RTS Cambridge 2019 CONTENT, CONSUMERS & EVERYTHING in BETWEEN

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October 2019

RTS Cambridge 2019 CONTENT, CONSUMERS & EVERYTHING IN BETWEEN

+ Mark Thompson and Jeff Pope RTS London Christmas Lecture From the CEO What a truly engaging RTS Cambridge that was – one of the very best ever. Unusually, even the weather was on our side. There are so many people to thank for conceiving and delivering Cam- bridge, but most of all I’d like to thank ITV’s Carolyn McCall and her team, led by the matchless Emma Gormley. Emma and her co-executive producer, Helen Scott, did us proud. Thanks, too, to all the keynote speakers, our brilliant panellists and Contents Liz Reynolds’ TV Diary There’s no prorogation for Liz Reynolds, as one 5 conference leads to another

RTS Cambridge Convention 2019 Reports by Matthew Bell, Steve Clarke, Tara Conlan Caroline Frost and Gordon Jamieson One Content, consumers and everything in between 7 Television has a bright future despite the blizzard David of change, argues Carolyn McCall Two The truth about Gen Z Young entrepreneurs and influencers analysed the 10 importance of authenticity, social activism and new Abraham platforms such as TikTok to this generation Three Running on empty CEO of Wonderhood Studios Non-scripted television is in robust health and former CEO of Channel 4 12 despite the drama boom Four Keynote: Sharon White Ofcom Chief Executive Sharon White weighs 14 up the regulator’s hits and misses Five Keynote: Nicky Morgan MP The Secretary of State wants to see UK 4 December 16 broadcasters co-operating more Six Keynote: David Zaslav 6:30pm for 7:00pm Discovery’s dominance in factual TV will preserve it 18 from the consolidation feeding frenzy, believes its CEO Cavendish Conference Centre 22 Duchess Mews, W1G 9DT Editor Production, design News editor and writer Steve Clarke and advertising Matthew Bell [email protected] Gordon Jamieson [email protected] www.rts.org.uk/london [email protected] Journal of The Royal Television Society October 2019 l Volume 56/9

session producers, and the Cambridge Chaired by Good Morning Britain’s Ran- ducted by the Newsnight anchor. planning committee, without whom vir Singh, this commendably inclusive Moving on from Cambridge, this none of this would have been possible. panel introduced a fresh note to the year’s Steve Hewlett Memorial Lec- Television contains reports of all discussions. ture was given by Mark Thompson. 17 sessions, and we have a Cam- I was thrilled that many of the RTS This statesman-like address by the bridge-themed TV Diary from Free- bursary students attended on the last cerebral former BBC Director-General view’s Liz Reynolds. Videos of all the day. It was especially revealing to was extremely thoughtful, eloquent sessions, on our website, are proving listen to Lorraine Kelly’s interviews and set the agenda for UK and, indeed, popular. So, if you haven’t done so with our students during her own global media policy. already, do please take a look. session on social mobility, “Blow the One of the big differences this year bloody doors off”. was that the conference involved real Kirsty Wark’s headline-generating consumers in the debates. The Leeds- interview with Netflix’s Reed Hastings based People’s Panel brought the voice was also remarkable. I think that was of the viewers live to Cambridge. one of the very best interviews con- Theresa Wise

Seven The rights stuff Sixteen Blow the bloody doors off! What does the rise of the streaming giants mean What will it take to end working-class exclusion from 20 for UK producers and broadcasters’ IP? 40 positions of influence in the media, asks Lorraine Kelly Eight Keynote: Jeremy Darroch Seventeen Better TV or better diversity? Being part of Comcast gives Sky great global Lenny Henry urges executives to scrap failing diversity 22 potential, argues Sky’s CEO 42 schemes and spend the money making TV with diverse talent Nine Part 1 Who you gonna trust? How well are TV companies and their online rivals 24 doing at winning and keeping public confidence? Our Friend in the Midlands From TV to games, the Birmingham area is making a Nine Part 2 Trust in numbers 44 splash on the global stage, explains Caren Davies Ed Williams shares Edelman’s research findings that 26 streamers are gaining ground on PSBs in the trust stakes A question of sovereignty Mark Thompson argues that policymakers need Ten The world has gone nuts! 45 to rethink their attitude towards the BBC – or risk Piers Morgan tells Christine Lampard that’s he’s only total US cultural dominance 28 one vegan sausage roll away from being sacked Loud and proud Eleven Keynote: Alex Mahon Matthew Bell hears how Anne Lister’s world was Channel 4’s CEO says PSBs need supportive regulation 48 reconstructed for TV and why this complex character 30 to protect local voices that reflect UK viewers’ lives has wowed viewers Twelve Mad Men vs Math Men IBC review: 5G opens the door to 8K Will data kill advertising – or is there still a role Tim Dams rounds up the talking points from this 32 for creative storytelling that builds brands? 50 year’s tech fest Thirteen Keynote: Tony Hall Why crime pays for Jeff Pope In turbulent times, the BBC should play to its strengths Steve Clarke is engrossed as the acclaimed writer and 34 in trusted news and national storytelling 52 producer looks back on his extraordinary career Fourteen Keynote: Reed Hastings RTS news and events listings Netflix’s CEO explains why he is relaxed as he prepares Reports of Society activities across the nations and 36 to face competition from Apple and Disney 57 regions, and calendar of forthcoming public events Fifteen You gotta have a stream Can streamers funded by subscriptions or ads coexist – 38 or will one model come to dominate?

Sub-editor Photographer Royal Television Society Subscription rates Printing Legal notice Sarah Bancroft Paul Hampartsoumian 3 Dorset Rise, UK £115 ISSN 0308-454X © Royal Television Society 2019. [email protected] [email protected] London EC4Y 8EN Overseas (surface) £146.11 Printer: FE Burman The views expressed in Television T: 020 7822 2810 Overseas (airmail) £172.22 20 Crimscott St are not necessarily those of the RTS. E: [email protected] Enquiries: [email protected] London, SE1 5TP Registered Charity 313 728 W: www.rts.org.uk

Television www.rts.org.uk October 2019 3 MUSICAL TALES FROM THE BEGINNING OF TIME

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There’s no prorogation for Liz Reynolds, as one conference leads to another

t’s September. That means ■ With Cambridge bathed in view of the future for British media back to school. And not just warmer than normal autumnal sun- as a “cultural Airstrip One” without for the kids. shine, the relentlessly sunny Reed more robust and ambitious policy With Edinburgh hang Hastings gives a much anticipated intervention. He asserts that “it is… overs barely forgotten, and interview. He doesn’t disappoint. of overwhelming importance that TV execs and politicians Kirsty Wark is in playful mood and British audiences still get access to still reeling from Dorothy the Hollywood mogul handles her great news, drama, comedy [and] Byrne’s outlandishly honest Mac questions with as much grace and documentary made first and fore- ITaggart Lecture, conference season humour as Tom Hanks in an episode most for them and them alone”. gets into full swing. of The Graham Norton Show. From a Freeview point of view, Not in Bournemouth but in Cam Lenny Henry’s impassioned and I couldn’t agree more. The lecture bridge, courtesy of ITV, for the RTS urgent appeal for change on diversity follows major success for British biennial convention. There’s no pro ends the convention on a serious talent at the Emmys, led by the rogation for us. note. Throughout, Baz’s parish indomitable Phoebe Waller-Bridge. notices are a joy. Congratulations to all the winners, ■ Turns out that last month’s illumi- With more than a sprinkling of ITV on and off screen, and long life to nating TV Diary from Neil Thomp- showbiz (and some actual consumers) the concept of “hot priests”. son provides the perfect segue into thrown in for good measure, Carolyn Piers and Susanna’s triumphant turn McCall’s vision for a positive and pro- ■ The month ends with the exciting at the three-day conference. Back vocative conference is realised. announcement that BritBox will fea from their summer sojourns, it feels ture on Freeview’s smart-TV service, like the team from GMB have liter- ■ No sooner am I back from Cam Freeview Play, and with one final ally been parachuted in. bridge than it’s off to Brighton for a hotel room – this time in Manches Susanna is firmly at the helm of quick spin at Labour’s conference. ter, where the mood is more colour the opening afternoon. The next day, The mood’s tense and the MPs I talk ful than the weather. her sidekick, Piers, blows everyone to are generally despondent. By Tues The Sky News party is packed with away with carefully casual rhetorical day, I’m back in London and we inter parliamentarians – one or two even hand grenades. rupt a board meeting to watch the dance. Damian Collins MP hosts a Supreme Court’s historic judgment. lively “in conversation with” culture ■ On a self-interested note, it’s fan Around our table, jaws drop when secretary Nicky Morgan MP and we tastic to see Freeview named as the the unanimous ruling comes. I get some insight into her views on most trusted UK TV brand in Edel breathe a sigh of relief when we get broadband roll-out, online harms and man’s research commissioned for confirmation later the same day that the value of PSB. the convention. Gina Miller will take part in Free This was no ordinary September In an age when brands seem able to view’s annual conference in Novem (now there’s an understatement). And, attract as much distrust as trust, it ber. An unforgettable day. as we hurtle towards half-term and a gives us all a warm feeling that the deal or no deal I’m ready for a break. public values what I’d say is the ■ Another week, another event. This Time to catch up on Bake Off and essence of British TV’s success – time, the prestigious Steve Hewlett Strictly with the kids. access to high-quality shows for Memorial Lecture, given by Mark everyone, regardless of geography Thompson. He pulls no punches. Liz Reynolds is head of communications or income. The former DG offers up a stark and external affairs at Freeview.

Television www.rts.org.uk October 2019 5 MEDIA- MORPHOSIS Tuning up, tuning in, and taking off

The birth and evolution of a beautiful new “Living Business”.

accenture.com/media-morphosis RTS Cambridge 2019 Session One Content, consumers and everything in between

Carolyn McCall argues that television has a bright future despite the blizzard of change

hifting viewing habits, developments in technology and the rapidly evolving competitive landscape are having a fundamental impact on our industry,” argued RTS Convention ‘ChairS Carolyn McCall as she opened Cambridge 2019. But amid the change and uncertainty, which included Britain’s future relationship with Europe and the rest of the world, McCall maintained that television had a bright future. “[Viewers] are looking for creative, trusted producers and broadcasters to help them both navigate and understand the world in which we are living and, as importantly, to help them escape from it into other dramas,” she said. “Trust in TV news is remarkably high – higher than all other media and, of course, much more valued than the news provided by social media. “In fact, in an era of fake news and misinformation, the importance of the news provided by public service broadcasters, in particular, has never been more important to our democracy.” However, young people saw traditional TV bulletins as “for their mums and dads”, admitted McCall. ITV’s response, she revealed, is a new social

media news service for teenagers, � Richard Kendal

Television www.rts.org.uk October 2019 7 RTS Cambridge 2019 Session One The People’s Panel get their say

Susanna Reid introduced a group of viewers from Leeds who made up the People’s Panel: ‘No one is more important than our audience. We totally rely on our viewers.’ The line-up, facilitated by GMB political editor Ranvir Singh included Sabrina, 36, Phil, 51, Sandi, 72, Josh, 20, Carrie, 49, Phillip, 34, Steven, 64, and Marie, 46. Their tastes were wide-ranging. Grandmother and part-time charity

worker Sandi likes to watch daytime TV Richard Kendal and is a big fan of Piers Morgan. ‘I know, Ranvir Singh (right) chaired the People’s Panel if something has happened the day before, something is going to come out documentaries and drama but thought – I like action programmes, she likes of his mouth to tell us all about it – his that news and entertainment prog soaps and reality shows such as Love version and nobody else’s.’ rammes lacked diversity: ‘There’s no Island, which is not my cup of tea, but She added: ‘I like outspoken presen newsreader in a wheelchair, there’s no we both like natural history.” ters – Janet Street-Porter and Piers. one with a prosthetic leg presenting The Reality shows are top of school They say what they think, probably what X Factor.’ teacher Marie’s viewing menu, especially we’d like to say but daren’t. It’s never Phillip likes Peaky Blinders and any- The Real Housewives of Cheshire. vulgar, it’s honest. thing starring Ricky Gervais. ‘On an ‘I like to see the lifestyles of the rich and ‘Even disagreeing makes you feel evening, we usually watch a couple famous,’ she said. Their glamour is far you’re engaging.’ of hours. It’s difficult deciding what to removed from her own life. At the other end of the age spec- watch so we’ll toss a coin to decide who Sabrina enjoys binge-watching dra- trum was university student Josh, who gets to choose,’ he said. mas, such as Doctor Foster and Killing watches TV on his mobile. Love Island is Steven prefers shows featuring fast Eve. ‘I watch the ones I’ve heard about among his favourite shows. cars. He and his partner live in separate on social media,’ she said. ‘And I don’t Disabled single mum Carrie enjoys homes. ‘We have very different interests just watch the one, I carry on watching.’

� The Rundown. The ITV CEO argued that viewers are increasingly watching TV: you’ve never had it so good shows when they want: “Every month, 80% of UK households watch video- ‘Our research tells us that viewers have to [do so]. It can sometimes feel like on-demand in one form or another.” never been happier,’ said ITV director there isn’t much of a case for optimism, Nevertheless, she added, “the ‘linear of audiences Neil Mortensen. ‘They’re but we can safely say that television familiar’ is still going strong – with excited about the way TV is going, as isn’t facing an existential threat any 84% of total broadcast viewing still the balance of power shifts towards time soon.… taking place live. The challenge for all them.… ‘In the modern TV era, there have of us – in business, in government and ‘Mainstream viewers are becoming always been around four hours a day in regulation – is to strike the right less anchored in the schedule.… For of TV viewing up for grabs. That hasn’t balance in what we do between these some demographics, broadcast TV only changed much as TV continues to two worlds.” represents half of their viewing and, for deliver on basic human needs in a sim- In conversation with Good Morning younger audiences, they watch less live ple, cost-effective and primary way. Britain presenter Susanna Reid, McCall TV year after year.… ‘The future will continue to throw up added more flesh to her speech, out- ‘Fewer ads are seen in real time and, disruption, technological battles [and] lining how ITV was planning to at the same time, platforms are multi economic battles. But, for the viewer, respond to this changing TV landscape. plying and prominence diminishing. it is a creative battle. And that’s some- “All of us are dealing with challeng- ‘So it’s harder for a show to cut thing we should all be looking forward ing issues because it’s a time of great through and even harder for the ads to with confidence.’ change in the industry,” she said. “If viewer habits are changing and you

8 Presenters Ant and Dec joined the discussion between ITV director of television Kevin Lygo (bottom left) and Susanna Reid

can see them unfolding in front of you, you have to respond to that.” The CEO argued that the ITV model was not broken – but that the broadcaster would have to innovate to prosper: “The linear, free-to-air model is a really successful model, it’s ad-funded and it will last for a long time. But you have to think of how you diversify as well.” McCall identified in-house production company ITV Studios and the new BBC/ITV VoD service BritBox as two pillars of diversification. She claimed that BritBox, which is due to launch before the end of the year, would be “distinctive”, offering “the breadth and depth of British- originated content” and representing “good value” at £5.99 a month. “I am very optimistic about the future because the core of what we do

is programmes, content and engage- Richard Kendal ment – we create audiences all the time and we do that because we have such powerful content,” continued the Tried, tested and addictive ITV CEO. “We will always do advertising, but we will not just be doing linear Discussing the strong ratings currently culled before they have time to find advertising, we will also do more tar- enjoyed by his channel, ITV director their feet. ‘It’s harder – and it’s the geted advertising through technology.” of television Kevin Lygo highlighted great tension between producers McCall admitted that attracting soaps, which ‘are easily overlooked’. He and broadcasters – to give shows younger viewers is more of a chal- added: ‘If you don’t watch soap opera more time. The modern experience, lenge: “You have to work much, much and catch a tiny bit of one, it does look I’m afraid, is more brutal than it ever harder on telly to reach [them] today”. appalling. But, if you watch it all the used to be, because there is so much But she pointed out that it wasn’t just time, it’s the best thing in your life. choice,’ admitted Lygo. ‘The hits are Love Island that was pulling in a ‘I’m addicted to Coronation Street… easy, the failures are easy – it’s the younger audience on ITV channels: and I haven’t missed an episode since ones in between, where the producer “Over 50% of 16-24s watch I’m a Celeb- the 1970s.’ is on his knees begging you for another rity… – people wouldn’t expect that.… Lygo stressed the importance of series… that’s quite hard.’ When you get it right content-wise for long-established shows to a broadcast- Star ITV presenters Ant and Dec, them, they come.” er’s schedules. ‘A lot of our big enter- beamed into the conference from the The ITV CEO added: “We don’t mind tainment shows have been running for Good Morning Britain studio in London, how they watch it.… If they’re going to years and years, and I don’t think they offered their take on live TV. watch our content on their mobiles, were ever designed to do that. Every- ‘You want to watch it then and there that’s fine.” n one who started those shows would and don’t want to deal with catch-up be amazed that they’re still running and [TV],’ said Anthony McPartlin. Session One, ‘Content, consumers and doing such huge numbers. It’s a testa- ‘You try to make it unmissable… and everything in between’, featured: Carolyn ment to the programme-makers who get the family together on the sofa to McCall, CEO, ITV; Neil Mortensen, director reinvent them all the time.’ watch the TV and share that event,’ of audiences, ITV; and Kevin Lygo, direc- Mentioning I’m a Celebrity…, Britain’s added Declan Donnelly. tor of television, ITV. It was chaired by Got Talent and Strictly Come Dancing, With countless seasons of I’m a journalists and broadcasters Susanna Reid Lygo added: ‘It’s amazing that you still Celebrity…, Saturday Night Takeaway and Ranvir Singh, and produced by Neil get 10 million people to come to these and Britain’s Got Talent under their Thompson, Sally Watson and Nick Caldon. shows in the modern world when belts, the duo are experts in live enter- Reports by Matthew Bell and Steve Clarke. there’s so much choice.’ tainment shows. ‘Time for a new one, New shows, however, are often guys,’ joked Lygo. Watch the video at https://bit.ly/35k2Ruz

Television www.rts.org.uk October 2019 9 RTS Cambridge 2019 Session Two

Young entrepreneurs and influencers analysed the importance of authenticity, social activism and new platforms such as TikTok to this generation The truth about Gen Z

ideo-sharing platform With YouTube handling merchan- TikTok was the word dise for its creators (those with more on everyone’s lips leav- than 10,000 subscribers can sell mer- ing the second session, chandise under their videos) – and “Exploring Gen Z”. YouTube, Twitch and other social Many had not heard of media giving fans the ability to donate theV Chinese-owned social media sen- to content creators in exchange for a sation, but were keen to find out more shout out – it is no wonder that the in order to reach the elusive next gen- major new talent often prefers online recommend popular content, which eration of viewers. Many market platforms to traditional TV. can then snowball into a viral video. researchers describe Generation Z as So what can TV do to compete for Lee explained: “Traditional broad- those born after 1997. the young eyeballs it needs to survive? casters sometimes put video up on Defined by session chair Rob Chap- Love Island winner Amber Gill told YouTube [but] they’re not thinking man as the generation “for whom 9/11 the audience that traditional media about things such as Watch Time and wasn’t a coming of age event”, Gen Z have to realise that Gen Z’s attention wondering, ‘Why are my videos not were instead shaped by the recession needs to be captured quickly. doing as well?’” of the last decade. Fanbytes CEO Timothy Armoo – All the panellists called on TV pro- In one of the most talked-about whose company has worked on cam- ducers to embrace TikTok. Recently, events of the convention, the young paigns to engage youngsters for brands Armoo’s company helped The Washing- panel tried to pinpoint what new audi- by the BBC and the government – said ton Post win around 500,000 followers ences are looking for and what unites the new generation have longer atten- on TikTok by “getting people in the them in a fast-moving, connected world. tion spans than they are given credit office to create pranks and skits on A short video laid out the parameters, for. “The idea that attention spans have their fellow employees.… Now… it is one namely that the boundaries between reduced doesn’t make sense in a world of the most-followed news organisa- different types of content, such as where people sit down and give all tions.… Because it took this approach of advertising and entertainment, are their attention to Love Island or a Netflix not just going directly for the sell… it blurring. show. It’s not attention spans that have really obeyed the rules of the platform.” In the film, one of YouTube’s biggest reduced, it’s interest spans,” he said. Armoo added: “The other thing stars, Vikram Singh Barn – or Vikkstar- Paul Bojarski, CEO of interactive about the Gen Z audience is [that] 123, as he is better known to the viewing technology company Sceenic, everyone basically wants to have their 10 million subscribers across three pointed out that Gen Z “love to interact own TV show. When you post some- channels who follow his work and that with each other”. thing on Insta, Chat or TikTok, funda- of his collaborators, the Sidemen – YouTube star Caspar Lee – who has mentally what you’re posting out is said starkly that he really enjoys “the 7.5 million followers and has set up a what you’d post out if you had a film creative and commercial freedom I talent management agency with fellow crew following you the whole time.” have on YouTube”. social media entrepreneur Joe Sugg Gill said that one of the key things He has worked with traditional – explained: “We have the tools to see driving younger viewers is the idea that media before but often found it exactly where we’re losing the audi- “it’s important to look after the world “restrictive” creatively and “commer- ence… and [know about] keeping an and each other”, adding that they are cially… As it stands currently, there’s audience for as long as possible.” “very aware of the consequences” of little incentive for us to work with TV He pointed out that YouTube’s their actions. Chapman said that “grow- or traditional media.” “watch time” metric is used to ing up in the recession has changed

10 From left: Rob Chapman, Amber Gill, Caspar Lee, ‘YOU HAVE AN Timothy Armoo and INSANE AMOUNT Paul Bojarski OF CONTENT… THAT IS JUST BEGGING TO BE SEEN’

traditional broadcasters should hire staff who understand the new platforms. The delivery mechanism had to be right, stressed Armoo, who addressed the audience: “You guys are so lucky,

Richard Kendal as you have an insane amount of content… that is just begging to be seen. because of the social media conversa- [Make] sure the delivery mechanism is ALL THE tion that’s going on… you want to be done in a way that feels natural to PANELLISTS part of it,” said Gill. “You want to be whatever platform you’re using.… Just up-to-date with what’s happening.” spend a bit of time on the platform and CALLED ON TV That prompted Lee to admit: “I you get to understand [it].” PRODUCERS didn’t watch Love Island this year, but I Gill advised using more behind-the- know exactly who you are and who scenes footage – something echoed by TO EMBRACE you’ve dated.” Armoo added that, one of the People’s Panel contributors TIKTOK thanks to the social media a successful later, who said such content could be show generates, “You could actually made even better by using virtual create a TV show without creating the reality – and incorporating viewers’ their outlook… this generation feels the actual show.” own storylines, as with Netflix show need to be part of the solution.” Tapping into the social media cul- Black Mirror: Bandersnatch. Taking an interest in what and how ture that Gen Z is rooted in is impor- And Lee concluded with this glim- young viewers are watching is important for anyone wanting to reach them, mer of hope for broadcasters: while the tant, said Bojarski, who revealed that said Armoo. He explained that Fan- money to be made on YouTube is huge his research techniques include going bytes carried out a campaign for the and talent feel that they have more on trains and buses at 3:00pm to see Government to promote the national editorial control on the platform, as he what schoolchildren are doing. living wage to young ethnic-minority saw when his friend Joe Sugg was on He said that this gives his company audiences by using influencers and Strictly Come Dancing, “there’s still that ideas about the kind of technologies memes. These included one of “a cat prestige” associated with television. n and content to build, including using stealing a dog’s food and the dog chas- Sceenic’s Watch Together software, ing it.… People saw that and identified Session 2, ‘A far off place, of which we which has been used by companies with that meme as, ‘this is like my know nothing – exploring Gen Z’, featured: such as BT Sport to allow conversa- employers stealing from me’.” Timothy Armoo, CEO, Fanbytes; Paul tions to happen on screens in the same Lee said some broadcasters under- Bojarski, CEO, Sceenic; Amber Gill, Love place that programmes are viewed. stand how to work with the new plat- Island winner 2019 and influencer; and Authenticity is key to Gen Z, said forms, citing Good Morning Britain and Caspar Lee, vlogger and entrepreneur. It Lee, adding that they like content that’s Sky News on YouTube. was chaired by the CEO and partner of “not too safe… and people who are real He pointed out that some of these Founders Intelligence, Rob Chapman, and and authentic”, even if “they fuck up”. services, including YouTube, want to produced by Sally Shelford and Victoria Love Island is one of the few sched- work with the BBC and ITV because Kennedy. Report by Tara Conlan. uled TV shows that cuts through to “they still have that image of being the younger viewers, but “that’s purely Wild West”. And he suggested that Watch the video at https://bit.ly/35k2Ruz

Television www.rts.org.uk October 2019 11 RTS Cambridge 2019 Session Three

Factual TV is in robust health despite the drama boom

Running on empty , Channel 4 Circle The

re we at peak unscripted by just three shows, all launched in the formats that have been launched content? Session chair 2010: Minute To Win It (56 territories), since then are [growing at] exactly the Tim Davie noted that The Money Drop (54) and The Voice (58). same [rate as older formats]; they’re – while there was no But, pointed out the Channel 4 boss, building all the time.” short-age of good news the previous decade had generated He reeled off some shows that had for the genre (18 of double that number of blockbuster not made it onto Mahon’s slide: “Gog- the 20 top-performing original pro- formats, all launched between 2001 glebox is now at 38 territories; Your Face grammesA on broadcast TV in the US and 2005: Idol (48), Deal or No Deal (83), Sounds Familiar is at 39; Anything Goes, a that summer had been formatted enter- The X Factor (46), Strictly Come Dancing French format, is at 25; Married at First tainment) – there were worrying signs (48), MasterChef (56) and Got Talent (68). Sight, which is huge in Australia, is now for the genre. The UK was still produc- As for why recent formats seemed to at 35.” It could take 10 or 15 years “before ing hit formats, but margins were be struggling, her second slide showed you see the real value in a format, and declining and it was no longer the fast- the relentless rise in US scripted com- how many territories will embrace it”. est growing market for original formats. missions, to around 500 a year. In less Lambert conceded only that broad- Davie asked each of his panellists than a decade, this had “doubled the casters needed to “be very brave” – Channel 4 CEO Alex Mahon, Studio amount of content in the market, because it could be “a huge gamble Lambert CEO Stephen Lambert and driven by the online services and the going for these big shows”. But, even Tim Hinks, Co-CEO of Expectation SVoD streamers”. then, he noted that many shows – to say whether it was game on or The real question for Mahon was started off small, and many people had game over for unscripted. whether the market was simply con- initially doubted that MasterChef, Come Mahon was worried that new gested thanks to “a massive rise in Dine with Me or Gogglebox could become unscripted formats were failing to gain scripted” or was there “a reason that huge successes. the international traction that their [unscripted formats] aren’t being Expectation’s Hinks was also positive predecessors had achieved. She showed invented that can go to the [previous] and made the point that non-scripted two slides that, she claimed, illustrated volume of places”? was “definitely the slightly embarrass- the scale of the problem and hinted at Lambert – architect of Gogglebox, ing step kid to the posh world of telly the causes. Race Across the World and The Circle – and the people who run it. It always has The first was a list of significant disagreed vehemently with Mahon’s been, despite its extraordinary business formats that been sold to more than diagnosis: “It takes many, many years model and how it shapes the lives of 45 territories over the past five dec- to get to [being in 40-plus territories]… the people who watch it and how it ades. The last decade was represented 2010 is not that long ago [and] many of provides extraordinary drama.”

12 He also emphasised how “the pro- complicated or more expensive to of global content that fits, and is rele- duction values, the quality and sheer make. She namechecked One Born Every vant to, each country, at scale”. scale of some [recent] scripted content Minute, which “travels well, but is expen- Love Island, she pointed out, “is across now… has raised everyone’s game”. He sive”. On top of this, overseas broadcast- social media all the time, and there’s a did not believe that the money going ers were increasingly “expanding [their] pacing and an episodic nature to it that into scripted was a zero-sum game for established brands… and there are fewer makes you want to watch it. That’s unscripted producers, or for viewers. slots for fresh original content [that we harder to do when you’re going global.” Choosing between Game of Thrones and can sell new formats into]”. Netflix has not released its new hip- a cookery competition “would seem to Lambert responded that it had always hop talent show Rhythm and Flow all in be an unfair fight, but it doesn’t need to been “difficult to get those slots… the one go, but in batches of episodes be if those things are made brilliantly”. unscripted boom of the 2000s had to across three weeks. “That will generate Mahon responded by quoting ITV push out a lot of declining sitcoms. The a lot of data for Netflix,” Lambert sug- director of television Kevin Lygo, who sitcom vanished at almost the same gested. “With unscripted competition “made the point in the first session speed as unscripted grew; sitcoms had shows… part of the joy of watching that it’s really difficult to launch new stopped being funny.” them is the fact that everybody’s in things… [it’s preferable] to nurture an So what should unscripted producers sync on the conversation. The SVoDs’

From left: Tim Davie, Alex Mahon, Tim Hinks and Stephen Lambert Richard Kendal existing show and make it bigger.… strength is also their weakness – by When we make a decision to launch ‘EVERYONE IS releasing everything at once, people something new, such as The Circle, watch it at different times and it’s that’s a massive bet.… The success rates LAUNCHING LESS much harder to have that in-sync for new shows across the UK market AND THEY’RE dialogue among the viewers.” last year was [around] 30%.” Lambert thought UK producers had Given that “people are watching NURTURING nothing to worry about: “Due to the more and more video and they’re [SHOWS] MORE’ way in which our industry has grown looking for innovation all the time, you up, buyers here have an extraordinary have to do two difficult things at the imperative to buy original ideas off same time – make things that capture paper. [This is] the opposite of many viewers’ imagination, and work out be trying to push out of today’s sched- other countries – German [broadcast- how to market them smarter”. ule, queried Davie? Lambert declined ers] won’t buy a format until they can Referring to the earlier Generation Z to enter that minefield, noting only that see the data. session, she added: “Attention spans established shows had tremendous “We have the amazing advantage of are shorter – you’ve got to market on inertia: “US broadcast TV is absolutely the English language. The goal in the social media for something to catch dominated in the unscripted space by format world is to create a format here fire, to become talked about.” very established brands. Every summer, and take it to America; if it works in Lambert accepted Mahon’s point the four networks attempt to launch a the US, it is probably going to go that broadcasters were under pressure new one and pretty much every sum- everywhere. And it’s so much easier to to “launch less and nurture more” but mer, 99% of them fail.” sell an original format made here to maintained that it had always been Davie wondered if streamers could the US because it’s in English.” n “difficult to sell a show, and difficult to break a new unscripted show in the launch one”. Strictly Come Dancing, he way that linear broadcasters had tradi- Session Three: ‘Running on empty’ featured: reminded the audience, had been tionally managed to do? Mahon said Tim Hincks, Co-CEO, Expectation; Stephen rejected by “everyone many times she saw no reason why Netflix could Lambert, CEO, Studio Lambert; and Alex over” – as had Millionaire and Survivor. not be successful with a non-scripted Mahon, CEO, Channel 4. It was chaired by Sticking to her thesis that the market format: “You can crack release patterns Tim Davie, CEO, BBC Studios and produced for unscripted shows had shifted since – that’s just a windowing question… for by Diana Muir. Report by Gordon Jamieson. about 2010, Mahon said the shows that different countries on certain dates.” A came later had, in general, been more bigger challenge was “to make a piece Watch the video at https://bit.ly/35k2Ruz

Television www.rts.org.uk October 2019 13 RTS Cambridge 2019 Session Four Keynote: Sharon White

The Ofcom CEO weighs working across the sector was stuck at it wanted them to include data relating 13%. On social class, those working in to freelancers, who make up around up the regulator’s hits TV were twice as likely to have half the overall workforce. attended private school as the popula- “It’s a voluntary engagement,” she and misses tion as a whole. Only a minority of TV pointed out. “Lots of broadcasters have staff had working-class backgrounds, been fantastic. But we’d love to get to n her third and final appearance Ofcom found. the position where we’re able to collect at an RTS Cambridge Conven- “Over the past three years, the dial a much broader [range] of information tion, the outgoing CEO of Ofcom, hasn’t shifted,” admitted White, who on an obligatory basis.” Sharon White, gave a candid had made the issue her defining mis- White continued: “If we see diversity insight into what she described sion when she was appointed. Where as some sort of tick-box exercise in as the regulator’s tense relation- did she put the blame – on the broad- political correctness, [done only] ship with the BBC, and reflected on casters and production companies, or because, once a year, the regulator is whyI the TV industry had failed to was she at fault, asked her interviewer, going to produce a league table, we improve its record on diversity. ITV’s Julie Etchingham. might as well shut up shop.” She also provided some advice to “Moving the dial on diversity is very How was Ofcom itself doing on today’s teenagers hoping to secure a much a collective effort,” said the Ofcom diversity? “At all levels of the organisa- career in media. “When I look back at chief, who, in January, takes over as tion, including senior levels, we’re doing what I always regard as a slightly acci- Chair of John Lewis. “We’re three years well on gender, less well on ethnicity at dental career, so much of it is about in.… All of this is going to take much senior levels, but starting to make some confidence,” recalled White, a Cam- more concerted leadership and effort.” good progress. I [don’t] see ourselves as bridge University graduate who went She was still optimistic that, in two the saints at the table.… All of us have to a girls-only comprehensive in Ley- or three years’ time, real change would got things to learn from each other.” ton, east London. occur. There had been no shortage of Emphasising the importance of “To have confidence and knock on initiatives to boost diversity, including “authentic content” that reflected all the door, you’ve got to believe that those for writers and directors, but the of the UK, the CEO said that, outside someone is going to open the door. I’d data indicated that there remained “a London, many communities were encourage 17-year-olds to knock on the long way to go”. convinced that what they saw on TV door because you’ll be surprised at how White added: “There should be a huge failed to reflect their lives. “We need many people will be willing you to spur from producers and broadcasters content that is representative of the success and will mentor you through.” – and yes, of course, the regulator – audience… it’s a mind-set shift.” She was speaking on the day that to get much broader representation.” What had been learnt from Ofcom’s Ofcom published its third diversity Ofcom would now seek legislative diversity work that she’d like to hand report of her watch, “Diversity and powers to allow it to collect informa- on to her successor? “I think we have equal opportunities in television”. Its tion from broadcasters on a wider come on in terms of the conversation. bleak conclusion was that “there has range of diversity characteristics. And Crucially, it’s about concerted leader- been no discernible change in the TV ship that sees this as a core part of the industry’s diversity profile”. business of running a successful Women and disabled people ‘I AM NOT SURE broadcaster or production company.” remained under-represented; the pro- Turning to the regulator’s latest PSB portion of women in the TV industry [THE BBC] HAS survey, announced in July, she said workforce had fallen to 45%, compared QUITE COME that organisations such as the BBC and with 47% across the UK’s working pop- ITV were facing unprecedented pres- ulation. The proportion of women in TO TERMS sure from global on-demand players. senior management roles had not risen WITH HAVING The Ofcom boss acknowledged that significantly, edging up from 41% to 42%. the regulator’s last PSB report in 2015 At a senior level, minority ethnic AN EXTERNAL had underestimated the “fundamental representation remained low. Overall, shift in viewing habits”, and noted that the proportion of BAME people REGULATOR’ “the smartphone generation [is now]

14 Richard Kendal completely bypassing PSB”. PSB con- iPlayer during the past 12 months is White said that audiences continued tent was fantastic, she said, but hard partly a reflection of this. I think, for to regard PSB news as highly trusted. questions needed to be asked about the BBC, there is a sense that the world Even younger people use the BBC and how it was marketed and distributed has changed dramatically, and that the ITV news to check the veracity of a in a world where young people ignore competition is Netflix and Amazon.” story breaking on Twitter. TV channels. In this context, she The corporation was “regulated for “But viewers do wonder if the BBC praised the innovation represented by the UK market” yet was very conscious plays too safe,” White noted. “They BritBox in making PSB content much that “it is a small player in the global want to see more in-depth, edgy, more available online. market”. “I feel very strongly that the bigger, bolder [coverage], particularly However, she was convinced that the BBC gets a huge amount of public in current affairs. Is there too much survival of the PSBs required effective money. Parliament sets very important Westminster bubble talking to West- rules on prominence. Ofcom’s own goals for the BBC in terms of airing minster bubble?” research showed that 12- to 15-year- distinctive, quality content… ensuring Viewers in Scotland, Wales and olds were far more likely to recognise that it does a great job, but not at the Northern Ireland thought that the platforms such as YouTube and Netflix expense of other players in the UK BBC’s national broadcast news lacked than they were the BBC. She, herself, market, whether that’s ITV or Chan- enough coverage of their nations. As believed there was a role for a levy on nel 4, is incredibly important.” for the corporation’s online news, the online platforms to support core What impact had regulating the BBC young people avoided using it. White public service broadcasters. had on Ofcom? “Personally, I was opined that it was a less distinctive Since April 2017, Ofcom has been always very cautious about taking on offering than BBC TV or radio news. responsible for regulating the BBC. the BBC. Actually… I’m more positive She added: “If you’re from an ethnic- White admitted that this had not about it now than when we started. minority background, you’re not feel- always been easy, especially in relation We’ve got the ability to look across ing as engaged because the people on to the regulator’s protracted and the whole of the broadcasting market. screen don’t come from the same fraught review of the corporation’s “Whether we’re looking at news, communities as you.” n ambitions for its iPlayer service. diversity or online competition, the “I think there’s a fundamental tension BBC is central to that. Others can judge In Session Four, Ofcom CEO Sharon White in the relationship between Ofcom, as us, but I think that having the BBC as was interviewed by Tonight and News the first external regulator of the BBC, part of our broadcasting duties has at Ten presenter Julie Etchingham. The and the corporation,” she said. “I am made us a better regulator.” producers were Sue Robertson and Martin not sure it has quite come to terms Ofcom’s examination of BBC news Stott. Report by Steve Clarke. with having an external regulator. and current affairs is due to be pub- “The discussion we’ve had over the lished later this autumn. Watch the video at https://bit.ly/35k2Ruz

Television www.rts.org.uk October 2019 15 RTS Cambridge 2019 Session Five

n her first major speech since being appointed Secretary of State for Digital, Culture, Media The Secretary of and Sport, the Rt Hon Nicky Mor- gan MP called on broadcasters to State wants to see “be as fleet-footed and as adapt- able to change as their international UK broadcasters competitors”I such as Apple and Netflix. co-operating more She warned: “Those who do not pool their resources and talent will find it difficult to succeed in this new age.” Nevertheless, Morgan applauded “the vibrant mix of broadcasters” in the UK, and said her Government was “determined to see a strong and successful future for our public service broadcasters and commercial broadcasters alike”. “People are watching what they want, where they want, when they want. No one can deny the benefits of an explo- sion of choice and a competitive market. But British broadcasters are central pillars of our public life and their benefits are too great for them to be cast off as victims of this revolution.” The Secretary of State said that fake news – “disinformation, fuelled by hermetically sealed online echo chambers” – threatened the “foundations of truth that we all rely on.… We need to treasure and encourage the robust news and high-quality content and programmes that bring us together.” She congratulated the public service broadcasters for “working together, across traditional boundaries, including on exciting new platforms – just as they did with Freeview 17 years ago”. She highlighted the imminent launch of the BBC/ITV VoD service BritBox as a “fantastic example of this”. The Secretary of State was also pleased that public service broadcasters were “increasingly working together with their commercial counterparts”,

applauding Channel 4 and Sky for Richard Kendal joining forces to show the final of the Cricket World Cup on free-to-air tele vision in the summer. “I am sure our PSBs and commercial broadcasters can continue to do more together in terms of producing content, Keynote: working with advertisers and innovat- ing to reach audiences of all ages,” she continued. Turning to diversity, Morgan called on broadcasters to “represent the country they serve, both on and off Nicky Morgan screen”, adding: “I see it as fundamental to our success in the future as a

16 nation. Representation is particularly must be offered to free-to-air broad- time when it feels as if our society important for our broadcasters. Not casters. Acknowledging the large is getting more polarised and more just because it is right and just, but audiences that watched this summer’s tribal… can bring us together through because our broadcasters, I believe, Fifa Women’s World Cup on the BBC, creating moments of shared enjoy- are most effective, and most relevant, Morgan announced that she would ment and inspiration”. n when they channel the diversity of consult on adding women’s sporting perspectives and backgrounds that events to the listed events regime. In Session 5, ‘Secretary of State keynote’, make the country great. “Where a men’s event is listed, the the Rt Hon Nicky Morgan MP, Secretary of “I want to see all broadcasters work- women’s equivalent would be, too,” she State for Digital, Culture, Media and Sport ing harder to promote diversity of all said. She was also considering adding was interviewed by journalist and broad- kinds, at all levels.” the Paralympics to the list. caster Susanna Reid. The producers were Morgan also called on broadcasters With more than a nod to the divisive Sue Robertson and Martin Stott. Report by to take greater responsibility for the effects of Brexit, the culture secretary Matthew Bell. welfare of participants in their shows: concluded her address to the RTS “In the digital age, the spotlight can be convention with the hope that TV “at a Watch the video at https://bit.ly/35k2Ruz intense for those who take part in popular shows. Viewers have easy access to participants via social media, give consideration to secondary and video clips can last for ever, mean- legislation to improve the quality ing that fame can be an overwhelming QUESTION of the evidence? experience for many people.” Nicky Morgan: The short The Secretary of State recognised & ANSWER A answer is yes, but legislation that regulators and the Government at the moment is [difficult] must support broadcasters as they Susanna Reid: Why is there in the current parliamentary adapt to the new TV landscape. “We Q not enough diversity in TV? environment. In my experience, need to make sure that regulations, Nicky Morgan: In politics, legislation is part of the answer, some of which were developed in the A I’ve found, you’ve got to go but there is nothing to stop analogue age, are fit for the new ways out and find the talent.… It’s not broadcasters on a voluntary basis that people create and consume con- enough to… launch a programme… dramatically improving the quality tent,” she said. you’ve actually got to go out and of the data they supply. While linear-TV shows were subject find people. In other sectors, such to the Ofcom Broadcasting Code, pro- as financial services, there are Susanna Reid: You made grammes shown on most VoD services issues around unconscious bias in Q a very good point [in your were not subject to the same standards, who you are recruiting… it’s much speech] about [fake news] said Morgan: “This does not provide the easier to recruit in your own image. operating in “sealed online clarity and consistency that consumers echo chambers, threatening would expect. Susanna Reid: Ofcom… wants the foundations of truth that “So, I am interested in considering Q more powers to collect data we all rely on”. Of course, that’s how regulation should change to on diversity – will you be granting a responsibility for broadcasters, reflect a changing sector.” those? but isn’t it also responsibility for Morgan also called on Ofcom, which Nicky Morgan: We’re not politicians? has begun its latest pubic service A planning to legislate at the One of the things that we hear so broadcasting review, “to think big”, to moment… but I hear very much often on Good Morning Britain is that ensure that broadcasters were able to what Sharon [White, Ofcom Chief during the [Brexit] campaign, there “meet audiences’ needs, find the best Executive] said [earlier at the RTS were lies told on both sides, and new talent and provide the critical convention], we’ve discussed it… those were lies coming from the mass of investment that is vital to [but] legislation is challenging at mouths of politicians? drive success in UK television”. the moment. Nicky Morgan: You’re right. The Secretary of State pledged to A Of course, politicians – all “consider the issue of ‘prominence’” Simon Albury, Chair of the of us involved – [have] to accept on electronic programme guides for QCampaign for Broadcasting that the past three and a half years public service broadcasters. Ofcom is Equality: The [diversity] data, have left the country more divided currently updating the rules that gov- which is supplied by the than people have seen at any point ern prominence. broadcasters is poor, to inadequate in living memory.… When this first Morgan promised to give “equal to non-existent… Sharon [White] phase [of Brexit] is brought to a recognition to disabled and women’s talked about extending the conclusion, I think [we] will have sports” in the listed events regime, the [diversity] characteristics, but to take a very long, hard look at so-called sporting “crown jewels” that we need to see an extension of ourselves, and at what happened include the Olympics and FA Cup. the quality [of data].… Will you and how we conduct campaigns. Television rights for events on the list

Television www.rts.org.uk October 2019 17 RTS Cambridge 2019 Session Six

Keynote: David Zaslav Discovery’s dominance in factual TV will preserve it from the consolidation feeding frenzy, believes its CEO

ocumenting the planet moved into TV, he said Discovery is food… We have a ‘view and do’ concept with the BBC, differenti- doing the reverse. It has hired the brains that, ultimately, from a multiple per- ating Discovery from behind Amazon’s e-commerce platform spective, in terms of creating value, Netflix and the other Marketplace and around 150 product could be enormous.” streamers – and taking development and technology staff, after Interestingly, “view and do” was Amazon on at its own lessons were learnt from going direct to ruled out for Netflix the following day retail game – were the three big consumer during the building of Dplay by its Chair and CEO, Reed Hastings, themesD expounded by Discovery’s and Eurosport Player. but it was not the only differential that President and CEO, David Zaslav. Zaslav explained the thinking behind Zaslav said Discovery had created. With Discovery now the second larg- the move: “Netflix has 150 million peo- “We’re at a very interesting time and est TV company in the US in terms of ple who pay and do nothing else. we’ve chosen a path that’s quite differ- reach, Zaslav candidly laid out his com- “If we can aggregate millions of entiated and we feel good about it… we pany’s ambitions. Whereas Amazon people who are watching but they’re need all of your help because it’s really built its billions in retail and then also buying a bicycle, a vacation or going to be about great content. But

18 we’re a very different company than together over the next 10-plus years. everybody else. ‘[WE] GO INTO A But our ambition is that we’re going to “If you’re going to be in the general document the planet together – maybe entertainment, scripted movie busi- COUNTRY LIKE we could have a meaningful impact.” ness, then you have to have a massive CHINA AND SAY, Zaslav went on to say that the UK amount of content. You’re trying to – where Discovery also owns 50% of appeal to everyone; 750 million people “YOU WANT TO All3Media – “is hugely important to here in Europe.” us… we’re the largest international He went on: “There [are] eight great SEE GOLF, WE media company now”. He said the UK’s [streaming] companies; maybe, in the HAVE IT ALL”’ cultural bent and natural curiosity had end there’ll only be four [because] helped Discovery become successful in they’re going to have to buy each other, Britain. He praised All3Media’s CEO, because it’s going to get so confusing. the world, we own all the golf content Jane Turton, and the UK’s “creative I do think there’ll be more consolidation. in the world. That is going to create community”, warning the audience, “There will be a few of those who are massive value over time; to go into a “Don’t take it for granted.” successful. That’s not who we are. I country like China and say, ‘You want He repeatedly returned to the idea of think that gives us a unique advantage to see golf, we have it all.’” “storytelling” and “characters” and the – we’re out of that business.” Recently, Discovery signed a deal need for ever more content. Zaslav He summed up his tactic as, “We’re with the BBC that will see the two explained that, to keep up with view- just going to lean aside and let those broadcasters work together on new ers’ demands, presenters such as for- guys have their way with each other.” content but which also gives the US mer tennis champion Chris Evert had Asked by broadcaster Kate Silverton giant’s new streaming platform the been given iPhones to film short, if Discovery might be bought, Zaslav rights to all BBC natural history shows behind-the-scenes extras or reflec- said: “I hope not, because I love Dis- for the next 10 years outside the UK, tions for Eurosport Player. covery.” A prime example of the battle Ireland and China, the streaming rights A recent deal with Tiger Woods will going on between the big streamers, he to hundreds of hours of archive BBC pitch him in an international challenge said, was the reported $600m paid by documentaries, collaborations on new with other golfers in a series called HBO Max for The Big Bang Theory and content, and UKTV channels Good Skins. Furthermore, his caddy, best $500m for Seinfeld by Netflix. Food, Home and Really. friend and others now film him to “Old series, massive cheques,” was Explaining part of the reason for the make even more content available how Zaslav described it, adding to deal, the environmentally-conscious for Discovery. laughter: “You know what that says? Zaslav said: “I was blown away by the Another key series for Discovery is ‘Holy shit, we’re in trouble, we don’t idea that Blue Planet talked about plas- Steven Spielberg’s documentary series

Richard Kendal have enough, what do the other seven tics in the ocean; and the reaction to Why We Hate, which was first discussed guys have, go get it, I don’t care what that here in the UK gave rise to The- between the director and Zaslav five you need to pay for it. It’s going to take resa May changing the laws on plas- years ago. us two to three years to develop some- tics… that was the moment where “It was Steven’s idea. I said to him, thing else – that exists, go get it.’ I said we have to go all in. ‘What is the story you want to tell? The “That’s not the business we’re in. “We’ve structured a very broad col- story that, when you and I are gone That’s why I think we’re going to be laboration with the BBC, where we will and they come back and look and say, successful.” own, outside of the UK, all the natural “Who was Steven and what did he care Zaslav said that Discovery Networks history and science history content for about?”, what is that story?’ He thought International President and CEO JB Per- over-the-top [platforms] and… we’re about it for about two or three seconds rette and he constantly discussed the creating even more original content and he said, ‘Why we hate.’ content that people would watch and “Little did we know, five years ago, pay for before and above anyone else. where we would be, not just here in “That’s why we bought all the golf in the UK or in the US, but everywhere the world, outside of the US. That’s ‘[THE NEW in the world. I felt like, for most of my why we own most of the cycling in the life, things were getting better, [now] world – and our ambition is to own all STREAMERS] we find in the last five years that things of the cycling. ARE SPLITTING are much more of a challenge and hate “That’s why we now have the major- is much more on the rise.… We hope it ity of the science, history and environ- [CONTENT] EIGHT begins a dialogue.” mental content, along with all the great WAYS, BUT WE brands that [BBC Studios] and Discov- In Session Six, ‘International keynote’, ery have created. OWN ALMOST David Zaslav, President and CEO of Dis- “They [the new streamers] have to ALL THE FOOD covery, was interviewed by journalist and continue to fight because they are broadcaster Kate Silverton. The producer splitting it eight ways, but we own CONTENT IN was Helen Scott. Report by Tara Conlan. almost all the food content in the world, almost all the home content in THE WORLD’ Watch the video at https://bit.ly/35k2Ruz

Television www.rts.org.uk October 2019 19 RTS Cambridge 2019 Session Seven The rights stuff

he rise of the television streamers and changing audience behaviour threaten to upset TV’s traditional order, but this session surfed on a wave of optimism from producers and broadcastersT alike. The BBC has responded to the rise of subscription video-on-demand services by extending the iPlayer catch-up win- rights we’re asking for, we’re still asking former ABC Studios executive vice- dow from 30 days to one year. for a lot less than if you go and do a president Howard Davine. Historically, BBC iPlayer chief Dan McGolpin deal with a global SVoD.” he explained, TV production was defended the decision: “TV works in ITV Studios MD Julian Bellamy “heavily deficit-funded” in the US. “You seasons… it means that things which are backed the BBC, but with a sting in the would deficit-fund significant millions on a yearly cycle, such as The Apprentice, tail: “I completely understand where per episode for quite a long period of will be there.” He claimed that audi- the BBC is coming from… we all want time, hoping to eventually get that hit, ences, months after transmission, can to support anything that strengthens CSI or The Big Bang Theory, that would now be “substantial” – some 40% of the public service broadcasting ecol- wash away all the losses and provide Killing Eve’s audience came to the thriller ogy, but my first duty is to protect the a significant profit margin to the com- after the original catch-up window. interests of ITV Studios. pany. Now you have the SVoD players, “We need to recognise that [many of] “We’ve had productive conversa- who give you the opportunity to do our licence-fee payers are young and tions with the BBC over the past few relatively large-budget programming not watching broadcast TV in traditional weeks and months, and we’re getting for very little risk – in fact, no risk.” ways,” he added. “This model of [hav- to a place where we can see a way to SVoDs, he added, “fund 100% of the ing] just a few episodes available for make it work.” cost of production”, although producers catch-up doesn’t work any more.” The growing number of SVoD play- have to give up some rights in return. Pact is currently negotiating a deal ers, such as Netflix, Amazon Prime, So, asked, Wark, “Is it springtime for with the BBC for its independent pro- Disney+ and Apple TV+ – all of which producers?” Turton replied: “Yes, it’s ducer members. All3Media CEO Jane are hungry for content – gives produc- good… [SVoDs] have put a lot of money Turton agreed that the catch-up win- ers more outlets for their programmes. in, there’s no doubt about that, but I dow needed to be extended, but “only “From the perspective of a studio, think that, creatively, it’s been very on the right terms” for producers: “If having more buyers makes it a won- stimulating as well.” there is a sacrifice in value for the derful time to be a producer,” said McGolpin, however, sounded a note production community… that has to be of caution: “The Ofcom report [‘Media made good with some changes in the nations: UK 2019’] said that SVoDs terms of trade with the BBC.” made something like 200-odd hours Session chair Kirsty Wark came ‘DO NOT of [original] UK content last year, com- straight to the point, asking McGolpin: UNDERESTIMATE pared with the PSBs’ 32,000, so I think “Is there a danger that it looks like you we have to be a bit careful about say- are holding a gun to producers’ heads?” THE POWER ing that small indies are going to pitch “We’re absolutely not doing that,” he loads of hours to SVoDs.” replied. “[But] if our licence-fee pay- AND RESILIENCE With the launch of Apple TV+ on ers… want to watch in a different way, OF LINEAR 1 November, Wark reckoned there we have to recognise that.” would be “eight big streamers” in the McGolpin added: “If you look at the BROADCASTERS’ market: “Are they all sustainable?”

20 power and resilience of traditional linear broadcasters,” said Bellamy. “This is a hits business and the winners will be defined by the hits they have and, in the end, that means that those [SVoD] players – [in fact] all the players – need to find ways to be the most attractive partner for producers.” “We can all agree on one thing,” said Davine. “This has to be the most exciting time for us in the TV business.… As creators of content, these other platforms that keep growing are giving us opportunities to sell.” “Uncertainty and opportunity are two sides of the same coin, and I think that’s the theme of this conference,” added McGolpin. “It’s an exciting time to be in TV.” n From left: Julian Bellamy, Session Seven, ‘The rights stuff’, featured: Howard Devine, Kirsty Wark, Jane Turton and Dan McGolpin Julian Bellamy, MD, ITV Studios; Howard

Richard Kendal Davine, former ABC Studios executive vice- president, ITV; Dan McGolpin, controller, Davine argued that the key to success “None of us knows,” admitted Tur- programming and iPlayer, BBC; and Jane would be “how you differentiate your- ton. “What we like as producers is that Turton, CEO, All3Media. It was chaired by self to the consumer”. Disney+, for there are more buyers with big budgets the journalist, broadcaster and writer Kirsty example, will be “brand-focused”, he coming looking for content.” Wark and produced by Alan Clements. said, because “the Disney brand is prob- Who would be the winners and Report by Matthew Bell. ably the most iconic and powerful brand losers in this new TV landscape, asked in the world in terms of entertainment”. Wark. “Do not underestimate the Watch the video at https://bit.ly/35k2Ruz

supply of great talent – behind John McVay: The problem the camera, in front of the camera, A is, Dan, they do have to QUESTION executive talent.… Any increase work for you. If you’ve gone into beyond where we are currently will development and you’re a small & ANSWER show in the quality – there’s a finite producer, there is only one place amount of the best and brightest. that you can sell your programme because you can’t take it anywhere Avery Katz, director, Taconic John McVay, CEO, Pact: Isn’t else because you’ve accepted Q Capital Advisors: Are we at Q Dan morally embarrassed development finance. peak content today, especially by [the BBC] requiring smaller [Producers]… will have to take on [in] drama? producers to put their own [profit] debt and put the [profit] margin in to Jane Turton: There’s no margin in to make shows for the close the finance. The BBC requires A evidence we’re at peak – the BBC… effectively working for more deficit financing than any number of commissioned dramas nothing or less than nothing? other broadcaster in the UK. has gone up again, year on year. Dan McGolpin: The BBC works Dan McGolpin: We’re doing It’s actually flat or going down A with more small producers A really exciting things with in the UK from public service than anybody else. No one has to producers. We are happy to go on broadcasters, but elsewhere that’s accept a commission with the BBC. a commercial journey that a great being compensated for by money many people can make money out coming in from the SVoDs.… One Kirsty Wark: You haven’t of – [the BBC is] a force for good in could assume that, with the arrival Q answered the question: does the industry. of more players, there will be more, the BBC require people to make Bal Samra, group commercial not fewer, series commissioned. programmes for the BBC without A director, BBC: We work with Howard Davine: We are very taking any income at all? about 250 indies – that is really A much at risk of being at peak Dan McGolpin: No. important for us and we will level, just because there is limited A continue to do that.

Television www.rts.org.uk October 2019 21 RTS Cambridge 2019 Session Eight

hat a difference two years makes. In 2017, Sky was one of the crown jewels of the vast Murdoch media empire, beloved by investors and pub- liclyW traded on the London Stock Exchange. Spool forward to 2019 and Sky is part of Comcast, the US cable conglomerate, which successfully outbid Disney to buy Europe’s biggest pay-TV provider for a staggering $39bn. But Sky’s plain-speaking CEO remains in situ. Jeremy Darroch suc- ceeded James Murdoch in 2007, after joining the company as chief financial officer in 2004. He become Group CEO in 2014 following the acquisition of Sky Italia and Sky Deutschland. Darroch told the RTS that he’d stayed on after the takeover because the pace of change had created a cli- mate in the TV sector that had never been more exciting: “There will be challenges, of course, but the opportunities this presents are huge.” Having recently launched Sky Stu- dios, and won unanimous acclaim for the Sky Atlantic drama Chernobyl, Dar- roch was enthusiastic as he outlined his strategy to The Times’s deputy business editor, Graham Ruddick. Being part of Comcast – which also owns NBCUniversal – gave Sky “great global potential”, he said. The satellite behemoth might have a new owner but the business remains broadly the same. “That’s because our new colleagues are very keen for us to take the lead. I can’t speak highly enough of them,” said the Sky CEO. “What you’ll Jeremy Darroch also see is an emerging set of big ideas. For instance, NBC’s Peacock streaming service and global advertising project: [we will] take our AdSmart technology Being part of Comcast gives Sky great and combine it with some of the great initiatives NBCU has developed.” global potential, argues Sky’s CEO In Milan, Sky Italia is poised to move into the telecommunications business, “supercharged by the world-class technical capability of Comcast”. Darroch continued: “We bring a lot to the party. In many respects, the Keynote: businesses that are being created today mimic what we’ve created at Sky. The idea of a fully integrated media company that combines everything from owned and acquired content, world- Jeremy Darroch class consumer technology,

22 best-in-class customer service capa- company’s ambition for Sky Studios to bility, a really strong brand and the “develop European stories at a scale ability to apply customer insight across that’s never been seen before”. the value chain to deliver competitive How would his company achieve advantage is what Sky is all about.” this? By a long-term commitment and In the UK, Sky’s Now TV has helped building an infrastructure and teams to future-proof the business in the face that could deliver, said Darroch. “You of competition from online platforms. need to create the right working envi- But with the imminent arrival of other, ronment. That’s particularly true now well-funded, direct-to-consumer ser- because content creators have never vices, further significant challenges had more choice regarding who they are looming. work for.” Said Darroch: “People are only just This was critical to attracting and Sky Atlantic/HBO series beginning to get their heads around retaining the right people. Two other Catherine the Great

what it actually takes to be successful.… Sky factors were committing capital – It is not only about your content and “something we’re rather good at” – technology, but about the whole pro- and an appetite for risk. cess of managing, operating and run- ‘THE What has he learnt from Chernobyl? ning a large-scale consumer business.… “I was a little unconvinced [about] a “All of the businesses I respect and OPPORTUNITY TO nuclear disaster [drama] but, when I admire are on the front foot.... They’re GROW CUSTOMERS read the first script, I got it immedi- trying to figure it out. They’ve all got ately. You replicate that by backing strong plans they’re trying to execute.... … IS AS STRONG people and ideas. This is not a time for equivocation.” TODAY AS IT’S “You recognise what it is that you can Disney and, not surprisingly, Com- bring, but allow people freedom to cast and NBCU are among the busi- EVER BEEN’ pursue what they want to pursue.… Then nesses he admires. you put the full marketing weight of the So, too, are the Faangs. “Whatever business behind it when it transmits.” your view of them, they are unbelieva- Earlier, NBCU had grabbed back the How much will he pull back on Sky ble businesses. Interestingly, they are US version of The Office from Netflix. Sports to fund Sky Studios? “Pull back businesses that have grabbed market Darroch predicted that Sky would isn’t quite right. The sports market is share,” he argued. “They’ve created “seek to lose content and then we will changing a lot.… Around the world, some new markets, but they’ve do more of our own content”. sports as a subscription business isn’t grabbed huge amounts of share from He continued: “I don’t think our growing. There’s not a huge amount of old, incumbent players by moving very overall content offering will be dimin- new demand that’s coming into it. quickly and by creating light, agile ished at all, but it will be different in “We are very, very value-driven. Our operating infrastructures and embrac- the future. Some of that will be driven ability to analyse the value of sport, ing new technology.” by us.… Maybe others will seek to go by and understand where it fits into our How does Sky fit into all this? Did he a different path. But there’s no reason business… We’ll decide where that is at expect to lose content and will he lose why it can’t be better.” the right time. The good news is that subscribers? Darroch predicted that the In the future, Sky was likely to have we’ve got such a broad range of sport number of Sky subscriptions would fewer, deeper partnerships with third that runs across the year. continue to grow: “The opportunity to parties, including platforms, content “Our ability not to do so much sport

Richard Kendal grow customers in all our core markets, owners, producers, writers and talent. or to lose some rights doesn’t have that broadly by expanding the business, is as He highlighted how Netflix had been big effect on the business anymore.” strong today as it’s ever been. successfully “fully integrated into the When Darroch joined Sky in 2004, “But that growth will come from Sky user interface”. 93% of subscribers took the top-tier different places.… We are building our Was there a similar deal Sky could package, which included sport. relationship with each of the [Sky] do with Apple after Apple TV+ launches “At the time,” he conceded, “we were households. Today, we have a deeper in November. “I don’t see why not. very, very wedded to sport. I didn’t relationship with those households. As That’s not to say that we’re about to do really like the look of that. Today, fewer we do that and we deliver that well, we a deal with Apple. We’ve got a really than half of our customers take sport.” n find the propensity for Sky customers good template that’s worked well for to aggregate all of their services with both us and Netflix. We have great In Session Eight, Sky CEO Jeremy Darroch Sky is very strong.” relationships with all the free-to-air was interviewed by Graham Ruddick, As for content, a taste of what’s in broadcasters. We want those to get deputy business editor, The Times. The store as the battle for streaming rights deeper as well.” producers were Sue Robertson and Martin hots up came earlier in September. Having NBCU as a sister company Stott. Report by Steve Clarke. Netflix paid a reported $500m for will boost Sky’s already strong reputa- exclusive streaming rights to Seinfeld. tion for US shows. Alongside this is the Watch the video at https://bit.ly/35k2Ruz

Television www.rts.org.uk October 2019 23 RTS Cambridge 2019 Session Nine Part 1 Who you gonna trust?

rust isn’t scientific, it’s Where it gets harder to quantify trust instinctive, it comes from How well are TV is in the Wild West of less-regulated the gut, not from the companies and their online services. Speaking from the brain,” Martin Lewis told People’s Panel, teenager Maria revealed the Cambridge audience, online rivals doing at that she never watches TV news: “I and he should know. The can’t find myself sitting there for half founder of MoneySavingExpert.com, winning and keeping an hour watching it. I get it from my ‘consumerT business warrior and the app. I get notifications with different public confidence? man who sued Facebook and won is headlines and if I find one interesting, also the most trusted man in Britain, what is trust in a produced reality? I’ll research it online, read different according to Google. What you have to do as a broadcaster is articles, form an opinion.” And he explained to the packed hall decide: do I want to be trusted?” YouTube was slammed for posting of delegates: “Trust is not a function Just one thing can make or break a conspiracy theory videos around the of your marketing departments, it’s a fragile contract of trust. From the Peo- anniversary of 9/11, but Ben McOwen function of the decisions you make ple’s Panel in Leeds, one long-time BBC Wilson, its UK director, defended the and of how you choose to operate and viewer, pensioner Stephen, cited the need to constantly balance prudence treat your viewers and stakeholders.” Cliff Richard debacle as the reason he with protection of free speech. Lewis noted that trust needn’t come no longer switches on BBC News. He He explained: “On our platform, from the impartiality and balance felt it had broken his faith in it: “The anyone can upload anything you can often touted by PSBs. Instead, he said: BBC hasn’t done itself any favours make a video of. Our role is to remove “It comes from honesty and transpar- even though it is the best of them.” anything that breaches community ency; I am the money-saving expert, Vikki Cook, Ofcom’s director of guidelines, anything that is in breach I do what it says on the tin. content media policy, expanded on of the law, or of our view around hate “A trusted broadcaster, in my view, research published by Edelman (see speech. We’ve removed Sandy Hook is Fox News,” he went on. “It has an pages 26-27), revealing that trust in conspiracies which, in our view, were agenda and we know what it is. It PSBs remains high. She said: “Con- harmful and offensive. appeals to a certain demographic who sumers might use aggregators for “On conspiracy theories, where there will trust it over everyone else. Fox speed, but they don’t trust them. Once is no actual harm, then they remain knows and appeals to its audience. they see a headline, most people will on our platform. There’s a knowledge “We can’t automatically assume trust then seek out that news from a PSB panel, which will refer you out to is crucial to everything you do. If you and get that trusted source. This sug- encyclopedias.” want the news, of course you’ve got to gests that we are doing something He added: “We must balance here trust it, but if you’re watching Love Island, right with our regulation.” the value that openness brings. It has

24 you’re a publisher and you should be “Our traditional broadcasters have to legally liable like a publisher.” thrust forward in technology, putting This chimed with teacher Marie, as much time, effort and cash into speaking to the convention from the development as they can to reach People’s Panel. She explained her con- those younger audiences,” he said. cerns about children in her classroom “But it’s just as important to harness accessing information and news via the support of government and regu- social media and various platforms. She lators, to help British television to said: “They’re believing the comments, continue to appeal to all audiences, to and that’s affecting them. Children are continue to play its critical role at the not emotionally or mentally ready; heart of our nation.” they’re quite receptive, so it’s causing He defended those online platforms, a lot of stress and anxiety. such as YouTube, that have also had to From left: Ben “During the stab- adapt as their plat- McOwen Wilson, bings in London, a forms’ status has Vikki Cook, little boy raised his ‘UNDER- grown – and Deborah Turness, hand and asked, ‘Am I increasingly turned Aasmah Mir, going to get stabbed?’ REPRESENTED them into publishers Martin Lewis and The filtering is not COMMUNITIES with responsibilities Ed Williams there.” for their audiences: Vikki Cook agreed it IN THE UK ARE “The red mist Below: Martin Lewis was a complex area, FEELING LESS comes down when but asked: “How do people talk about you go about regulat- AND LESS YouTube and Google. ing online? We have It’s very clear that enormous skill at CONNECTED they are now taking regulating broadcast- TO TELEVISION’ [their responsibility] ers. You simply can- seriously. Some not lift and shift that would say it’s way

All pictures: Richard Kendal framework into an online too late, but they are taking it world. You have to balance seriously.” obvious downsides, but the value that the most harmful content As all broadcasters, new and old, openness brings means that a guy who with freedom of expression. continue to evolve, they may well have headlined at Glastonbury this year Will there have to be some Martin Lewis’s words ringing in [Stormzy] was an unsigned artist on form of regulation? Yes.” their ears. He finished his pres- a platform for eight and a half years Deborah Turness, entation with a call to arms: before a label signed him up. That open- President at NBC News “How trusted do you want ness has societal value, but it comes at International, to be? If you do want to be a cost, and we are working incredibly explained how her trusted, always do the right hard to take care of those costs.” company was having thing, don’t just be seen to He was quick to pass the baton back to evolve to accom- be doing the right thing. to other broadcasters, however, noting modate younger “And you have to do it from that YouTube’s appeal lay in “great viewers, including day one. If you want to be content from authentic voices that creating a news show trusted, be trustworthy.” n look and sound more like them than on Snapchat that she said any other platform that’s out there. now has more than Session Nine, ‘Who you gonna That is something that, at the moment, 20 million subscribers. trust?’, featured presentations television isn’t doing. It is giving them She explained: “This is a from Martin Lewis, founder, a voice and showing them the world reaction to the viewers’ MoneySavingExpert.com, and [and it] resonates strongly with our changing needs. They Ed Williams, CEO UK and EMEA younger viewers. need more transparency. vice-chair, Edelman. The panel- “Under-represented communities They crave news organi- lists were: Vikki Cook, director, in the UK are feeling less and less con- sations that will open up content media policy, Ofcom; nected to television and young people and let them in, share Ben McOwen Wilson, MD, are watching less and less TV. If that more of our processes, not YouTube UK; and Deborah clarion call is not heard, then I worry,” just what we know but how Turness, President, NBC News he said. we know it. The next gen- International. It was chaired Fresh from his legal victory over eration of news products by Aasmah Mir, TV and radio Facebook’s posting of scam ads, Lewis needs to address that.” broadcaster, and produced took issue with those hiding behind For Edelman’s UK CEO Ed by Martin Frizell and team. “platform” status to avoid regulation, Williams, a marriage of the Report by Caroline Frost. saying: “I have massive trust issues values of the old and with any algorithm-based delivery technology of the Watch the video at https:// services. When you publish an advert, new was required. bit.ly/35k2Ruz

Television www.rts.org.uk October 2019 25 RTS Cambridge 2019 Session Nine Part 2

Ed Williams shares Edelman’s research findings that streamers are gaining ground on PSBs in the trust stakes Trust in numbers

V’s most valuable audi- Netflix also tops the scale on a per- actually using someone else’s account ence, the 16- to 25-year- ception of competence, securing sec- to watch the content. olds with their whole ond place following the BBC. This is The data reveals that 2% of these viewing lives ahead of probably due to its content and quality viewers admit to using the account of them, are largely ignoring of user experience. an ex-partner. Williams pointed out that, traditional TV platforms in Within the category of trust, the while crackdowns may be necessary to favour of YouTube and Netflix, accord- Edelman data identifies four separate avoid such loopholes being exploited, ingT to data published by Edelman at pillars: ability, integrity, dependability this may have a negative effect on the RTS Cambridge. and purpose. This final one – articu- high trust scores outlined above. The company’s UK CEO, Ed Williams, lated as “What would the world miss if There is confusion regarding the BBC revealed that, for 66% of younger view- this company didn’t exist?” – is report- licence fee. The data revealed that six ers, YouTube and Netflix provide what edly the hardest for companies to out of 10 consumers fail to realise it he called “the protein and carbs” of their articulate, but Netflix scores highly pays for the iPlayer, while 25% think it daily viewing diet, with side orders of here, too. goes towards making TV sets. The same BBC and ITV thrown in. Interestingly, Williams added that in number believe that TV programmes Worryingly for broadcasters, the this respect Sky also scores well, seem- broadcast by Channel 4 and ITV are statistics also reveal that PSB catch-up ingly boosted by its vocal campaigning licence-fee funded; 65% think the services have the smallest level of on oceans and plastics, plus its support licence should be free for the over-75s. engagement across every age group for cycling. He urged other broadcast- There is some good news for PSBs. except mature audiences, where they ers to follow its example. TV news remains the most popular way rate slightly above SVoDs and other The research shows that, with the to access news, but the majority of online viewing services. arrival of so many competing SVoDs, young people obtain most of their news British PSBs continue to enjoy a high consumers are starting to question from online devices; 45% of Generation level of trust from viewers, but Netflix their value for money. While three out Z consumers get their news from social now matches them (chart 1). The of every ten people in the UK have at media while older audiences stick to streaming giant is considered as trust- least three pay-TV or SVoD accounts, traditional sources. worthy as BBC and ITV, beaten only 61% are concerned over the rising Williams pointed out that the argu- by Freeview. costs of these services; and 42% are ment that younger audiences will

26 1 Netflix is now a member of the Trust Club (PSBs vs streamers)

Edeleman Net Trust Score 23 21 21 21 20 8 3 -3 -10 Other Online video streamers Pay-T V services

40% 38% 41% 47% 39% 32% 25% 25% 20% High trust High

-17% -17% -20% -26% -19% -24% -22% -28% -31% Low trust Low

2 PSBs are struggling to remain relevant to everyone, having to cater to diverse audiences

Gen Z Matures Richard Kendal

said that TV said that TV is aimed at is aimed at older people 40% younger people 47%

said that PSBs said that PSBs should reflect the should promote diversity of society 64% British culture 68%

probably switch from one media to be aimed too much at younger peo- Source for charts: Edelman source to another as they age cannot ple (chart 2). Clearly, the challenge to be taken for granted by broadcasters. fulfil the PSBs’ traditional role of pro- Overall, the data supports the grow- viding something for everyone is ing feeling that traditional TV is strug- become increasingly complicated. n gling to remain relevant to young audiences. However, it also reveals a Ed Williams, CEO UK and EMEA vice- matching belief at the other end of chair, Edelman, presented the research. the age table. While 40% of youngsters Report by Caroline Frost. believe TV is something “older people do”, 47% of mature viewers believe TV Watch the video at https://bit.ly/35k2Ruz

Television www.rts.org.uk October 2019 27 RTS Cambridge 2019 Session Ten The world has gone nuts!

Piers Morgan tells Christine Lampard that’s he’s only one vegan sausage roll away from being sacked

Christine Lampard: Do you wake The radical nature of debate these and it gets cancelled, no one gives you Qin the morning and decide what days has got completely out of hand. a participation prize. you want to rant about that day? We’ve got to somehow get back to Piers Morgan: I used to run a a world where we can have proper Christine Lampard: Social media A daily paper. And the whole point debate again because, otherwise, where Qhas changed the landscape for of it was that, every morning, if you’re do we go? young people – there are issues that running a newsroom with 400 people, We go to a place on Twitter after the weren’t there before. Do we sound you have to get them going with your referendum, or after Trump’s election, like old people when we say young opinions. and people go, “Well, how the fuck did ones have it so easy? So I think it was always in my DNA that happen? Everyone on my Twitter Piers Morgan: Bullying used to to be hugely opinionated about abso- feed agrees with me.” A happen at my school all the time, lutely everything. I try to work myself but when you got through the door of into indignant rages on most subjects. Christine Lampard: Do you think your home, you were safe. Now they Qthat the problem is down to the can get to you through your phone, Christine Lampard: And you snowflake generation? through your Instagram. It must raise Qget on TV, put the call out and, Piers Morgan: As the father of anxiety levels. actually, a lot of the time, people A four kids, I think we’ve gone On holiday with my kids, [I experi- come back agreeing with you? ridiculously soft. We’re breeding a enced] the nightmare of trying to post Piers Morgan: Somebody generation who are encouraged to a picture with my sons – it had to go A described it to me as: 2,000 years think that there’s no such thing as a through 40 different forms of filter. It ago we used to live in tribes, and you’d loss, but the real world is not like that. was ridiculous, trying to create a per- be with your tribe in your area. Then, What are we doing when our kids fection that doesn’t exist. very slowly and surely, we all met other just win all the time, or think they do? It’s a very vain society we’ve grown tribes who looked different, spoke They come 25th in a race and they get now, where everyone has to look per- differently, had different opinions – a medal – why? Kids get covered in fect; none of it’s real and we’ve got to and both tribes decided that the only cotton wool, come out the other end get back to reality. possible way to resolve things was to and say, “Hang on, the real world kill each other. And that’s where we’ve seems awful.” Christine Lampard: Where do gone back to, driven by social media. Well, it would do. If you have a show Qyou stand on Trump as a person

28 Piers Morgan (left) and Christine Lampard

Christine Lampard: Do you think Christine Lampard: Should big Qhe listens to you? Qsporting events be shown on Piers Morgan: I know he does. national TV, not just pay-to-view? A He follows 33 human beings on Piers Morgan: We recently had Twitter and I’m one of them. I’m the A the Cricket World Cup [final] on only Brit he follows. He knows more terrestrial, and you can see how good about Arsenal and cricket it was for the national than you could possibly psyche that millions imagine. ‘I’M THE of us could share in I did a column about it. It turns these guys trophy hunting, encour- ONLY BRIT into superstars, which aged him to take action encourages more people and, within three weeks, PRESIDENT to play cricket. he had taken action to ban TRUMP Sky does an amazing trophy hunting. job but very few watch On guns, I interviewed FOLLOWS it compared with terres- him in Davos after the ON trial TV, and that filters terrible massacre in Las down to schools and Vegas. I said, “You’re a TWITTER’ village teams. logical person. Explain to Do we want cricket me what purpose a bump to end? If not, it’s incum- fire stock serves other than turning bent on broadcasters to do deals legal weapons into illegal weapons,” where more stuff is put on free-to-air and he couldn’t. television. And, three weeks ago, Trump announced the ban on bump fire Christine Lampard: How much stocks. It’s a small thing but it helps, Qlonger are you going to be on TV?

Richard Kendal and it’s more than has been achieved Piers Morgan: I am one vegan on gun control in America than any- A sausage-roll wrap from being and the UK’s relationship with the thing Obama did in eight years. fired. But being fired has always been United States? a good career move for me. Piers Morgan: I wouldn’t vote for Christine Lampard: Are you I think people worry too much about A Trump, he’s not my politics – I Qraising your daughter differently being fired. We are all going to get fired just predicted that he was going to win. from your boys in a society that has at some stage. Also, I wasn’t taken in by the Obama gone gender-neutral mad? The truth is, you have to embrace years in the way that my liberal friends Piers Morgan: I think you can the highs and lows. It starts in schools. were taken in. He was “Saint Barack” A be completely supportive of We have to teach the kids that it does and now we have “the Devil Trump”, transgender rights and absolutely not matter whether you win or lose and I say that neither is what the respectful of anyone who transitions – if you lose, it hurts, and it’s got to general populace perceive them to be. – I can’t think of anything tougher hurt, so you get better. I don’t think Obama was that great, – but you’ve got to discuss things At the moment, kids love losing and I don’t think Trump is as bad as such as gender seriously. It has real because they get a nice medal. Stop liberals make him out to be. In fact, the repercussions. giving the children medals, everyone! over-demonisation of someone like Sam Smith last week made a huge Trump rallies his base. Right now, I deal of saying, “I’m now non-binary, Christine Lampard: Would you would lay even money that Trump’s gender neutral.” OK, which category of Qgo into the jungle? going to get re-elected. awards are you going to be entering? Piers Morgan: Let me make this Same with Brexit here, you demonise What happens to awards? If enough A crystal clear: £5m is my required the Brexit supporters, it just makes people are doing what he’s doing, amount. You want to pay me that, them stronger. If there were another do we then have to abandon gender Dame Carolyn, I’m on the plane. n referendum tomorrow, Leave would awards? Who wins or loses when win by a mile. that happens? In Session Ten, journalist and broadcaster No one can tell me 17.4 million peo- I think female actors and singers Piers Morgan was interviewed by pre- ple are stupid, racist idiots, but liberals would get disadvantaged in that envi- senter and broadcaster Christine Lampard. have become so self-righteous… ronment. Just like, at the moment, The producer was Emma Gormley. Report OK, see how it goes in 2020, because you have transgender former men by Caroline Frost. I don’t see a candidate yet who can competing in [women’s] sport – it is beat Trump. grotesquely unfair. Watch the video at https://bit.ly/35k2Ruz

Television www.rts.org.uk October 2019 29 RTS Cambridge 2019 Session Eleven

Keynote: Alex Mahon

EO Alex Mahon made television is generally global”, each a forthright defence of The Channel 4 CEO territory was an aggregate of “a collec- Channel 4’s place within argues that PSBs need tion of multiple smaller landscapes.… television’s new ecosys- Each one is relevant to itself and often tem. She said that chan- supportive regulation to to its neighbours; each containing nels such as hers were protect local voices that something important not just to those “a vital counterweight to the growing within it but also universal.” concentrationC of power that is in the To streamers, all of Britain was “just reflect UK viewers’ lives hands of just a few tech behemoths, one of many locals”, she insisted, but [which] increasingly decide what we Drug Lords. Her key concern was that Channel 4 could give a national plat- read, what we watch and what we “the television of our future will not, form to “untold tales and unheard listen to”. and is not being designed to, reflect voices” and take new talent or new Mahon highlighted the importance Britain back to itself – to bring the brands “from obscurity to national of Channel 4’s programmes, which nation together at particular moments, visibility”, where – as in the case of added “piquancy to large domestic to inform and educate a particular Black Mirror and Top Boy – they were audiences”. She said that they reso- society or to care about any kind of then snapped up by Netflix. nated “in a way that’s important and social cohesion”. “The need for us is greater than big enough to be important to our She acknowledged that “people [in ever,” said Mahon, adding: “We are whole society”. TV] tend to dismiss something that is the youngest-skewing public service However, in today’s TV, “the direction local [as] quaint, a little bit retro” and broadcaster in the world.” But she of travel is not local, it’s about scale, it’s assumed it “to be parochial”, and lack- acknowledged this meant being “more about control… to be the biggest… get- ing heft and relevance. responsive” to the rapidly changing ting content to work trans-territory, But, argued the Channel 4 boss, in demands and fears of young audiences scaling it around the world with as little many other areas of business, “the growing up in a period of economic need to adapt it” as possible. focus of growth is in fact on localism… and political instability, while being Now two years into her new role, universal meaning and universal fasci- available “where they want”. the former CEO of Shine Group and nation – a return to craft, to the atelier, Quizzed by John Hardie after her Foundry said in her keynote speech at the boutique... it doesn’t depend on speech, the former ITN CEO voiced the Cambridge that, from some angles, TV scale to succeed”. concern of some that, in an age where production seemed to be following the Such programmes grew because of rights were king, Channel 4’s business same model as the global food and their independence and “grass-roots” model put it at a disadvantage. He said drinks industry. It was prioritising “sim- appeal, she said, and could be success- Ofcom had noted that the risks to the plicity”, and was exporting the “same ful when they expanded their appeal, broadcaster’s sustainability were grow- recipe to lots of different markets”. [exporting it] “beyond each locality” to ing, citing “the pincer” of global giants “Don’t get me wrong,” she added, “become general”. and the volatility of the advertising it was a “successful model” that had Mahon reminded the audience that, market as threats. “funded a golden age of television.” although “the direction of travel in He also recalled how Channel 4 had However, she went on, “as viewers, helped to build brands such as Black perhaps we should be wary of a future Mirror, asking: “Even if those producers that is controlled by the biggest players decide to leave you, having made them in tech”, with people consuming con- ‘WE ARE THE famous, shouldn’t you be able to par- tent on Android or via Alexa. YOUNGEST- ticipate in the long-term wealth you’ve Mahon explained: “When it’s some- helped create?” thing such as Orange Is the New Black or SKEWING Mahon responded: “We have a rights When They See Us or Stranger Things, it’s PUBLIC SERVICE deal with [producers body] Pact, and great. When the streamers are good, with indies and suppliers that we par- they’re very, very good.” But, alongside BROADCASTER IN ticipate in, but just not at the same those titles, she maintained, there was level as if we were producers. On the a “lot of the same”, such as docu-series THE WORLD’ other hand, we’re not weighed down

30 ‘[PROMINENCE IS] THE BIGGEST WIN WE CAN HAVE IN TERMS OF REGULATION’

the universal out of them”, then broadcasters risked irrelevancy. Mahon agreed with Hardie that, “our job is to make sure the barriers to entry for new talent in the UK TV sector are low”, and companies should expound diversity. But she disagreed with his notion that Dorothy Byrne’s MacTaggart Lecture this summer, in which Channel 4’s head of news and current affairs described Boris Johnson as “a known liar”, meant that “Chan- nel 4 was now back in the cross hairs of certain Tories”, saying: “I don’t think the ghost of privatisation is there, no.” Mahon concluded that Channel 4 and the other PSBs could be “authenti- cally local, powerfully national and genuinely international”, but needed support from the government and Ofcom to achieve things such as prominence on the new platforms. “I’m asking for assistance to ensure that our framework is up to date for the digital age. “The EPG [electronic programme guide] regime was developed 20 years ago and that’s the last time legislation was updated. At this stage, as broadcasters, we have no protection for how our content is sourced on an Amazon Fire Stick or Samsung smart TV, or on

Richard Kendal any other device you might use to bypass an EPG and access content. with having to run the large produc- A prime example of how local mat- That’s the biggest win we can have in tion part of that. tered to viewers was Brexit, said Mahon terms of regulation. “The main issue about diversification – an issue not of great concern to “If we wait three years or five years for us is about exposure to the advertis- global streamers, “given the low likely for that, we will have sleepwalked into ing market; it’s not necessarily about demand for that content outside the an age where public service has rights ownership and… missing the UK”, but of huge importance to PSBs, declined in this country.” n profits of rights ownership.” “as Brexit will shape the life of every- She said that public service broad- one in the UK, and the younger gener- In Session Eleven, ‘Keynote – Alex Mahon’, casting was more important than ever ation in particular”. the CEO of Channel 4 was interviewed as a trusted source, arguing that, on Referring to Channel 4’s drama Brexit: by John Hardie, former ITN CEO and YouTube, “viewing is fragmented and The Uncivil War, she said: “In this age of editor-in-chief. The producers were siloed, and the content is largely unfil- Brexit, there is much criticism of being Sue Robertson and Martin Stott. Report tered and often of a different calibre.… inward-looking… but if you don’t reflect by Tara Conlan. It can sit alongside the misleading, the people’s lives to them by entering their dishonest and, at times, the harmful.” own personal landscapes and drawing Watch the video at https://bit.ly/35k2Ruz

Television www.rts.org.uk October 2019 31 RTS Cambridge 2019 Session Twelve Mad Men vs Math Men

he television industry has reached another inflection point – people have an infinite amount of choices, which means media companies and marketers are clamouring to find and to build scale,” ‘saidT Linda Yaccarino, Chair of advertising and partnerships at NBCUniversal. “That scale allows marketers to reach more people and grow their businesses. “The need for scale is why we’ve seen so much consolidation across the media industry, including Sky joining Comcast NBCUniversal – and today you can’t achieve new scale without going global.… “At Comcast NBCUniversal… we put… people at the centre of our strategy; we build scale… towards a shared vision. [This] means doing every part of your business the right way. “Most of the time, it’s pretty obvious: use data safely; act with integrity; acti- vate your moral compass; have the common sense and the courage to choose what’s right, rather than what’s easy or fast.… “Our entire business always has been and always will be centred on consumers, audiences and viewers; in a word, people. It’s our responsibility to adapt and evolve, to give consumers the best possible experience. And when we engage and serve those consumers better, we also create better opportunities for our brands and our advertisers…

“Data is just a tool to make better Richard Kendal decisions.… Just like an algorithm will never replace creativity, it should companies from reaching their full Session Twelve, ‘Mad Men vs Math Men never replace our responsibility to potential. This partnership – Comcast – will data kill advertising?’, featured a people. In other words, data won’t kill NBCUniversal and Sky [2018] – has keynote speech from Linda Yaccarino, advertising, bad decisions will. already been successful.… Chair of advertising and partnerships, “Data can tell you what to do; it can’t “Together, we’re building a new NBCUniversal. The session also featured: tell you how to do it. It’s up to us to global news service to serve a global Philippa Brown, CEO, PHD; Rupert Ell- choose the right path forward and put audience, and we’re leveraging Sky’s wood, partner and head of marketing consumers first.… experience to help us build NBC’s new communications, Waitrose; and Nils “I’ve had a front-row seat for two of streaming platform, Peacock, to ensure Leonard, creative founder, Uncommon the biggest mergers in media history we give consumers the best possible Creative Studios. It was chaired by John – AOL [and] Time Warner [in 2001] and experience. We’re developing a new Gapper, chief business columnist and Comcast [and] NBCUniversal [in 2011]. global advertising business, inviting associate editor at the Financial Times, “As we know, one of them went brands in because marketers need and produced by Sue Walton. Report by much better than the other.… Back in global options that they know are Matthew Bell. 2001, competing divisions and cultural strongest when they bring premium differences disabled the two content together with people.” n Watch the video at https://bit.ly/35k2Ruz

32 Richard Kendal Long-term brand building depends on TV

Financial Times business columnist Above, from left: Nils Leonard, Rupert NBCUniversal works with US late- John Gapper introduced this session on Ellwood, Philippa Brown and John Gapper night host Jimmy Fallon, who, she said, the battle between data analytics and had ‘significant global appeal, with creativity in advertising with a question: ‘Briefs from clients are [now] much 20 million YouTube subscribers to his ‘Commentators such as me often sound more short-term in their nature,’ said channel.… We entered into an agree- the death knell for the entire industry, Philippa Brown, Chief Executive of plan- ment with him and T-Mobile, in the US but is it smarter and more resilient than ning and media buying agency PHD, one of the biggest wireless companies, we think?’ rather than being about ‘long-term to launch a massive campaign. Nils Leonard from creative agency brand-building, which, of course, TV is ‘[This does] all the things the YouTube Uncommon admitted that the adver- the number one at doing’. influencers do, but it uses the massive tising industry had been guilty of force- She added: ‘I wonder… [with] the pres- scale that Jimmy Fallon and The Tonight feeding people ‘unbelievable amounts sure on people’s businesses… that they Show have to push their products of shit’. He added: ‘And I think the danger don’t want to hear [the advice], ‘It might forward.’ is that we’re replicating that behaviour take a year, two years, to start shifting ‘What does a good ad do for a com- digitally – nothing’s changed.’ some of those behavioural metrics that pany?’ asked Gapper. For Uncommon’s Waitrose’s marketing chief, Rupert Leonard, the answer was that ‘the best Ellwood, argued that the word ‘digital’ work [takes] a really ambitious client… was a misnomer: ‘Everyone talks about ‘TV IS THE MOST to people in a way that’s new, surprising, ‘digital’ as something separate from emotional, powerful and funny’. ‘marketing’ but, for me, it is just market- TRUSTED MEDIUM Waitrose’s Ellwood argued that TV ing. It’s an opportunity to connect with IN MY VIEW’ advertising reigns supreme at building customers.’ brands ‘over a long period of time’. He The supermarket gathers data from added: ‘It is hard to justify the spend, and the 7 million customers in its loyalty will then build [your] brand and lead to I spend a lot of time internally educating programme and ‘we work with third sales. I think, nowadays, marketers are people… but it is absolutely tried and parties [to] target those customers in an opting for easy answers.… I guess it’s our tested – if you want to build a brand in appropriate way. But it’s done in service role as media and creative agencies to the long term… you have to advertise on of them, in terms of helping them; it’s challenge that thinking.’ high-profile channels such as TV.’ not about a hard sell,’ he said. Linda Yaccarino, Chair of advertising PHD’s Brown, who is also Chair of the Ellwood added: ‘We don’t fall into the and partnerships at NBCUniversal, Advertising Association, revealed that trap of annoying customers or over- revealed that her company ‘broke the one of the key challenges in the indus- loading them with information that they billion-dollar mark this year in digitally try was consumers’ ‘diminishing trust don’t want.’ native advertisers’. in advertising’. Specifically, people felt The supermarket uses social media She talked about the power TV still ‘bombarded’ by online advertising and ‘influencers’, although Ellwood preferred has to promote brands. ‘There’s a lot anxious about the personal data the the term ‘friends of Waitrose’. He contin- of talk today about using social media platforms held on them. ued: ‘They’re people who know us and influencers… but the celebrities that But, she continued, ‘Trust is a real sell- love us; they just happen to have a lot of are on television are actually mega- ing point for television – it is the most followers on Instagram.’ influencers,’ said Yaccarino. trusted medium in my view.’

Television www.rts.org.uk October 2019 33 RTS Cambridge 2019 Session Thirteen

Keynote: Tony Hall

arlier, the RTS convention leader highlighted the strength of the had been told that, as In turbulent times, the corporation’s own range of content a brand, Netflix today BBC should play to its across TV, radio and online. enjoyed the same high The iPlayer was changing from a levels of public trust as strengths in trusted catch-up service into a destination in the BBC. As for the Tik- its own right. “iPlayer is going to be Tok-using, mobile-addicted members news and national total TV,” predicted Hall. “It will offer ofE Generation Z, the BBC looked to be the very best of the BBC – all in one storytelling completely under the radar. place – playing to our strengths: our Now it was the time for Tony Hall, the best of home-grown creativity. “If liveness, the breadth of our genres and BBC’s Director-General, to respond. He – going forward – we get our storytell- storytelling, the fact that we’re both did so in a wide-ranging, troop-rallying ing right, and harness the power and local and global.” speech, and argued that, in today’s age potential of British creativity, then we BBC News online was more popular of uncertainty, characterised by propa- can help ensure that the UK is well for young audiences than either You- ganda and disinformation, the BBC and placed to take a lead in the next Tube or Facebook for news, according public service broadcasting were more economic revolution,” he said. to recent research by the Reuters important than ever. The UK was one of the world’s Institute. In this landscape, Hall insisted, most creative digital players. It had On the sensitive topic of diversity, the opportunities abounded for the BBC. the power and potential to own and DG claimed that the BBC’s 50:50 project Trusted, accurate news and storytelling exploit an abundance of intellectual had transformed the balance of male reflecting the lives of people in the property. and female contributors across the BBC UK were vital to inform and entertain Referring to what he called the sec- in a year. “Radio 2’s on-air line-up is British audiences. Fleabag, days later a ond wave of digital disruption, as Dis- now radically different. Twenty per cent multiple award-winner at the Emmys, ney and Apple prepare to launch their of our highest-profile presenters are was one show that exemplified the direct-to-consumer services, the BBC from BAME backgrounds,” he added.

34 But how does the corporation On the vexed question of free televi- remain successful globally when faced sion licences for the elderly, the DG by new competition, Hall asked rhe- said the BBC had spent a year carefully torically. “I believe we’ll do it by doing considering options for the over-75s. something different: by being the best It had made a clear decision: “We have people to tell the stories of the UK to carried out the agreement we had with the world. And by telling the ‘world’s the then Conservative Government to stories’ to the world, but with a distinc- the letter.” tively British set of values.” Finally, Hall stressed why it was Perhaps the BBC’s most important vital for the BBC to be a place where global role was in news, he argued. the most talented people wanted to New investment by government in the work, and do the work they would be World Service had boosted audiences remembered for. He said: “We start by 13% in one year, but Hall hinted that with a great advantage. People want to more funds would be needed. join an organisation that has a public His Dark Materials

He wanted the BBC to help make BBC purpose, a social purpose, and a clear the UK “a focal point for the fight-back mission.” n against disinformation and propa- recent highlights: the launching of BBC ganda”. Deliberate disinformation Studios on the path to success, new In Session Thirteen, Tony Hall, Director- threatened human life and the integ- investment in the UK nations, more General of the BBC, was interviewed by rity of the democratic process. The money for children’s content (includ- Beth Rigby, political editor of Sky News. corporation wanted to lead and sup- ing the launch of a new app), integrat- The producers were Sue Robertson and port academic research on the impact ing the bulk of UKTV into BBC Studios, Martin Stott. Report by Steve Clarke. of fake news. and the coming launch of BritBox (its Summing up, Hall namechecked online partnership with ITV). Watch the video at https://bit.ly/35k2Ruz

[in the Conservative leadership journalists are interviewing campaign] was putting forward politicians. Is it? QUESTION was under Andrew Neil. Tony Hall: Well briefed,

Richard Kendal I also think the point at which A policy-driven interviews, & ANSWER those seeking your vote meet the where people are held to account audience – the Question Time format by people who know what they are – is really important, too. doing, are absolutely essential. Beth Rigby: What do you Our job is also to say: “How can Q make of the fact that No 10 Beth Rigby: Trust in news X argue that and Y argue that?” We will not put forward the Prime Q organisations is contested should call those things out and do Minister to appear on Today? as never before. What does the thorough things such as Reality Tony Hall: It is really important BBC do regarding accusations Check.… In an era of misinformation A that people put themselves up… of institutional bias? and spin we need to do that more. on Sky, Channel 4, ITV, as well as Tony Hall: Support your the BBC, for long-form interview.… A journalists.… Remind people Beth Rigby: How would I think those places where people of the values you stand for. Our Q you feel if one of your in power can be quizzed at length, newsrooms need to do more to presenters said to a politician being not just on the hop somewhere in a explain what good journalism is interviewed: “You’re a liar”? grabbed moment, are absolutely key and the pressures on journalism.… Tony Hall: I wouldn’t use and we should do everything we can We’ve also got to stand back – A the word “liar”. I’d say, “Just to encourage politicians to come there is so much passion and noise hang on, this is not what you said on.… We’ve got to make a song and out there. Evidence-based journal- [before]”. Andrew Neil already dance and say you should come on ism is how we operate.… That’s get- does it., presenting people with these programmes.. ting even more difficult in a world the evidence of what is actually where you see the polarisation of happening. Beth Rigby: How can you fulfil “I don’t want to hear anything I [Recall] what Andrew Marr said Q your part of the bargain to disagree with”.… to Nigel Farage two or three months hold power to account if those in When I look at our data, people ago, when he said: “Hold on, here’s power dodge your shows? may not come to the BBC first, but what you said in the past, this is Tony Hall: I agree with you on they come to us to [check out] what you’re saying now.” A the problem. We’ve decided what’s happening. I go back to evidence-based jour- that Andrew Neil is coming back on nalism and thoroughly holding peo- BBC Two once a week at 7:00pm.… Beth Rigby: Dorothy Byrne ple to account. We need to do that The one place where you had a Q asked in her MacTaggart more today than at any other time head-to-head, forensic examination Lecture if it was time to start in our history, because there’s just of the policies that each candidate using the L-word when broadcast so much rubbish out there.

Television www.rts.org.uk October 2019 35 RTS Cambridge 2019 Session Fourteen Keynote: Reed Hastings

Netflix’s CEO explains why he is relaxed as he prepares to face competition from Apple and Disney

t this year’s Steve of his algorithm. The company he Convention, reflecting calmly on the Hewlett Memorial co-founded is now worth $115bn, with new TV-scape. “It is fair to say that Lecture, former BBC 150 million users worldwide. while we’ve been competing with many Director-General The more challenging news is that people over the last decade, it is a whole Mark Thompson Netflix no longer has the status of dis- new world. Sometimes, you do your best recounted a conversa- ruptive new kid on the block. After work when you’re really challenged.” tionA he had had with Netflix CEO Reed years of enjoying its unique position as Despite his interviewer Kirsty Hastings in 2007, during discussions leading provider of online TV content, Wark’s comment concerning so many concerning the launch of the iPlayer. the bingeing behemoth is preparing to new fingers in the pie – “If you’re not According to Thompson, Hastings told face a catalogue of competition. At eating, you’re on the menu” – Hastings him: “I don’t know why you’re bother- least eight rival SVoD providers are set said he believed that competition for ing, Mark, you’ll never beat my algo- to join the race for viewers, including Netflix viewers lay elsewhere. “It’s in rithm. Why not just give us all your Disney and Apple, whose deep pockets other pursuits, gaming, YouTube, all the content instead?” exceed those of Netflix. things people do to relax. In our most More than a decade later, the good If Hastings was feeling flustered, he developed countries, we’re about 10% news for Hastings is that he was on the showed no sign of it as he made his of the time the TV is on. money when it came to the power debut appearance at the RTS Cambridge “What am I scared of? That our

36 ‘WE’RE TRYING TO GROW UP A LITTLE… SHARING

employees will focus on competitors. DATA WITH “Public broadcasters around the What we have to focus on is how we PRODUCERS world are moving to the internet. The please our members. It’s up to us to BBC started as a radio station, expanded take their money and convert it into ABOUT HOW THE to TV, and there’s no reason it won’t shows that they want to watch.” SHOWS DO’ expand to iPlayer.” Thereby lies another challenge. Some If PSBs are having to evolve, they’re big gaps will soon appear in Netflix’s not alone, it seems. After Netflix’s early catalogue, with the expiry of licences of Hastings admitted that Fleabag is the years of playing poker with rival some of its most popular shows, includ- one show he wished he had on Netflix Blockbuster, the company is becoming ing the eternally popular Friends. Still, (he was outbid by Amazon) and was more open in its dealings, its audience Hastings appeared unruffled. keeping very quiet over any exclusive figures and its spending. “We’ve known this is coming. We’re talent deals in the pipeline. “We’re trying to grow up a little,” said a little bit surprised it took this long,” he However, the UK is already Netflix’s Hastings. “We’re trying to learn, sharing smiled. “We’ve been preparing for this biggest centre for production outside data with producers about how the moment since 2012, by building up the US, and it seemed its boss was shows do. capacity with movies and TV shows, unfazed by the prospect of writing “Top Boy is number one on Netflix and we feel good about shifting our some even fatter cheques for our finest today. We’re testing the Top 10 in the consumers’ money. Instead of licensing talent over the coming year. “We had a UK.” As for sharing data externally, shows, we’ll be creating new shows. good start. We look forward to doing a “I’d have Barb or Comscore extend “We’ve got seven seasons of Orange lot more, a very large increase in how their technology”, he suggested. Is the New Black, we’ve got Grace and much content is produced here in the “Nobody wants to rely on us to provide Frankie, we’ve done a Seinfeld deal [for a UK. This year we spent a little over our figures.” reported $500m] that won’t start until £400m. We won’t be doubling that, but Other areas for change are dealing 2021. There are a lot of great shows that it’ll be a big increase.” with different global cultures and haven’t been announced yet.” Hastings praised the UK’s long and embracing diversity. “Within Europe, Hastings confirmed his ambitions to strong storytelling tradition, and a pow- there aren’t too many tensions, in Asia follow the success of Oscar-winner erful and established production infra- we’ve had to make some adjustments, Roma with more cinema success. “We structure. He stopped short, though, of with respect for hierarchy and age. To started strong in series, now we’re seeking to purchase either facilities give direct criticism is hard.” trying to expand into film.” houses or production companies. As for diversity, “It’s a cultural shift, All of this will mean more choice for Apart from the company’s long-term a huge responsibility, and we’ve got consumers, but also a new golden age lease on Shepperton Studios, he stressed: more female directors, female writers,

Richard Kendal for producers. Hastings said: “It’s going “We’re really about trying to find great and also below the line. We’re very to be unbelievable in the next couple stories, not locations and buildings. committed there, also on sexual orien- of years, you’ll get to bid your titles We’re not in the acquisition business. tation, race and nationality.” across multiple players to compete We’re trying to find boutique special One thing that won’t change soon is with Netflix, then we’ll raise the bid, so things from all over the UK, individual Netflix’s original USP: dropping whole it’s going to be fantastic. Some day The talents and companies, with lots of series to binge-view in one go. Despite Crown will look like a bargain.” expertise in markets around the world.” Disney’s planned weekly release It’s not been cheap for Netflix so far. Netflix’s increased presence in the schedule and his own company’s The company carries an estimated UK brings with it more scrutiny of the occasional experiments with the likes $32bn of debt. Hastings’ bemused company’s approach to the PSBs. Are of Bandersnatch, Hastings insisted: reaction? “We’re clearly paying too they friends or foes? “Binge viewing is the essence of what much for content.” “A little bit of both,” explained Hast- viewers love about Netflix. We’ll be Or they need more subscribers – up ings. “We push people to iPlayer and sticking with that. We’re always trying to another 100 million. Will the growth All 4, but we also make co-productions to please our members because that’s come from the Asian market? “The such as Watership Down and Bodyguard, how we grow.” n possibilities the internet brings for which increases their budgets.” growing entertainment are phenome- He was asked if he felt Netflix had In Session Fourteen, Netflix CEO Reed nal. We’re producing all over the world.” too much power. He responded: “That Hastings was interviewed by Kirsty Wark, One area firmly in his sights is the can be a risk in society [but] we only journalist, broadcaster and writer. The UK, where, he said: “What we’re trying win about 5% of TV viewing hours. producer was Alan Clements. Report by to do is have a set of shows that are We’re definitely trying to be supportive Caroline Frost. provocative, diverse, interesting, novel, of the iPlayer becoming popular, the that we all talk about.” same for All 4. Watch the video at https://bit.ly/35k2Ruz

Television www.rts.org.uk October 2019 37 RTS Cambridge 2019 Session Fifteen Can streamers funded by subscriptions or ads coexist – or will one model come to dominate?

You gotta have a stream

ill the future of business to get into – it’s why it’s taken much-loved classics from the past… streaming be us a long time to get here, aside from multi-series box sets… then, things defined by SVoD our partnerships and the regulation we coming out of the commercial win- (subscription face. But we’re taking it really seriously dow, whether that’s 30 days for the video-on- and we’ve got brilliant content budgets, commercial broadcasters [or] iPlayer’s demand) both for acquired [and] original pro- new one-year [period]. or free, advertising-funded video- gramming… which takes quite a long “We think it makes loads of sense on-demandW – or can they both prosper? time to build.” to close up that ecosystem. The most Those were the big questions addres Original programming would be com- frustrating thing people talk to us sed by BritBox launch director Reemah ing on stream next year, said Sakaan, but about is: where does everything go?… Sakaan and Viacom International was unlikely to be present “at launch”, It kind of disappears… [they] have to Media Networks chief David Lynn. which would feature a mix of catalogue buy a single episode and download it.” Speaking on the day that the “best of shows, exclusives and premieres. As Sakaan reported to ITV director of British” SVoD announced a deal with Garvie asked if she was worried television Kevin Lygo, did it mean that Channel 5, Sakaan was asked by ses- about the move to put shows on ITV paid more for content to get the sion chair Wayne Garvie how she was iPlayer for a year. Sakaan replied: “It’s rights, asked Garvie. “We sit in a bril- going to “persuade my mum and dad clear what we’re about – some of it is liant position to have conversations to spend £5.99 a month on BritBox”? with producers and distributors about She said, in the first instance, that the full life cycle of a show. Of course, it was important to show customers we pay market rates and for our usage. what they could expect to see, so ‘PEOPLE PERHAPS There are also huge benefits doing that advertising and marketing were key. deal upfront,” replied Sakaan. Sakaan explained: “We’ve got a fan- HAVE AN APPETITE Another new entrant to the UK mar- tastic armoury of rights… also lots of FOR A LOT MORE ket is Viacom’s advertiser-funded new things.” She would not talk budg- streamer Pluto TV, which offers free ets but said: “This isn’t a cheap SUBSCRIPTIONS’ TV with the catchline: “No bills, no

38 From left: Wayne Garvie, Reemah Sakaan and David Lynn

in that, first of all, it’s live linear-TV. When Garvie pointed out that none Second, it’s advertising-based. Third, of these services made money, “they it has channel brands. So it’s differen- are loss-makers”, Sakaan countered: tiated [from] what’s happening in the “BritBox in the US is ‘washing its face’ rest of the market and is catching on after two years, so absolutely not. in the US.” These are long-term strategic plays.” Lynn said that, when Viacom bought But she admitted that there was “a Pluto in January this year, it had an lot of pressure on pricing and a lot of average of 12 million users. In six price inflation in the rights market”. months, that had grown to a monthly Inevitably, there was churn in any average of 18 million. Explaining its subscription business, but Sakaan said success, he said: “We believe that cura- BritBox was learning how to manage tion of channel brands is something customer acquisition and retention. that’s valued by the consumer.” Lynn said: “There are a lot of people Garvie described some of its current moving into the industry at the content, such as Ireland’s Greatest Robber- moment and we’ll see how that plays ies, as “a bit McDonald’s to Apple’s Nobu”. out.… I think that you’re going to end Lynn said content for the UK version up with several different types of ser- was still being worked on, but pointed vice. People perhaps have an appetite out that, in the US, the service had for a lot more subscriptions than [has 200 channels and 165 different content been] recognised before.

Richard Kendal partners, and was planning to roll out “Ultimately, it’s about content and internationally having already done [especially] premium content, and deals with mobile and Fire TV. But there that’s why Viacom merging with CBS were no plans to make original shows. puts us in a strong position… in an Both Sakaan and Lynn agreed that increasingly competitive market. We channel brands were important to help have 750 series in production across viewers navigate the vast acreage of the two companies at the moment.” content, with an estimated 260 stream- Garvie said he suspected that, when ing services in the US alone. the Cambridge session was originally contract.… Pluto TV brings back the Lynn explained the value of channel designed, the idea was that “there linear-TV you love.” brands: “People find it difficult, despite was going to be a punch-up” between Garvie described it as “great for an all the algorithms, finding the next SVoD and ad-based VoD. But he old bloke like me… it’s like a linear-TV thing they want to watch on SVoD thought he knew the answer he was experience, quite old-fashioned… [but] is services. That’s one of the advantages going to get when he asked the pair: it going to work for anyone under 50?” of our curated service on Pluto. We’ve “Which is the better one, which is However, Lynn revealed that it had done research on this: 83% of people going to survive?” “the lowest age profile of any service. are more likely to watch content if it [is] Lynn responded first: “Both – I see More than 50% of the audience is aged a channel brand… people are finding it it as market segmentation. You’ve got 16 to 36 in the US market. It’s easy to difficult to judge what they should premium services, you’ve got mid-tier use, you download the app and it’s watch next.” services and you’re got free services.” streaming video from that moment.” There was a lot of “talk of aggrega- He pointed out that the birth of Sky Viacom has worked hard on the tion and subscription fatigue” at the didn’t lead to the death of free TV. distribution and Lynn said it was now moment, but “sub-tigue” was not hit- Sakaan agreed: “Linear-TV, SVoD and available on all connected TVs and ting BritBox in the US, claimed Sakaan, AVoD will exist for a very long time.” n mobile services. He added that Viacom who said that “the second wave of was working with its satellite partners subscribers coming into SVoD are Session 15, ‘You gotta have a stream’, to make it part of their services. more like the audiences we know”. featured: Reemah Sakaan, group launch “It’s a lean-back experience,” he Viewers these days were probably director, BritBox; and David Lynn, Presi- explained, and a place that, particularly facing “more [of] an economic equa- dent and CEO, Viacom International Media in the US, very few were playing in, tion”, she agreed, but calculated that, “if Networks. It was chaired by Wayne Garvie, making it, “the biggest in the free- you took Netflix, Amazon, Now TV and President, international production, Sony viewing space”. BritBox, [and] even if you had Apple Pictures Television, and produced by Vivek He continued: “It’s very differenti- TV+ and Disney+, it would still collec- Sharma. Report by Tara Conlan. ated from a lot of the other offerings tively be half the price of a full-fat in the marketplace.… Pluto is different [pay-TV package]”. Watch the video at https://bit.ly/35k2Ruz

Television www.rts.org.uk October 2019 39 RTS Cambridge 2019 Session Sixteen

What will it take to end working-class exclusion from positions of influence in the media, asks Lorraine Kelly

eteran presenter Lorraine Kelly led a storming session on the challenge of social mobility in the TV industry, telling the Cambridge audience it was “a miracle I’mV standing here talking to you”. Thirty-five years after the Scottish presenter first appeared on our screens, she remembered: “My TV career was almost over before it began. Being working class when I started out meant a lot of doors in telly were firmly closed to me.” Born and raised in the Gorbals, in Glasgow’s East End, the daughter of a TV repair man, Kelly gave up the chance to be the first in her family to go to university. Instead, she applied for a job on a newspaper. She got her first TV break in Blow the 1983 as a researcher at BBC Scotland. Once she made it into the industry, she still found the career path for someone of her background heavy- going. She was constantly sent out to bloody do vox pops, and recalled being told: “Punters will talk to you. You’re one of them.” And one particular comment brought home to her the continuing doors off! class divide. When she was auditioned for a reporter’s job, she was told: “You’re never going to make it in television. Your accent is appalling.” in, even to this day. Once, when she she said. “Where I’m from has cer- Instead, she made it on to the screen and her colleagues were apportioned tainly helped me to be better at the the following year as Scotland corre- responsibilities for a travel segment, sort of job I do.” spondent with ITV breakfast station “one got a trip on Concorde, one went However, she stressed her concern TV-am. There, she credited her Aus- to the Seychelles, and I got sent on a that stories such as hers were few and tralian boss (Bruce Gyngell) for being coach trip with old-age pensioners to far between, with the industry’s doors open-minded enough to give her a go: Bavaria. It’s tough to shake that off.” remaining closed to many. “Australians don’t care about class.” Producers’ prejudices extended to During the session she introduced She also cited one former news planning meetings, she said. “My audi- several students on the RTS bursary editor, a working-class Northerner, as ences were referred to as Tracey Tower scheme, which supports young people “a champion of reporters who were block – so patronising. Not everyone from less well-off backgrounds. working class, because he was himself, has a car or a garden, not everyone can Among then was Sarah, a mum from and he wanted to give us a hand up”. afford to go on holiday abroad, but I Northern Ireland living on benefits. She added: “I think that’s what we would never patronise my audience.” She explained: “Your parents have a should all be doing.” With her star status long established, tendency to want you to go into an Despite her longevity in the industry, Kelly has clearly proved those early office job and make money, because Kelly said her background had always doubters wrong. “I’m proud of where that seems more logical.” made her feel on the outside looking I’m from, and I think it’s my best asset,” Determined to pursue her dream of

40 working in TV, Sarah found her path Ofcom’s director of content and blocked by a lack of contacts. Instead media policy, Vikki Cook, told dele- ‘WHERE I’M FROM she turned to waitressing jobs. gates that, while she welcomed aspira- It was only with the help of the tional targets across the industry, she HAS CERTAINLY bursary initiative that she felt able to was concerned by the prospect of HELPED ME TO BE return to education: “I feel part of the more schemes designed to bring one family, I feel supported.” or two new faces into an organisation. BETTER AT THE Sarah will be given a mentor in her She said: “I’m really keen that we SORT OF JOB I DO’ second year of study. While her ulti- don’t get diversity fatigue. I want us to mate dream was to produce, she look at inclusion – it’s about culture, added: “I’d love to have as many it’s about how to change this industry, strings as possible to my bow.” so it really looks and sounds like the Another bursary student, Donald, audiences it’s broadcasting to.” from Stirling, said he suffered from a She added: “I don’t think there’s a lack of role models in TV journalism chief executive who’s spoken at this because of his ethnic background. conference who doesn’t get it. You’ve With the exception of George Alagiah got the entry level, where there’s an and Clive Myrie, he reflected, “there awful lot of focus, and you have this aren’t really people who you can see frozen middle. That’s what we need who have worked their way in, not to thaw out quickly and focus on.” through the elitist university system. She agreed with Clements’ point “You need to change the theme to regarding spreading the power beyond someone who encourages diversity, the UK capital: “The focus has to be on someone who encourages people from different backgrounds to want to get into the industry.” However, he added that gaining a RTS bursary had given him hope. “Before, journalism in television wasn’t really an opportunity for me. Now, I see this industry as [more] welcoming, and hopefully getting more diverse. It’s really positive.” Alan Clements, Managing Director of Black Pepper Media, took part in a similar panel at Cambridge two years ago. He was asked by Kelly if anything had changed. “We’re slowly making progress, but it’s nothing like enough,” he replied. “We have to do something more structural to change things.” And he referred to the London-weighted commissioning hubs. “We are never going to truly solve the social-mobility

Richard Kendal issue in this industry until we solve the Richard Kendal geography issue. “People follow the power and people how we address a more inclusive follow the money. If the people who culture. The geographical footprint sign the cheques and all the role mod- is absolutely crucial.” els are in London, then they can’t pos- Kelly mentioned the additional sibly know the society that they’re importance of mentoring, both for meant to be representing. So we have feedback and support, remembering to do something much more revolu- the help she received. “It wasn’t struc- tionary and fundamental.” tured, there was just that fellow that Clements, who shares Glaswegian helped you out, and that’s what I try to Session Sixteen, ‘Blow the bloody doors roots with Kelly, credited the four years do in my job. Don’t pull the ladder [up off’, featured Lorraine Kelly, journalist he spent as a young man in the US for behind you], help that person up.” and broadcaster. The panellists were gaining the confidence he needed to Clements agreed: “It’s about saying Alan Clements, Managing Director, Black start his own company. “It’s a redemp- to every single senior person in the Pepper Media, and Vikki Cook, director, tive story for them: you go from the industry that they should mentor content and media policy, Ofcom. The council estate to the Ivy League, and it someone from a hard-to-reach back- producer was Emma Gormley. Report by shows the American dream is alive and ground. If every single person made Caroline Frost. well. I don’t think we celebrate that in that commitment, it would make a British culture.” massive difference.” Watch the video at https://bit.ly/35k2Ruz

Television www.rts.org.uk October 2019 41 RTS Cambridge 2019 Session Seventeen Better television or better diversity?

Sir Lenny Henry Richard Kendal

sk a funny man to deliver There was spontaneous audience rush Chronicle, in which he participated. a speech on a deeply applause as the actor, comedian and Emphasising that diversity and great serious topic and what diversity campaigner highlighted what TV were mutually inclusive, he identi- do you get? Humour, he called the “two-season jinx” and how fied the moral imperative for increas- unquestionably, but also it haunted series starring black actors, ing diversity: “Society is shaped by the passion and an emotion- such ITV2’s Timewasters (see box). stories we tell ourselves and who tells ally raised temperature in the room. Henry – whose autobiography, Who those stories. Diversity creates a better AFollowing his speech, in a Q&A with Am I, Again?, was published this month society. And when I am giving evi- diversity campaigner and advertising – had two main messages for RTS dence at the House of Lords, it’s the executive Karen Blackett, Lenny Henry Cambridge: that diversity made televi- second thing I say. The first thing is: described the pace of change in the sion better and, perhaps surprisingly, ‘Wake up, you old gits!’ hiring of women and disabled and he wanted all diversity schemes and “I do not believe we have to choose ethnic-minority people behind the initiatives scrapped. between great television or great screen as “glacial”. His point was rein- Instead, that money could be spent diversity. The fact is, diversity makes forced by the findings of Ofcom’s latest on making shows that were genuinely television better,” he insisted. diversity report, discussed in earlier diverse, such as the recent award-win- The facts spoke for themselves. Cambridge sessions. ning BBC Four series Soon Gone: A Wind A University of California study of

42 1,000 US cable and network pro- Similarly, when government wanted all and make some brilliant television. grammes found that shows where British TV to boost the amount of chil- “It’s like a pizza. What makes it awe- ethnic minorities made up 31% to 40% dren’s content it produced, ministers some is the mixture, the combination of the cast had the highest ratings. didn’t tell Channel 4 or ITV to attend of things on top. Different flavours, Another study found that shows with commissioning training schemes. The different colours, all complementing greater ethnic diversity generated remedy was setting up a £57m con- each other. So let’s do that. more Twitter and Facebook traffic. testable fund. “We ordered our diversity pizza ages Henry continued: “And it is not just “Do you have any idea what that ago. It’s time to deliver!” n about diversity in front of the camera. kind of money could do to increase The same study also found that scripted BAME and disability diversity?” asked In Session Seventeen, Sir Lenny Henry dramas and comedies that employed Henry. “So, let’s just be honest. We’ve was interviewed by Karen Blackett, UK more women and ethnic-minority been talking about this long enough. country manager, WPP UK, and Chair, writers also did better, both in terms We know what works. And we know MediaCom, UK & Ireland. The producer of ratings and financial returns.” what doesn’t work.” was Verina Burt. Report by Steve Clarke. To prove how badly British TV was “So let’s stop going crazy – let’s doing at increasing diversity, Henry make diversity work once and for Watch the video at https://bit.ly/35k2Ruz quoted the following statistics: in the past four years the percentage of BAME people in the highest leadership posi- terms of their skillset, if it was a tions had risen from 7.01% to only programme to help nurture their 7.14%, despite investment in leadership QUESTION ideas and their ability to be ele- schemes. vated, would that be OK? Henry noted that, at BBC Studios, & ANSWER Lenny Henry: Yes, if it’s BAME representation had increased by A going to help elevate them to 0.1% every year for the past couple of another position; and, acknowl- years. “I’m only citing BBC figures Karen Blackett: You talked edging that they are good, but they because it keeps the best statistics, but Qabout scrapping all diversity [just] need a particular skillset there is no reason to think that the other training schemes. I disagree with to get to the next level. But not broadcasters have better figures,” he said. that. In my day job at WPP, I talk “You’re just not good enough”, However, the BBC did have some about the genius of “the and”: it’s because that’s insulting. real diversity successes, including its not one or the other, it’s both. So, 50:50 project to increase the number to your point, surely the train- Karen Blackett: There’s a of women contributors on screen. ing schemes and the mentoring Qdifference between pipeline, However, according to Directors UK, schemes take time to effect change? in terms of people who have no only 13.6% of TV directors were women Lenny Henry: I don’t mind experience and getting them into and, according to the BFI, only 0.3% A white, able-bodied, hetero the industry, and people in the of the film industry’s workforce were sexual men doing mentoring middle who aren’t progressing. disabled. No wonder audiences, espe- schemes and training. That’s Lenny Henry: Who aren’t cially those from marginalised groups, fine. But black people, women, A getting the nod… The nod is were deserting traditional broadcasters and people with disabilities don’t difficult. Who makes the decision for Netflix and streaming services. need another training course and about who gets the nod and who “Have you seen Narcos [on Netflix]? another initiative. They just want doesn’t? – that’s tricky if you’re “That show is so diverse, the whitest another opportunity to show how a minority or marginalised in the thing in it is the cocaine.” brilliant they are at doing their job. workplace. To fix the issue, Henry called for a It’s almost like you’ve got to per- completely different approach and one Karen Blackett: But if it was form out of your skin in order to that didn’t involve “a bunch of training Qnot about training them in be noticed. schemes with no jobs at the end. Or mentoring that goes nowhere. Or a Rooney Rule that increases the number of diverse candidates we interview The ‘two-season jinx’ but don’t employ.” He said: “My suggestion is to take all ITV2’s Timewasters was recommis- ‘We only get one shot for our pro- the money, all the staff and all the time sioned after series 1 but so far there’s gramme to have an impact and then and effort we currently put into diver- been no decision on a third series. it’s dumped. That’s something we need sity and simply use it to increase the to change. Samuel Beckett said: “Fail, diversity of the programmes we Lenny Henry: ‘The thing about shows fail again and fail better.” commission.” with black writers is that there’s a one- ‘It’s difficult, because I know there When Channel 4 and the BBC or two-season jinx. What I’ve noticed are no soft slots and I understand the wanted to increase the proportion of is things such as Dad’s Army and Only financial thing, but I do think that new programmes they made outside Lon- Fools and Horses get 16 years to get people need to be given the opportu- don, they put their money where their the content right, while people of col- nity to show what they can do – and mouth was and commissioned pro- our have one or two goes. two seasons isn’t enough.’ grammes out of London.

Television www.rts.org.uk October 2019 43 OUR FRIEND IN THE MIDLANDS

ver recent weeks, From TV to games, including Sega and Codemasters. The many column renowned Serious Games Institute inches have been the Birmingham is based at Coventry University. written concern- area is making a Local universities are at the cutting ing the success edge of AI and VR research. Some of of the Birming- splash on the global the greatest licensed games of all time ham-inspired TV have been made in the Midlands, series Peaky Blinders. stage, explains including Tomb Raider, produced by OIts move from BBC Two to BBC One Core Design in Derby. This Midlands Caren Davies has been seamless. More people watch industry has a worldwide reputation. it in the Midlands than anywhere else The West Midlands Combined in the country. Authority has recently announced a Peakys has undoubtedly put Bir- new screen industry body for the mingham firmly back on the national West Midlands, led by Ed Shedd, a and global map, but the city’s reputa- Midlander who works for Deloitte. He tion struggles to shake off some out- has recruited a board of big hitters, dated prejudices. including Steven Knight and Adil Ray. It still appears in lists of the worst The strategy is to bring together the places to live in Britain, while the creative industries in the region, Brummie accent has often been voted building skills, networks and capac- as the worst in the country. To add ity. RTS Midlands will be working insult to injury, the accent is often closely with Ed and the board. associated with being “a bit thick”. So, yes, things in the UK’s second So you must be wondering what it city are pretty damn good. In part due is like for us West Midlanders, living to Midlanders’ self-deprecation, we’re

in one of the worst places, with one Midlands RTS not always very good at sharing how of the worst accents. Is there anything great things are. We need to shout good about Birmingham? mingham is thriving as a base for more loudly. Where to start? The Common- digital skills and new talent. Some of Steven Knight has been an inspira- wealth Games are on their way, HS2 the country’s finest indies and pro- tion to Brummies everywhere. He’s is being built, big businesses such as gramme-makers are Birmingham- made no apologies for his roots. He’s HSBC are moving to Brum, and the based. To name a few, there’s North Brummie and proud. He’s proved that city centre is largely unrecognisable One, Wonder, Full Fat and newly these streets are paved with tales – in a good way - thanks to recent arrived Optomen. Hopefully, more worth telling. As for the accent, Cillian redevelopment. will follow. Murphy’s made it a bit more cool. As the youngest city in Europe, with The entries for this year’s RTS Mid- The day-to-day multiculturalism nearly 40% of the population under lands Awards are a testament to the of the city often astounds visitors. For 25, and more diverse than any other great content that is being made us, it’s just what we do and who we English city outside London, broad- across the patch. are. But we still deserve to see even casters and producers ignore the And it’s not just TV. Outside London, more of it on our screens. power of Birmingham at their peril. the West Midlands has the UK’s big- This city has ambition and heart. The TV industry is having a renais- gest technology sector. “Silicon Spa” What’s more, we have hundreds of sance here. Peakys creator Steven – the global hub for video games stories waiting to be told on TV, on Knight is opening new TV and film companies in Leamington Spa – is a radio and online. studios, the city has become BBC huge stimulus for digital talent. There Three’s second home, and BBC Bir- are 40 games companies in the area, Caren Davies is Chair, RTS Midlands.

44 Steve Hewlett Lecture Mark Thompson argues that policymakers need to rethink their attitude towards the BBC – or risk total US cultural dominance

he UK is facing “a total loss of cultural sovereignty”, which risks leaving the country culturally impoverished unless action is taken to stop US giants such as Netflix from dominat- ingT the media landscape. This was the frank message from Mark Thompson, the former Direc- tor-General of the BBC who, for seven years since 2012, has been engaged in a wholesale transformation of The New York Times from a print company into a digital-based global news operation with 5 million subscribers (see box on page 47). In the third Steve Hewlett Memo- rial Lecture, he warned that, while “no one wants to see the UK turn into a cultural Airstrip One, it’s a clear and present danger. With newspapers struggling and broadcasters out- gunned, I fear only effective and sali- ent government media policy stands between Britain and a total loss of cultural sovereignty.” He argued that it was mistaken for broadcasters and media companies to think they can “cut themselves to a secure future”, despite all of the pressures they are under, because “it is a

strategy that leads off the cliff”. Hampartsoumian Paul Thompson pointed out that “heavy investment in content is Netflix and Disney’s strategy. Distinctiveness is a no brainer if you truly believe you can succeed as a high- quality content provider of any kind. You can’t degrade your journalism and hope to A question of keep your audience, let alone sell them subscriptions.” He added: “Our culture comprises more than media… but I don’t think anyone would dispute the centrality sovereignty of media – digital media, traditional �

Television www.rts.org.uk October 2019 45 ‘THE FUTURE IS BLEAK UNLESS � TV and radio, movies, newspapers [PLAYERS] PIVOT working in digital areas, in addition to and magazines, local and national – in journalists. Building an ark does not most of our lives. AWAY FROM… come cheap.” “But many of these categories… are ADVERTISING TO Broadcasters were undergoing the under economic and audience threat same ominous early-stage audience from a process of digital disintegration SUBSCRIPTIONS’ loss that hit the West’s newspapers and reinvention that is still accelerating, years ago, particularly the flight of the in many areas just getting going, and young. “Radio will probably fare better particularly from its globalising effects.” He lamented the 2009 Competition [because] it’s sticky and relatively Advertising-supported companies, Commission decision to block Project cheap to make”. including ITV and Channel 4, needed Kangaroo, a proposed BBC-led, UK- He added: “I grew up in broadcasting to drastically rethink their models, but wide streaming service with a pay ele- being told that very few young people he was gloomy about the prospects of ment to rival Netflix at the point that it would ever listen to serious speech any of them scaling up or becoming was transforming from a DVD outfit into audio. It’s rubbish to say that the global forces. He supported Channel 4 a streamer. As Director-General at that young won’t listen to serious speech.” and the BBC’s moves outside of Lon- point, he had championed the move as While it might be convenient to don as a means of more truly reflecting the next step after the introduction of blame Google and Facebook for the Brexit-divided country. the BBC iPlayer. BritBox, launched by media’s woes, and regulators had The only UK media organisation ITV and the BBC, had then taken “eight many searching questions about their with the potential to become a truly years – an eternity” – to surface. business practices, “the true culprit is international force was the BBC. But it “Please let’s learn the lesson… and let the internet, which allowed users to had been “hobbled by British policy them collaborate more freely with switch from old media distribution making” over the past decade. This each other ,and the BBC… can help channels to digital. It robbed newspa- was preventing it from fulfilling its full with innovation and scale. Govern- pers and is beginning to rob linear-TV potential, and being recognised by ment media policy needs to change. of the ad-pricing power of the old people around the world. Instead of a policy of ‘No, you can’t, it’s methods. It can’t be un-invented.” It “British media has changed greatly too dangerous’, it needs to turn into a had to be harnessed. since I moved to New York seven years policy of ‘Yes’.” Quality was key to the global TV bat- ago.” But policymakers had “largely Thompson said the refusal to date tle, too. The streamers were backing concentrated on tightening the fund- “speaks to a peculiarly British “the kind of distinctive, ambitious pro- ing pressure and other constraints on approach to the BBC and media policy gramming that used to be reserved for the BBC”. broadly, which is to talk global but act premium cable and satellite – HBO or He described the corporation’s 2016 parochial. In our blinkered discourse Showtime, say – or, indeed, the BBC and Charter, which imposed the cost of about media, the more extravagant the Channel 4. So it’s not reality shows and free licences for the over-75s on the talk of global opportunity, the more soaps, but Fleabag and The Crown. The BBC, as “disastrous”. “It was blatantly narrow and inward-facing the true best US linear-TV players are fighting expedient and obviously flawed. At world view.” back with the same: The Terror, Chernobyl, least, having agreed to give the BBC He stressed: “Policing the beach for in some respects even Game of Thrones.” the freedom to reform the entitlement, litter is virtuous. But it’s time to glance Thompson suggested: “The good [the government should] let it get on out to sea. That grey band on the hori- news is that the future of Britain’s writ- with it without hindrance.” zon is a tsunami.... I enter this debate ers, actors, directors, producers, design- Instead, [the corporation] should with experience of leading a large- ers, crafts and best journalists looks have been unleashed and enabled to scale response to the digital tsunami. better than ever. The production sector project a British cultural perspective Successful transformation is possible had a record £3bn in revenues last year… through its creative talent – from for legacy players who accept drastic “But that’s where good news largely programming to news – to audiences change.” But it needed resources and runs out as media divides into global everywhere and not just in the troubled scale. “We are unavoidably in a capital- winners, probable survivors and the global hotspots. intensive media period. rest.” n “The BBC should be a winner as the “The NYT now has 900 people only British media brand with true Mark Thompson’s speech, ‘A question global recognition and potential, and of sovereignty: Brexit, digital disruption with a huge international audience,” and the fate of British media’, was the Thompson maintained. “Equally dam- ‘BRITISH MEDIA third Steve Hewlett Memorial Lecture, aging has been the officious govern- a joint initiative by the Media Society and ment and regulatory environment that POLICY [TENDS TO] the RTS. It was delivered at Westminster has sought to stymie or limit digital TALK GLOBAL BUT University, London, on 24 September. transformation and innovation by the The producer was John Mair. Report by BBC as much as possible.” ACT PAROCHIAL’ Maggie Brown.

46 How The New York Times went digital

New York Times delivers every week, a scale of high-impact stories previously unheard of anywhere in digital, print or broadcasting.’ It also moulded itself to the lifestyle of the busy, more youthful subscribers it needed to recruit to thrive. ‘From 2014, we focused most on mobile phones – that was where users were. Peak time for news use on mobile phones is 7:00am, so the whole circadian rhythm of the newsroom had to change.’ The operation also added items, to keep subscribers hooked: a morning mini crossword; cooking products; a break- through podcast, The Daily, which is now reaching 10 million listeners every month. It remains a fight for survival: ‘You have to throw everything and almost everyone into this fight. At any moment, we have multiple, simultaneous experiments running in the field. A generation of new leaders came in. We massively expanded training. Changes were quite painful: in some sections, the need for different expertise meant an 85% change in the workforce.’ The paper started taking international digital subscriptions seriously and Thompson said this was a growth area. ‘Today, growth in digital revenue comfortably outstrips print losses. At the end of our most recent quarter, we had around 5 million total subscriptions, triple the highest achieved in the print Mark Thompson said that ‘a seemingly world. ‘There is a difference between era. We plan to double that again to intractable set of threats faced The trying something digital and trying as if 10 million by 2025. New York Times in late 2012’, when he the company’s life depended on it.’ ‘This is very applicable to UK media. took over. Its website, launched a year Instead of cutting, ‘we doubled down Digital advertising cannot support qual- earlier, might have been viewed as a on distinctiveness, to be more valuable ity journalism on its own. The future is market leader, with 600,000 subscrib- than anything available for nothing on the bleak unless others pivot away from ers, but print advertising, print subscrib- internet. A strategy of delivering, in return dependence on advertising to subscrip- ers and news-stand sales were all falling. for a regular fee. It’s a no brainer, if you tions or other streams. That includes After years of growth, digital advertising truly believe you can succeed as a pro- former digital darlings such as HuffPost was going into reverse. vider of high-quality content of any kind.’ and BuzzFeed.’ It was operating in an industry where Research showed that readers valued the Thompson sounded a note of caution: two-thirds of US newspaper jobs had paper’s mission, ‘to seek out truth and ‘So far, the only digital models in news been lost since 2004, and one in five help people understand the world’. likely to become viable in future are titles had closed amid frightening mar- Thompson continued: ‘A good slice of at the very top of the market, if your ket conditions, but it possessed advan- our investment has gone into building journalism is good enough to buy.’ He tages and scale. classic journalistic breadth and strength. thought the Daily Mail and The Guardian ‘We had strengths to build on, untap Take investigations. ‘You’ll be familiar were among the UK newspapers that ped global potential, heritage branding with some of the Times’s work in the might be survivors. and a board/controlling family deter- field of investigations – Harvey Wein- ‘An effective digital media operation,’ mined not to savage the newsroom,’ stein and Bill O’Reilly, Trump’s taxes and he said, ‘is a massive undertaking. Igno- he said. Despite this, it had not properly so on – but what I want to stress is the rant leadership is deadly. No one can adapted its operations to the new digital sheer volume of original work that The bluster or lobby their way out of this one.’

Television www.rts.org.uk October 2019 47 Anne Choma (left) and Sally Wainwright Drama MatthewLoud Bell hears how the complex world of the extraordinary Anne Listerand was reconstructedproud for TV

Matthew Bell hears how Anne Lister’s world was reconstructed for TV and why this complex character has wowed viewers

entleman Jack wowed consultant and author of Gentleman Choma added: “The response has critics and audiences Jack: The Real Anne Lister Anne Choma, been heartwarming. And we felt that we alike when it aired on and folk duo O’Hooley & Tidow, the did get it right for the LGBT community. BBC One earlier this creators of the drama’s closing song, The outpouring of emotion from around year. This was a Sun- who also played a live set. the world has been phenomenal.” The day-night period drama “You make everything in good faith historian first studied Lister’s life as a with a difference – based on the dia- and to the best of your ability,” said university student 25 years ago; she riesG of early 19th-century landowner, Wainwright. “All shows are made like recalled “the impact Anne Lister had on industrialist and traveller Anne Lister, that but you never know how they’re me as a gay woman struggling with my it revealed a woman determined to going to be received. I’ve written things sexuality and not having the confidence explore her lesbian sexuality. that have been complete turkeys, and to voice what I was feeling”. Award-winning writer and RTS it’s heartbreaking because I’ve never Lister’s diaries, partly written in code Fellow Sally Wainwright discussed made anything and not put my heart when they address the intimate details how she brought Gentleman Jack – and soul into it.” The writer needn’t of her life, run to some 5 million which has already been commissioned have worried. Only police corruption words. “When I started to read them, it for a second series – to the screen at a thriller Line of Duty has attracted more was life-changing. So, I can completely packed Bristol Old Vic in late August. viewers for the BBC in its Sunday-night understand people’s obsession now She was joined on stage by series drama slot during the year. with Anne Lister, people who are

48 coming to her for the first time having watched Gentleman Jack.” Wainwright – the writer behind two other Yorkshire-set BBC hits, Happy Valley and Last Tango in Halifax – first pitched a drama about the life of Lister in 2003. “Nobody was interested,” she recalled. “It was a hard pitch because my profile wasn’t particularly high. I’d done the [ITV drama At Home with the] Braithwaites, which had been successful, but I wasn’t someone who could walk in and say: ‘This is what I’m doing next.’ “But Anne Lister was always there on the back burner – she never went away. After Happy Valley, which was very successful, Charlotte Moore, the controller of BBC One, asked me, ‘What do you want to do next?’ I said Anne Lister and she said, ‘Well, we’ll Belinda O’Hooley (left) do that then.’ And then she said, ‘Who’s and Heidi Tidow

Anne Lister?’ It was a very easy pitch.” Dee Robertson With the drama green-lit and US channel HBO on board as co-producer, Wainwright started to write, but she Gentleman Jack: the song couldn’t visualise an actor to play the lead role. “I couldn’t imagine anyone Wife-and-wife folk duo O’Hooley & always play it at our shows,’ said Belinda who could be Anne Lister – she was Tidow wrote Gentleman Jack for their O’Hooley. ‘At the time [we wrote it], such a polymath, so clever and so mer- 2012 album The Fragile after hearing people just didn’t know about her, so curial,” she said. “It was an odd situation about Anne Lister from a friend. ‘She it was fantastic to spread the word. to be in because, when I write, I usually said she was this amazing, intelligent, ‘Little did we know that at our gig at have someone in mind and it helps me outgoing woman who was really differ- Hebden Bridge, Sally Wainwright was to write if I can picture [a person]. ent for her time, and that she was the going to come over to Heidi and, not “We looked at leading actresses in first modern lesbian. And, of course, our just buy a CD, but ask us to use our England who were ‘[around] 40 and ears pricked up,’ recalled Heidi Tidow. song in her drama. there were, like, three. We sent a script ‘We filed [the idea] and, when we ‘When [Gentleman Jack] hit the TV to them and they all wanted to do it.” went away on a song-writing holiday, screens in Britain, it went completely Suranne Jones, who had worked we started writing about her. It was off the scale. Our shop on our website with Wainwright on Coronation Street, the most amazing experience writing exploded. We’ve spent the last few Unforgiven and Scott & Bailey, was one a song that we’ve ever had together months stuffing envelopes [with CDs of of the three approached. “You wouldn’t because [Lister] is so interesting, com- the song] and all our shows have sold normally ask someone of Suranne’s plex and inspiring.’ out. We’re so proud of Anne Lister and stature to read; you’d just make an ‘It’s really our hit – although, in the her story being told – it’s a fantastic offer,” said Wainwright. “But we had to folk world, that’s putting it loosely. We show… and it’s great to be part of it.’

Dee Robertson ask the [actors] to read because HBO weren’t as familiar with their work.” “She did something extraordinary,” the open flyer carriage, driven at reck- our standards. If she were alive now… continued Wainwright. “I thought I’d less speed by Lister at the start of the what would she be? Would she still seen everything she could do because I first episode. “It’s a very expensive have capitalist attitudes? She would. know her work. She instinctively got the piece of kit that you couldn’t normally There’s nothing sentimental [about her]. character on a really deep, emotional, afford,” explained Wainwright. “I found her so uplifting and inspira- joyous level – she brought this joyous For modern, liberal audiences, Lister, tional [because] she had this absolute physicality to [the role] straight away. an unashamed capitalist, is often easier strength and knowledge of who she On the shoot, Wainwright – who to admire than like. She ran her estate was, and this ferocious intelligence wrote all eight episodes and directed with an eye on profit, exploiting its that went with [that] – you just four – enjoyed a “huge” budget. “I’ve labour and coal reserves. “She’s com- couldn’t argue with her.” n never worked with a budget of that plex. As Suranne says, she’s Marmite scale before,” she said. Practically, this – you either love her or you just don’t ‘Gentleman Jack and extraordinary meant the crew could use equipment care [for her],” said Wainwright. women’ was held at the Bristol Old Vic on such as a Russian Arm, a remote- “As a dramatist,” she continued, “the 30 August. The event was chaired by the controlled, vehicle-mounted crane, more complex people are, the more University of the West of England’s Dr Finn which, when fitted with a camera, can interesting they become. I embraced Mackay, produced by Indigo Network in track and film a moving object. that side of her. She was a product of collaboration with the Bristol Festival of On Gentleman Jack, it was used to film her time and it’s unfair to judge her by Ideas and supported by the RTS.

Television www.rts.org.uk October 2019 49 5G opens the door to 8K

IBC review Tim Dams rounds up the talking points from this year’s tech fest

sk attendees of this year’s has largely been driven by the Japa- IBC about what caught nese market, where broadcaster NHK their eye at the giant started airing 8K content regularly at Amsterdam tech fest, and the beginning of the year. NHK also only a few will cite new plans to showcase 8K during the Tokyo product launches. 2020 Olympics. Instead, they’ll talk about the tech- At IBC, BT Sport showed the potential nologyA trends that were evident at the of the technology by demonstrating one trade show, and about how they left of the world’s first live 8K sports broad- the event with a far better understand- casts, of the Gallagher Premiership ing of the future direction of travel in Rugby 7s tournament. The sports market the complex and ever-evolving world is an early adopter of new technology, of broadcast technology. having used 4K to drive subscriptions At first, IBC feels a little overwhel and retention, so BT’s decision to ming. This year, there were more than demonstrate 8K was significant. 56,000 attendees, as well as 1,700 BT Sport director of mobile strategy exhibitors spread over 15 halls, each Matt Stagg says there was standing themed by technology. Then, there is room only at BT’s stand for the live untethered 5G “connected” cameras for its growing conference section, which broadcast: “The purpose of the demo event coverage, opening up a host of had actor, director, producer and was to learn about 8K productions and creative possibilities, says Tom Cope motion-capture specialist Andy Serkis push the technology envelope, the land, head of broadcast technology at delivering a stand-out keynote. Other same as was done for 4K.” He adds that sports producer Sunset+Vine. “It intro- speakers included Cécile Frot-Coutaz 8K is not ready to be launched in the duces the possibility of moving cameras (YouTube), Shalini Govil-Pai (Android near term but, “once the full ecosys- to multiple positions, such as following TV), Jane Turton (All3Media) and Max tem is available to scale, then we will the team buses or walking with fans Amordeluso (Amazon Alexa). see if we could work with it.” from the stadium to the station, before New features this year included a The fact that 8K broadcasts, with taking up their match position, without day-long e-sports showcase, culminat- pin-sharp, super-high-definition the need for multiple cable drops.” ing in a packed-out e-sports demo images, can be sent direct to consumers Copeland also flags the growth of played by two professional teams. over high-speed 5G networks is one of remote production in the outside broad- Out of all this, over the five-day the reasons that the technology is mov- cast (OB) market as a key focus at IBC: “I event, a consensus gradually emerges ing from the realm of impractical to think this year was the first that remote on the most interesting and future- distinct possibility. At this year’s French production felt like it was the norm.” orientated trends. This year, the big Tennis Open, for example, France Télé- OB firm NEP, for example, was talking points included: the rise of visions organised a demo of 8K content showcasing its latest innovation, the production for the 8K Ultra-HDTV being distributed over a 5G experimen- iOB (intelligent outside broadcast) unit, standard; the growing impact on broad- tal network from Orange. a mobile production control room that casting of remote production and the As 5G promises data speeds as much can be placed at almost any event 5G telecoms networks; and the efforts as 100 times faster than 4G, it was itself where there is IP connectivity. The iOB to improve diversity in broadcast tech. a major focus at IBC. BT Sport and EE can then link to one of NEP’s produc- The 8K standard (16 times the reso- demonstrated how mobile providers tion centres. This means that less kit lution of HDTV) was being mooted at will be able to offer guaranteed band- and people have to be sent to cover an IBC as a genuine option for acquisition width over 5G in a stadium, which can occasion. “Hopefully, they’ll offer these and broadcast, even though many often get flooded with data traffic savings to their customers while also viewers are not even watching 4K on when the public arrives. reducing the stress on their equipment their TV sets. To date, demand for 8K It means directors will be able to use by having it travel less,” says Copeland.

50 IBC keynote speaker Andy Serkis performing in Dawn of the Planet of the Apes 20th Century Fox Century 20th

In the camera field, the big news at camera” that he thinks will challenge In terms of new developments, David IBC was the launch of Sony’s FX9 cam- the Alexa Mini’s position as a mainstay Klafkowski, CEO of leading post house era. Outside high-end drama, Sony’s of high-end drama productions and The Farm Group, says “a standout FS7 is still the dominant camera model commercials. “It’s equivalent to the moment” was a presentation by Eluv.io , in docs, factual and entertainment. The Alex Mini, only better, but for less than whose new Content Fabric technology new FX9 has roughly the same basic half the money.” bills itself as a high-performance soft- “run and gun” style body as the FS7, but Bassett also picks out the launch ware network for improving the distri- with some significant improvements at IBC of new classic cinema lenses bution of video to consumers. – notably a full-frame 6K sensor and from Sigma, the Full-Frame Classic “I won’t pretend to completely a better autofocus system. Art Prime Line. They are designed to understand the maths behind their “The Sony FX9 was probably the recreate the aesthetic of film cameras solution but, unless I’m mistaken, it’s most talked-about product at IBC, and from the 1950s to 1970s, responding to a real game changer,” says Klafkowski. got quite a lot of people very excited,” demand from directors of photography “[Chief Executive] Michelle Munson is says Matt Marner, director of broadcast for lenses that lend “character” to the simply one of the cleverest people I’ve hire firm Video Europe, which bought clean images captured by digital ever heard speak at IBC.” 20 of the cameras at the show. cameras. Klafkowski also makes a broader Marner says that Video Europe owns Other tech that caught the eye point about this year’s IBC. There was a substantial number of FS7s, but never included a lens scanner from Silicon a real emphasis by the organisers on seemed to have enough to meet Valley start-up Tracis, which checks for improving diversity and sustainability demand. “The FX9 is an evolution of lens damage and provides a detailed in the industry. that camera, and then does more on report in under a minute. It promises “It’s timely, as it only requires half an top. In 2020, people will be wanting to to make it quick and easy for rental hour on the exhibition floor to see it’s use the FX9.” houses to certify the condition of a lens very white and very male,” he says. He Meanwhile, Canon was demonstrating before and after rental, and should help cites plenty of sessions in IBC’s confer- its new 5.9K full-frame C500 Mark II, resolve disputes with production com- ence section tackling ways to improve announced a few days before the start panies if something does go wrong with gender, ethnic and LBGT+ diversity of IBC. Barry Bassett, Managing Direc- a lens. “I thought it was a revolutionary, within the industry. tor of broadcast hire firm VMI, innovative product – probably the “More of this, please,” says describes it as “a truly stunning highlight of the show,” says Marner. Klafkowski. n

Television www.rts.org.uk October 2019 51 Why crime pays for Jeff Pope

ou could be forgiven for thinking that Jeff Pope was obsessed by the macabre. Why else would he be drawn to such odious topics as theY Moors murders, serial killer Fred West or Britain’s last hangman, Albert Pierrepoint? He puts it like this: “If drama is about conflict, which it is, you’re looking for the extremes of conflict. Those areas are love, fate and, I would argue, crime. “I am not a depressive person or ghoulish but it’s the old journalist in me: there’s a good story in it.” Screenwriting And, of course, Pope, screenwriter, producer, executive producer and self-proclaimed Proclaimers lookalike Steve Clarke is – it’s the glasses and quiff – is almost as well known for his lighter work. engrossed as the This includes: ITV biopic Cilla (which acclaimed writer he wrote); last year’s award-winning Stan & Ollie movie (co-written with and producer Steve Coogan); and BBC Two’s Cradle looks back on To Grave (co-written with Danny Baker). Crime, though, remains his main his extraordinary source of inspiration, as the RTS dis- covered during a recent early-evening career at an event, “In conversation with Jeff Pope”. RTS event In a wide-ranging interview covering his career, he made it clear that his apprenticeship as a cub reporter on the Ealing Gazette – reporting court hear- ings and doing police calls – gave him the skills that led to him becoming one of British TV’s most prolific practition- ers of fact-based drama. “It’s being professionally nosey,” he said. “As a journalist, you take a lot of information and process it into a story with a beginning, a middle and an end.” His latest TV series, the highly praised A Confession, shown on ITV, is another chip off the old block – the story of a detective’s mission to find a missing young woman. The investiga- tion leads the policeman to a murderer and ends up destroying his career. Jeff Pope Pope’s technique involves spending

52 Jeff Pope on…

Casting decisions ‘Casting is a form of alchemy that sometimes doesn’t bare too much scrutiny.’ Casting Sheridan Smith as Charmian Brent in Mrs Biggs ‘The part of Charmian hung on who played her. I didn’t write it with Sheridan in mind… we had two full a lot of time with the story’s protago- I could do it. [As a writer], I was half days of casting Charmian. nists, in this case erstwhile cop, Steve putting my toe in the water.… I ‘The casting director and the Fulcher, whom Pope spent many co-wrote Fool’s Gold with [its director] director let those auditioning for hours talking to. Terry Winsor and I found it easy. the part choose their scenes from He told the RTS: “My process is to go “People have different skills. I am the script. Most of them decided deeper and deeper into what actually not a frustrated actor or director. I to go for a scene where they didn’t happened. Therein lies the avoidance love writing.” have to show their entire hand of cliché. We’re all unique and tell At LWT, he would bump into Cilla because, if you really go for an stories in a slightly different way. Black, then presenting Blind Date, in the emotional scene and you don’t That’s the material. My job is finding lifts and was told stories of how the hit it.… Most of them played safe. the way through it.” star had a lavatory designed by her ‘The last person on set on the It was 1983 when Pope quit the Ealing husband, Bobby, installed in her dress- second day was Sheridan. I was Gazette to join ITV station London ing room. Decades later, after reading thinking she’d be too big [for the Weekend Television as a researcher on about her and Brian Epstein, the bril- part], because she’s had a lot of the pioneering Six O’Clock Show – a less liant manager and impresario who stage success. bland precursor of The One Show. “I have helped set the 1960s ablaze with the ‘She came in wearing quite a done fictional stuff but, Beatles, he pitched Cilla flamboyant outfit. She chose the even then, it was inspired to ITV’s then-director death of the son scene (the Biggs’s by things that have hap- ‘IT’S THE of television, Peter 10-year-old son, Nicholas, was killed pened,” he recalled. Fincham. in a car crash) and had no nerves Making short, quirky PROXIMITY “Nervously, I pre- whatsoever. It was so brilliant.’ films on such subjects as OF EVIL, sented eight ideas to couples lingering “too Peter, including one long on goodbye kisses” NOT EVIL about the terrorist siege in London car parks or a ITSELF, of a Tunisian petro- fish ’n’ chip shop – “It THAT chemical plant, but he was a brilliant disci- immediately plumped pline” – Pope quickly INTERESTS for Cilla.... I remember felt at home in TV. ME’ reading that, when At LWT, Pope was part Epstein died, on his bed of the team that created was a contract for Cilla Crime Monthly, “a sexy Crimewatch”, fea- to present the Cilla TV show for the A Confession

turing the re-enactment of crime scenes. BBC. I always thought of her as a TV ITV “I built it from the ground upwards,” he star, rather than a 1960s singer.” said. This experience was to prove vital In the series, Sheridan Smith played Casting Martin Freeman as in his later role of writing and produc- Cilla – a role that won her a Bafta Steve Fulcher in A Confession ing series based on real-life crimes. nomination. Earlier, Pope had cast ‘I wrote A Confession with him in Pope’s first full-length TV drama was Smith as Ronnie Biggs’s wife, Charmian, mind.… He has the ability to play Fool’s Gold: The Story of the Brink’s-Mat in Mrs Biggs. “It remains one of the someone you can relate to as a Robbery, in which thieves stole gold pieces I am most proud of,” he said. normal, average guy.… bullion worth £26m from a trading Smith won a Bafta for the part, which ‘When we budget it, inevitably estate near Heathrow – at the time, she was given following a memorable there’s a gap [but], because Martin Britain’s biggest ever robbery. audition (see box, right). is an internationally recognised, Asked to identify his favourite crime Female characters were particularly saleable actor, that did help with shows and writers, Pope mentioned impressive in Pope’s work, suggested the budget. ‘I didn’t cast Martin for Thames Television’s influential The hiss interviewer, Caroline Frost. Did cynical reasons. I cast him because Sweeney and Law and Order, penned by women impress him? “Yes, they must I thought he was a brilliant actor GF Newman. He described Law and do. I don’t ever think of it like that. I’d and would be perfect to play Steve Order as “a brilliant series – the dialogue like to think I was doing this way Fulcher, and that’s how it should be.’

Phil Lewis/Media24 Phil was magical. I still didn’t quite trust that before #MeToo. �

Television www.rts.org.uk October 2019 53 � “I suppose I am inspired by the an appropriate adult in with him dur- best direction is when you don’t notice female characters. I didn’t want to do ing their interviews. it.’ That doesn’t mean that I don’t like Ronnie Biggs, I wanted to do Charmian “They normally put appropriate films that are wonderfully stylish. because, in a way, Ronnie had it easy. adults in with children. That’s why That’s fine if it suits [the piece].” She is the one I was inspired by.... Janet – a housewife trained as a social But why did he want to produce a “I saw a documentary about her and worker – is there. drama about the Wests? “What was really liked her. I thought she was a “We didn’t want to see any of the fascinating was the closeness… Fred very dignified, highly intelligent and murders, or be on Fred’s shoulder, and could have lived next door to me. He articulate woman.” I didn’t want to get into his head other was an avuncular builder and handy- Pope found a way into the story of than through how he interacted with man. Janet could have been my sister. serial killer Fred West and his wife, Janet. It’s the proximity of evil, not evil She was the everywoman.” Rosemary (an accomplice in the itself, that interests me.” Pope thinks that it is “cathartic” to majority of the 12 murders he was With an A-list actor such as Dominic shine his torch in dark places. One of found guilty of), via social worker Janet West playing the killer, how did Pope his most critically acclaimed series was Leach in Appropriate Adult; Pope execu- avoid glamorising people like him? Little Boy Blue, the story of the murder of tive produced the two-part ITV series “It’s all to do with being as faithful Rhys Jones, an 11-year-old who was which was written by Neil McKay. and truthful and as fair as you can be. shot in the back in Croxteth, Liverpool. “I remember coming across Janet Obviously, that starts with the writ- “The process there was the same as it is and being intrigued by her story,” he ing.… It’s not just the script… it’s on a lot of my projects, where I spend a said. “West was semi-literate and the everything – wardrobe, obviously the lot of time going to see the people at the police didn’t want him to say further way it’s shot, make-up. heart of the story, because your imagi- down the line that he couldn’t read “What you’re trying to do is to not nation can’t match the reality of the and write and therefore didn’t under- see them. When I worked on The Six events they’ve experienced.” stand the interview process. They put O’Clock Show, a director told me ‘The He told the RTS that he held off

54 ‘MY PROCESS VERY OFTEN WILL BE TO START AT THE END AND… BUILD TOWARDS THAT’

Philomena 20th Century Fox Century 20th

Narrative strategies Jeff Pope on… ‘Appropriate Adult starts with the Wests’ front garden being dug up. Facing writers’ block Stan & Ollie starts with a spat.… ‘There are periods when you are dry, ‘Stories start to tell themselves so which is scary: “I can’t fucking write there’s a natural rhythm to where anything. What I’m doing is shit.” something happens. Everyone goes through this. The only ‘You’re building. My process very thing that keeps you going is know- often will be to start at the end and ing that you’ve been in that situation to know where I’m heading and build before and you found a way out of it. towards that. In every story, there’s Not thinking about something helps. the big thing and it tends not to be Confidence is a big part of writing.’ at the front.’ Cilla ITV

meeting Rhys’s parents until it was were. I said to myself that the way middle of it, love. They really did love confirmed that the show would be through this is to take on work that you each other. made. “Talking about their grief was think you can do as well as anyone “I fell in love with that story. I knew part of the story,” said Pope. “Their big else.… I think the thing that I can do as I wanted to tell the story of when they thing is that there is no closure: there is well as anyone else is to tell true stories.” were old and sick. That’s when their a bleakness. The guilty verdict makes He added: “I always thought that I love was at its greatest because they no difference. had to come up with the ideas. Steve needed one another so much. That’s “It’s that thing about the truth – you Coogan came to me with Philomena. what I responded to.” shouldn’t be frightened of the truth. I That told me something: there are peo- As for casting Coogan as Stan Laurel, came across it time and time again. ple out there who also have great ideas. Pope said: “The truth is, I thought Steve There are people who try to bend it “Success gets you meetings, but it was too obvious to play him… In my and don’t want you to tell the truth. still won’t get something over the mind I resisted it until I woke up one But, by and large, normal people are finishing line if it’s not good enough, day and thought, ‘This is nonsense’.… I not frightened by what has happened.” which is as it should be. You can’t rest was worried that he would say, ‘No, it’s Pope’s career, arguably, hit a new on your reputation. It has to be on the too obvious.’ plateau with Philomena, co-written quality of the work.” “But he didn’t. He instantly knew with Steve Coogan. Their script was Pope and Coogan were reunited for how to play it.” n nominated for an Oscar and won the last year’s much-feted movie Stan & Screenplay prize at the Venice Film Ollie. He had wanted to write a story ‘In conversation with Jeff Pope’ was Festival. In all, Coogan and Pope’s based on Laurel and Hardy’s sunset an RTS early-evening event held at script won five awards. years for many years: “I’d read several Kings Place, London, on 29 August. The “The success of Philomena came to me books on them. Their lives were cha- interviewer was journalist and broad- when I was relatively mature. I knew otic, they rowed endlessly – tempestu- caster Caroline Frost. The producers were what my strengths and weaknesses ous lives of excess but, right in the Caroline Frost, Jamie O’Neill and ITV.

Television www.rts.org.uk October 2019 55 DEDICATED TO POWERING PEOPLE’S PASSIONS

Over the last 30 years, we’ve grown to become the global leader in real-life entertainment. From adventure seekers to cycling fans, foodies to wedding planners, no one powers people’s passions like we do. RTS NEWS RTS events IN BRIEF North West launches awards RTS North West announced the nominations – across 25 cate gories – for its programme awards at a launch party at the Lowry Theatre, Salford, in late September. Granada Reports entertainment correspondent Caroline Whitmore hosted the event, which was sponsored by Audio Network. The RTS North West Awards 2019 will be held at the Hilton Manchester Deans gate on 23 November and will C'mon Midffîld!

S4C be hosted by Coronation Street star Sally Lindsay.

Festival airs TV classics Belfast enjoys a busy September The RTS had a strong (now ITV Cymru Wales) and Symbolically, perhaps, our RTS Northern Ireland members presence at the featured the actor and musi- final clip, ’Run Sbit, about a were given a tour of the BBC’s National Eisteddfod, cian Dewi “Pws” Morris, who lookalike agency, starred two Studio B in Belfast in early Sep

RTS Cymru Cymru RTS Wales the week-long Welsh- was in the audience. women in central roles.” tember. The studio is used daily language arts and culture The audience voted for the During the week, the cen- to produce BBC Newsline, the festival, which was held in programme they wanted to tre screened the innovative corporation’s regional TV news early August in the historic see shown in full at the end film about Welsh poetry, programme, Final Score from town of Llanrwst, north of the week. The winner was Dal: Yma/Nawr, which was NI on a Saturday and political Wales. For the third year C’mon Midffîld!, a popular directed by Marc Evans. In shows. Later that month, the running, RTS Cymru/Wales comedy series about a dys- partnership with the screen RTS centre and media network was a partner in the pop-up functional village football and sound archive of the ing group Media Therapy hosted cinema “Sinemaes”. team. First broadcast in 1988, National Library of Wales, it ‘The big media quiz of the year’ As part of the centre’s 60th it was written by Mei Jones also showed a reel of archive at Pug Uglys in Belfast, which anniversary celebrations, it and directed by Alun Ffred Welsh-language commer- was attended by around hosted a session on Welsh- Jones and ran until 1994. A cials, which included what is 50 people. language TV comedy. The six close contender was Dim Byd believed to be the first use of featured shows spanned the fel Cân i Gymru, a send-up of cynghanedd, a form of strict- 30-plus years of S4C’s the annual Song for Wales metre Welsh-language NETB offers existence. competition run by S4C on poetry, in a TV ad. awards surgery They included some St David’s Day. The other partners behind lesser-known titles such as Former RTS Cymru/Wales the Sinemaes cinema were: North East and the Border held Newydd Bob Nos, a comedy Chair Tim Hartley, who intro- Bafta Cymru, Ffilm Cymru a September networking event, about an anarchic TV news duced the session, said: “This Wales, Film Hub Wales, Into which also passed on advice studio, which was produced was a fascinating look back at Film Cymru, Welsh produc- about how to enter the centre’s back-to-back in Welsh and the wealth of comedic talent ers association TAC, the BFI programme awards next Febru in English (with the title Night in the archive. It was particu- Network and the screen and ary. The event was held at Oceana Beat News), and the sketch larly interesting to see the arc sound archive of the National Business Park in Wallsend, next show Torri Gwynt, which was of development in the role Library of Wales. door to the production offices of produced by HTV Wales and prominence of women. Hywel Wiliam ITV crime drama Vera.

Television www.rts.org.uk October 2019 57 RTS NEWS

Lime Pictures’ Hollyoaks racist in real life?” he said. “If has broken new ground we showed [the far right] in a with the far-right radi- bad light, would they come

North West North West Centre calisation of one of its after us?” best-loved characters. Feedback initially was Executive producer Bryan negative, but Rishi Nair (Sami Kirkwood heralded the story Maalik in the soap) said: “We line as “a bold departure for wanted it to be a hard watch Hollyoaks and for British – racism is hard.” However, soap… taking an unflinching as the storyline progressed, look at how extremists prey social media comments on the vulnerable and the became positive, “with peo- disenfranchised… and how ple feeling their story was Britain’s communities are being represented, their under threat from increas- voices being heard”. ingly polarised views”. Harvey Virdi (Misbah Maa- A capacity audience at the lik) added: “How can we University of Salford watched change [racism] if we don’t a screening of the storyline’s talk about it?” climactic week, at an event in Writer Jayshree Patel high- mid-September organised by lighted another challenge: Lime and RTS North West, in “The show airs at 6:30pm, so association with Channel 4 telling a story [involving] a Hollyoaks and the campaign group Channel 4 terrorist attack and meeting Love Music Hate Racism. pre-watershed requirements BBC Radio 5 Live’s Nihal was difficult.” She drew on Arthanayake, who hosted the her experience as a teacher panel discussion, asked Kirk- C4 soap takes to understand, although not wood about his decision to justify, Ste’s choices: “Ste is tackle this sensitive subject. basically one of my kids.… “Real-world issues, where [They feel] society’s turned the viewers see themselves on the far right its back on them.… That’s why reflected on television, [are they end up so vulnerable.” one of the] key ways in which Can Ste be redeemed? No the show engages with its co-ordinator of the govern- [are] right-wing-related”. spoilers, but Kirkwood audience,” Kirkwood replied. ment’s counterterrorism Kieron Richardson who underlined Hollyoaks’ values The idea was “relevant – it strategy Prevent – revealed plays Ste Hay, the white of love, and family and com- mattered to our audience and that “25% of our investigations working-class lad groomed munity rallying round. it had never been told before”. are into far- and extreme- by extremists, confessed to “Hope is all important [for Chief Superintendent right-wing [groups]” and that being wary at the outset. our viewers],” he said. Nik Adams – national “one in five Prevent referrals “Would they think I was Carole Solazzo

indie Further South Productions expensive. She suggested – argued that local storytelling using a levy on the over-the- Dublin says local will travel: ‘Local goes global.’ top streamers as a means of The panel agreed that drama investing in homegrown drama. drama trumps global didn’t need huge budgets. Rebecca O’Flanagan – co-MD ‘Passion and authenticity’ were of Treasure Entertainment and the primary requirements, said producer of the award-winning n ‘Producing drama for a global – argued that what worked Katie Holly, MD of Blinder Films drama Viva – highlighted the audience’ drew a capacity was being ‘very local’. He said: (producer of RTÉ comedy The Danish model. It concentrates audience to Dublin’s Huckletree ‘It is much harder to build a Savage Eye). on making local drama, with D2 workspace in September, franchise with global appeal… She added that an unin local talent, for Danish audi with the panellists agreeing that but there is a huge appetite for tended consequence of Ireland ences – but with meticulous local trumped global content. quality English-speaking drama.’ becoming a popular location long-term planning, which leads Remaining ‘local’ in terms of Marquess called for more for TV production was the to international success. story, themes and talent was locally produced drama in Dub increased demand for and Director Liz Gill (who made key. In fact, Paul Marquess – lin, adding: ‘This is a cool place!’ pressure on local resources, RTÉ’s Raw) chaired the RTS MD of PGMTV and a veteran Steve November – former which had led to local crews Republic of Ireland event. of soaps such as Hollyoaks ITV drama chief and now MD of and venues becoming more Charles Byrne and Agnes Cogan

58 Matthew Bell

National event hears how History penetrated the world of spying

ew espionage series Damian Lewis: Spy Wars received its Undercover premiere at a joint NRTS and A+E Networks UK event in mid-September at the British Museum. operations Having played a fictional spy in the John le Carré Damian Lewis: Spy Wars

adaptation Our Kind of Traitor History and a turncoat in long- running US thriller Homeland, Moscow and Israel, and Wars was a perfect fit for of a British spy – think Kim Damian Lewis presents the reveals the stories behind History: “[We cover] events Philby – is that of an ex- eight-part series, which some of the biggest spy opera- that really affect contempo- public school boy. Lewis began its run on A+E Net- tions of the past four decades. rary society and tell the story famously went to Eton, so, works UK’s History channel “We wanted to tell the behind them.” asked a member of the audi- earlier this month. stories from the point of The Novichok attack was ence, were the expensively The actor was initially view of the people who were one such event. “It was an schooled drawn to spying? reluctant when his brother, in the room at the time, so extraordinary spectacle to “If you’re sent away from Gareth – one of the execu- that immediately excluded turn on the news in March home at the age of eight and tive producers of Damian the much older stories, your last year and see people in are asked to cope emotionally Lewis: Spy Wars – approached Philbys and Macleans,” said bio-hazard suits making with a new situation, there is him. “I hadn’t done factual series producer Johanna their way round Salisbury, a natural and instinctive [before] and I don’t consider Woolford Gibbon. and to realise that the Rus- compartmentalising of emo- myself a presenter,” he said. The series uses dramatic sian state had sponsored an tional life. I think that is very Lewis was speaking during reconstruction, archive foot- assassination attempt on helpful to a covert life in a Q&A session, which fol- age, expert Sergei Skri- espionage,” he replied. lowed the screening of an witnesses pal,” said But, leading a secret life episode about the 2010 spy – including SPY CRAFT IS Korn. can lead to a spy’s downfall: swap between Russia and the ex-CIA chief “Spy craft “After a sociopathic com- US that involved Sergei Skri- and US Sec- INCREDIBLY is incredibly partmentalisation of one’s pal, a victim of last year’s retary of LO-FI, REALLY lo-fi, really,” life, often they feel the need Salisbury Novichok attack. Defense said Lewis. to speak. I think it’s their ego, “But I enjoy the [spy] genre Robert Gates “There are in the end, that gets the bet- and I thought it was an oppor- – and former spooks to tell its exotic phrases such as ‘dead ter of them. It’s increasingly tunity to look behind these stories of treachery. “An drop’ and ‘brush pass’, but it loose talk that actually popular stories and see if we awful lot of the time people literally means you walking undoes them in the end. could unearth something a bit said, ‘No, no, I can’t be into a supermarket with the “Of course, there’s a need more intimate about the peo- involved – you cannot use my same Sainsbury’s carrier bag for discretion and the ability ple themselves, and the rami- name, you cannot use my as me and us leaving with to be covert as a spy, other- fications on global politics of voice.’ And just by determina- each other’s bags – you’ve wise you’d be a crap spy very personal decisions tion, we got through to these seen it in a thousand thriller – you’d be James Bond.” n taken by individuals.” people; they [started] to trust movies.” Damian Lewis: Spy Wars us and then we had testi- The series tries to take the ‘Damian Lewis: Spy Wars’ – made by factual indie mony,” said the producer. viewer beyond simple spy was chaired by journalist Alaska TV and Lewis’s new Dan Korn, VP for program- craft and into the psychology Caroline Frost and produced company Rookery Produc- ming at A+E Networks UK, of spying, and asks: what jointly by the RTS and A+E tions – was filmed in London, argued that Damian Lewis: Spy makes a spy? The caricature Networks UK.

Television www.rts.org.uk October 2019 59 NEWS Wednesday 6 November National events Breaking into broadcasting Join BBC Academy for a day- RTS SCREENING long bootcamp for young Tuesday 29 October people aged 18+ looking to Britannia, season 2, and Q&A break into the TV industry. To Q&A with key cast and book a free place, email your creatives, including writers name and a brief overview of Jez Butterworth and Tom your experience and aspirations Butterworth and executive to [email protected]. producer James Richardson. 9:00am-4:00pm Chair: Caroline Frost. Exclusive Venue: Norwich University of the screening hosted by the RTS, Arts, 4 Duke St, Norwich NR3 3AS Vertigo Films and Neal Street Productions. Britannia airs on Monday 11 November Sky Atlantic on 7 November. Cambridge networking event 6:00pm for 6:30pm 5:00pm-7:00pm Women on the Verge

UKTV Venue: Curzon Soho, Venue: The Ruskin Gallery, 99 Shaftesbury Avenue, Cambridge School of Art, East London W1D 5DY Road, Cambridge CB1 1PT Glasgow hosts RTS MASTERCLASSES Thursday 21 November Tuesday 5 November and The Galaxy Britain Built: The Wednesday 6 November British talent behind Star RTS Student Masterclasses Wars – screening and Q&A writers forum Venue: IET, 2 Savoy Place, With David Whiteley and special London WC2R 0BL guests. 7:00pm for 7:30pm screening, followed by Q&A with Three highly successful character… Can you engage RTS AWARDS legendary producer Robert Watts TV writers offered someone with a really inter- Monday 25 November Venue: The Forum, Millennium valuable advice on esting question, with your RTS Craft & Design Plain, Norwich NR2 1TF

Scotland Centre building a career in unique voice and say, ‘Do Awards 2019 scriptwriting in September. you want to hear more?’” Sponsor: Gravity Media Group Wednesday 4 March 2020 Lorna Martin, who won the Martin offered more tips: London Hilton on Park Lane RTS East Awards 2020 inaugural Writer award at the “Read lots of scripts, watch 22 Park Lane, London W1K 1BE Venue: TBC RTS Scotland Awards in June, loads of TV and keep writ- ■ Jayne Greene 07792 776585 encouraged would-be writing.… Write an idea that’s RTS FUTURES ■ [email protected] ers in the audience to put quite small and cheap to Wednesday 12 February 2020 pen to paper: “People want make, because it’s got a much RTS Futures Television ISLE OF MAN your story. There’s so many better chance of being made.” Careers Fair 2020 ■ Michael Wilson production companies and Kim Millar (BBC One’s 10:00am-4:00pm ■ [email protected] they want content.” Casualty) said: “Say it out loud. Venue: Business Design Centre, Martin (who wrote UKTV Someone once said to me, 52 Upper Street, London N1 0QH LONDON channel W and RTÉ2’s Women ‘Speak the words and, if you TikTok for broadcasters on the Verge) added: “And send don’t think someone would Wednesday 23 October them a nice email.” say them, take them out.’ Local events Edward Lindeman, TikTok Euro Writer and actor Stuart “Keep it simple and learn pean strategy manager and Ryan Hepburn (BBC Scotland to separate yourself from the DEVON AND CORNWALL Martin, TikTok brand partnerships drama River City), who lectures actual work.… I think you can ■ Jane Hudson strategist. 6:30pm for 7:00pm in screenwriting at the Uni- take criticism on board, but ■ RTSDevonandCornwall@rts. Venue: Atos, Mid City Place, versity of Stirling, said: you have to think: that’s the org.uk 71 High Holborn, London WC1V 6EA “You’ve got to be a storyteller script, that’s me and that’s who wants to tell a story – the product.” EAST Wednesday 6 November you’ve got to put your unique The event, “Let’s talk: writ- Wednesday 23 October Production in your pocket voice at the centre of that. ing for TV”, was chaired by TV futures: virtually there... With Deirdre Mulcahy, news “You’re dealing with people Centre Chair April Chamber- with Dr Nick Lodge camera operator, freelance who read a lot of stuff. So, it’s lain and held at the Glasgow Joint event with UEA and RTS producer and trainer. nothing to do with structure, Art Club. East. 7:00pm for 7:30pm 6:30pm for 7:00pm it’s nothing to do with a Gillian Gunn Venue: TBC Venue: TBC

60 Your guide to upcoming events. Book online at RTS EVENTS www.rts.org.uk Wednesday 4 December Wednesday 20 November Christmas Lecture: RTS Scotland Awards 2020 David Abraham launch 6:30pm for 7:00pm 6:00pm Venue: Cavendish Conference Venue: Glasgow Art Club, Centre, 22 Duchess Mews, 185 Bath Street, Glasgow G2 4HU London W1G 9DT ■ Cheryl Strong ■ Phil Barnes ■ [email protected] ■ [email protected] SOUTHERN MIDLANDS ■ Stephanie Farmer Friday 29 November ■ [email protected] RTS Midlands Awards 2019 Venue: International Convention THAMES VALLEY Centre, Broad Street, Friday 29 November RTS Birmingham B1 2EA Thames Valley Winter Ball and ■ Jayne Greene 07792 776585 Awards 2019 ■ [email protected] 7:00pm-1:00am Masterclasses Venue: Wokefield Estate, Good NORTH EAST AND THE BORDER boys Lane, Mortimer RG7 3AE ■ Jill Graham ■ Tony Orme ■ [email protected] ■ [email protected] 5-6 November

NORTH WEST WALES Saturday 23 November Monday 28 October n RTS Student Programme RTS North West Awards 2019 In conversation with Masterclasses: 5 November 6:00pm for 6:15pm Russell T Davies Venue: Hilton Manchester Host: Gethin Jones. 7:00pm n Deansgate, 303 Deansgate, Venue: Royal Welsh College of RTS Craft Skills Masterclasses: Manchester M3 4LQ Music and Drama, Cathays Park, 6 November ■ Rachel Pinkney 07966 230639 Cardiff CF10 3ER ■ [email protected] Thursday 5 December Venue: IET London WC2R 0BL NORTHERN IRELAND Christmas quiz Thursday 7 November Venue: TBC RTS NI Programme Awards ■ Hywel Wiliam 07980 007841 BOOK YOUR PLACE: 2019 ■ [email protected] 7:00pm www.rts.org.uk Venue: The MAC, 10 Exchange WEST OF ENGLAND Street West, Belfast BT1 2NJ Tuesday 12 November ■ John Mitchell RTS Futures Festival ■ mitch.mvbroadcast@ The annual festival for emerging btinternet.com talent in the West of England Venue: Bristol M Shed, Princes REPUBLIC OF IRELAND Wharf, Wapping Road, Bristol ■ Charles Byrne (353) 87251 3092 BS1 4RN ■ [email protected] Friday 6 December SCOTLAND Christmas quiz Wednesday 6 November Venue: The Folk House, 40a Park Top tips from animated gurus Street, Bristol BS1 5JG Joint event with Animated ■ Suzy Lambert Women Scotland and RTS ■ [email protected] Scotland. 7:00pm panel discussion; 8:00pm-9:00pm YORKSHIRE networking ■ Lisa Holdsworth 07790 145280 Venue: ECA, 74 Lauriston Place, ■ lisa@allonewordproductions. Edinburgh EH3 9DF co.uk

Television www.rts.org.uk October 2019 61 OFF M E SSAGE

ff Message is no topics as trust in TV were shared ■ The BBC didn’t miss a chance to stranger to the live with delegates. tease the BBC One blockbuster His RTS Cambridge Next time Gogglebox needs some Dark Materials, with a sneak preview Convention. But new faces it would be well advised in the lead-in to Tony Hall’s Cam- few compare to check out the People’s Panel. bridge speech. To say it looked epic with last would be an understatement. This month’s high- ■ Could culture secretary Nicky co-production with HBO, scripted by powered and star-studded talking Morgan soon be following in the the brilliant Jack Thorne, looks like shop,O the 49th year of the event held illustrious footsteps of Ed Balls, Vince must-watch TV. Bring it on. by the banks of the Cam. Cable and Anne Widdecombe? The weather was Indian summer At Cambridge, during her Q&A with ■ Thanks to the Edelman research perfect – non-stop sunshine made the deceptively tenacious Susanna presented by Ed Williams at Cam- the ancient Fenland university capital Reid, she was asked if she’d like to bridge, we know that, as far as trust look like it belonged in a Merchant appear on – you guessed it – Strictly goes, Netflix is right up there with Ivory movie. Come Dancing. The Secretary of State the BBC. Over three days, the speakers and gamely answered that she’d love to be During his presentation, Ed gave panellists exceeded expectations. on the show. delegates an intriguing insight into his The 17 sessions – a Cambridge record, But perhaps ITV will make a bid for domestic life. He revealed that his son perhaps – segued seamlessly across the Nicky first and sign her up for I’m a Felix’s former nanny was still using big issues and much more besides. Celebrity… Get Me Out of Here! As its the Williams’s Netflix account – even For star power, the conference CEO, Carolyn McCall, told delegates: though she’s moved out and is living began with a session featuring Ant “We think she’d be brilliant in the in Australia. At least Ed has empirical and Dec, and ended on an emotional jungle.” Who could possibly disagree? proof of Netflix’s global appeal. high, thanks to an impassioned Lenny Henry. ■ Talking of culture ministers, Sha- ■ Following yet another compelling Not even a problem with the power ron White reminded everyone at appearance from Discovery CEO supply at the convention centre on Cambridge that, during her time as David Zaslav at Cambridge, Off Mes- the Thursday morning could diminish CEO of Ofcom, DCMS secretaries sage couldn’t help wondering why the slick production masterminded by of state have been more ephemeral he was wearing a hoodie underneath ITV’s daytime guru, Emma Gormley. than an Instagram post. his jacket. In her four years at the regulator, no Maybe he’d heard about those ■ Live at Leeds is regarded by fans fewer than six politicians have held bitterly cold east winds that can blow as one of The Who’s very best. After this important job. For the record, and across King’s Parade and was caught this vintage Cambridge, Live at Leeds in alphabetical order, that’s Karen out – like the rest of us – by the takes on a whole new meaning. Bradley, Sajid Javid, Nick Hancock, Indian summer. Let’s hear it for the People’s Panel, Nicky Morgan, John Whittingdale and Or perhaps, as Baz speculated in his the group of Leeds locals who pro- Jeremy Wright. mischievous daily conference resumés, vided a charismatic counterpoint to And, of course, three of these poli- he’d joined a Benedictine order. Cambridge’s big beasts of the media ticians are now riding high in Boris Now that would make an intriguing jungle. Their comments on such Johnson’s Cabinet. Discovery series.

62 October 2019 www.rts.org.uk Television RTS PATRONS RTS Principal BBC Channel 4 ITV Sky Patrons

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

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

Television www.rts.org.uk October 2019 63 RTS CRAFT & DESIGN AWARDS 2019