyke Mike Green Jon Quayle Policy Lord Hall of Birkenhead Yasmina Hadded Edward Russell David Lowen Lorraine Heggessey David Lowen Fiona Thompson Armando Iannucci OBE Jane Millichip Craft & Design Awards Ian Jones Simon Pitts SPECIALIST GROUP Anne Mensah Baroness Lawrence of Sarah Rose CHAIRS Clarendon OBE Jane Turton Archives Programme Awards David Lynn Rob Woodward Dale Grayson Kenton Allen Sir Trevor McDonald OBE Ken MacQuarrie EXECUTIVE Diversity Student Television Gavin Patterson Chief Executive Angela Ferreira Awards Trevor Phillips OBE Theresa Wise Siobhan Greene Stewart Purvis CBE Early Evening Events Sir Howard Stringer Bursaries Manager Heather Jones Television Journalism Anne Dawson Awards Simon Bucks

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