Shonda Rhimes a Defining American Voice Davinci Resolve 12.5 Now with 1,000 Enhancements and 250 New Features for Faster Editing, Better Color and New E Ects!

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January 2017

Shonda Rhimes A defining American voice DaVinci Resolve 12.5 now with 1,000 enhancements and 250 new features for faster editing, better color and new e ects!

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From the CEO The RTS events pro- see so many people turn out on a perhaps over a glass of your favourite gramme was, to say cold, windswept Friday evening. wine or craft beer. the least, hectic as we The RTS Futures Xmas Quiz was Turning to some recent changes at headed towards the a tremendously entertaining event. the RTS I am absolutely delighted that end of 2016. Our Thanks to everyone who took part. Tom Mockridge, CEO of Virgin Media, bumper issue of Test your own TV knowledge with the has agreed to be our new Chair. He Television carries questions on page 34. succeeds John Hardie, whom I’d like reports of almost all these events. Simon Shaps provides this month’s to thank for being such an inspira- We had a wonderful night at the cover story and celebrates the tional boss these past four years. RTS Craft & Design Awards. Sandi achievements of the US showrunner Finally, I’d like to wish every RTS Toksvig was a brilliantly funny and Shonda Rhimes. Her hit series, such member a very happy New Year. From incisive host. My congratulations to as Grey’s Anatomy, continue to provide the Society’s perspective, I can prom- all the winners. Full details inside. signature drama for ABC. ise you a very lively 2017! “An evening with Steve Hewlett”, Nearer to home, I was thrilled that held at the BBC Radio Theatre on Alastair Stewart found time to pen a 25 November, exceeded everybody’s review of the year. expectations. Steve was in amazingly What a year it’s been, and what a energetic form. It was encouraging to take on it: this is a piece to savour, Theresa Wise Contents Alex Horne’s TV Diary 2016: TV’s defining year for diversity? Alex Horne discovers that making a TV show can be The protracted reign of able-bodied white men over 5 family-friendly 22 British television may finally be drawing to a close, writes Steve Clarke A defining American voice Shonda Rhimes, creator of Grey’s Anatomy and Scandal, Mixing it up on a global scale 7 has set a new benchmark for TV storytelling, argues Sky Vision chief Jane Millichip is a TV executive who Simon Shaps 26 confounds the corporate stereotype, says Tara Conlan The man riding C5’s success Matchmaking fixed-rig style Viacom’s European chief, David Lynn, explains Channel 5’s Channel 4’s First Dates revels in its documentary roots. 10 place in a unique business model to Steve Clarke 28 Matthew Bell feels the love Why social media needs TV RTS Student Programme Masterclasses Television is helping to drive platforms such as Facebook Four distinguished programme-makers offer their 12 and Twitter, hears Matthew Bell 30 insights across a range of genres. Matthew Bell and Steve Clarke report ‘A real stubborn bugger’ Despite undergoing intensive treatment for cancer, RTS Craft Skills Masterclasses 15 Steve Hewlett finds the energy to entertain a capacity Matthew Bell and Steve Clarke look, listen and learn as crowd with stories of his unmatched career 32 experts share their tradecraft Welcome to the post-truth world RTS Futures Christmas quiz Alastair Stewart looks back on a year of Brexit and Trump Test your televisual knowledge with our RTS Futures 18 as sanity and normality were hijacked by social media 34 festive quiz Our Friend in the North RTS Craft & Design Awards 2016 How healthy is Scotland’s TV production sector? The winners and nominees over eight pages 21 Alan Clements gives his diagnosis 35 Cover picture: Philip Bannister

Editor Production, design, advertising Royal Television Society Subscription rates Printing Legal notice Steve Clarke Gordon Jamieson 3 Dorset Rise UK £115 ISSN 0308-454X © Royal Television Society 2017. [email protected] [email protected] London EC4Y 8EN Overseas (surface) £146.11 Printer: FE Burman The views expressed in Television Writer Sub-editor T: 020 7822 2810 Overseas (airmail) £172.22 20 Crimscott Street are not necessarily those of the RTS. Matthew Bell Abigail Sanderson E: [email protected] Enquiries: [email protected] London SE1 5TP Registered Charity 313 728 [email protected] [email protected] W: www.rts.org.uk

Television www.rts.org.uk January 2017 3 Your guide to upcoming national and RTS NEWS regional events

NORTH WEST National events Wednesday 25 January 2017 An evening with Kay Burley RTS FUTURES Hosted by Jim Hancock. 6:30pm Wednesday 1 February Venue: The Compass Room, RTS Futures – The Ultimate TV Lowry Theatre, Salford Quays Careers Fair M50 3AZ Network at the biggest careers ■ Rachel Pinkney 07966 230639 fair in TV, learn about the jobs, ■ [email protected] schemes and opportunities available and get crucial tips NORTHERN IRELAND on how to stand out from the ■ John Mitchell crowd. Tickets: early-bird rate ■ mitch.mvbroadcast@btinter - £6; full price £10 net.com Venue: Business Design Centre, Forget Carter: 26 January

52 Upper St, London N1 0QH BFI REPUBLIC OF IRELAND ■ Book online at www.rts.org.uk ■ Charles Byrne (353) 87251 3092 For group bookings (11+ guests): High dynamic range (HDR), ■ [email protected] ■ Alice Turner 020 7822 2822 Local events wider colour gamut and higher ■ [email protected] frame rate (HFR) will hugely SCOTLAND BRISTOL affect the benefit to consumers. ■ James Wilson 07899 761167 RTS EARLY EVENING EVENT Sunday 19 March The evening will include a ■ james.wilson@cityofglasgow- Tuesday 7 February RTS West of England demonstration of HDR HFR college.ac.uk In conversation with John Awards 2017 Ultra-HDTV. 6:00pm Petter, CEO, BT Consumer Venue: Bristol Old Vic, King Venue: TBC SOUTHERN With journalist and presenter Street, Bristol BS1 4ED ■ Jayne Greene 07792 776585 Wednesday 1 February Kate Bulkley. ■ Belinda Biggam ■ [email protected] Meet the professionals 6:30pm for 6:45pm ■ [email protected] An opportunity for students Venue: TBC NORTH EAST & THE BORDER from production-based courses ■ Book online at www.rts.org.uk DEVON & CORNWALL Thursday 26 January across the South to meet ■ Kingsley Marshall Forget Carter informally a wide range of RTS AWARDS ■ Kingsley.Marshall@falmouth. A virtual tour with Chris Phipps, media production professionals. Wednesday 1 March ac.uk media historian, showing how 2:00pm-5:30pm RTS Television Journalism Newcastle has been portrayed Venue: Bournemouth University, Awards 2017 EAST on television and film. Free to Talbot Campus BH12 5BB (TBC) Venue: London Hilton on Park ■ Nikki O’Donnell members of the RTS, who can ■ Gordon Cooper Lane, London W1K 1BE ■ nikki.odonnell@bbc.co.uk register on Eventbrite — please ■ [email protected] ■ Jamie O’Neill 020 7822 2821 bring evidence of membership ■ [email protected] LONDON with you on the night: THAMES VALLEY Wednesday 25 January www.eventbrite.co.uk/e/royal- Wednesday 15 February Tuesday 21 March Prosthetics and CGI: From the television-society-forget-carter- Advances in compression RTS Programme Awards 2017 real to the virtual tickets-29254501000. 7:00pm 6:30pm for 7:00pm In partnership with Audio Speakers TBC Venue: City Library (Bewick Hall), Venue: Pincents Manor Hotel, Network 6:30pm for 7:00pm 33 New Bridge Street West, Calcot, Reading RG31 4UQ Venue: Grosvenor House Hotel, Venue: ITV London Studios, Newcastle Upon Tyne NE1 8AX ■ Penny Westlake Park Lane, London W1K 7TN Upper Ground, South Bank, ■ [email protected] ■ Alice Turner 020 7822 2822 London SE1 9LT Thursday 23 February ■ [email protected] ■ Daniel Cherowbrier Networking evenings WALES ■ [email protected] The last Thursday of the month, ■ Hywel Wiliam 07980 007841 RTS CONFERENCE for anyone working in TV, film, ■ [email protected] 13-15 September MIDLANDS computer games or digital RTS Cambridge Convention Wednesday 18 January production. 6:00pm onwards. YORKSHIRE 2017 High dynamic range and the Venue: Tyneside Bar Café, Tyne- ■ Lisa Holdsworth 07790 145280 Venue: West Road Concert Hall, future of TV side Cinema, 10 Pilgrim St, New- ■ lisa@allonewordproductions. Cambridge CB3 9DP and King’s Speakers: Richard Salmon and castle upon Tyne NE1 6QG co.uk College, Cambridge CB2 1ST Manish Pindoria of BBC R&D. ■ Jill Graham Ultra-HDTV is about much more ■ [email protected] than simply increasing resolution.

4 TV diary

Alex Horne discovers that making a TV show can be family-friendly

ilming Taskmaster is she might be interacting with animals ridiculous thing to have happened in the most nine-to-five so I meet a veterinary health and safety my career. job I’ve had since man who was on the set of Ben-Hur 1996, when I spent a and Wonder Woman. ■ The afternoon is filled with a few summer working on more things that I can’t mention a potato farm, remov- ■ When Lolly has finished her mys- here. Hugh Dennis, Joe Lycett, Noel ing mouldy potatoes tery animal-related activity, she and Fielding and Mel Giedroyc will all and toads from a potato conveyor I sit in the kitchen of the farmer and be doing the same challenges either Fbelt. I would wholeheartedly recom- his wife, an excellent couple who side of Christmas so any hints might mend both jobs. usually turn Chesham residents’ spoil the integrity of the show. Four-fifths of the series is filmed in apples into cider; it’s a surprisingly Despite being intensely silly, we an unlikely cottage in West London. idyllic place to live. Outside, the crew take the competition seriously. The But I live outside the M25, so semi- set up something involving wellies. comics might cheat, but we can’t. insisted that the final fifth takes place near my house. ■ By 11:00am we’ve moved to ■ As darkness surprises us yet again Today, we are starting at a location Chesham United Football Club. by falling in the middle of the after- one mile from my kitchen, so I eat Again, it’s a location chosen princi- noon, we move into the bar for breakfast with my wife and three small pally because I know people who the final task of the day. This one boys before heading out the door in work there. My eldest son plays in its involves me. I enjoy my subordinate my suit like an actual father from 1976. Under-8 team and it’s a proper family role as Greg’s assistant/deputy life- club, which has made Tom and me, coach but, when I have the chance to ■ Taskmaster works like this: five and now the Taskmaster team, very get slightly closer to centre stage, I do comedians do their competitive best welcome. secretly enjoy it. to accomplish a raft of ridiculous Unfortunately, it’s a particularly tasks set by me. cold day in the Chilterns so Lolly ■ When Lolly leaves, I’m next out They attempt these things indi- doesn’t feel quite as comfortable as the door as the brilliant crew do the vidually, only finding out how each she tackles her next two tasks (which actual work of sorting everything out. other has done later in the studio, require a typewriter and a rubber It’s time for my day job: doing a gig under the judgemental glare of my duck, respectively). with my band, The Horne Section, at boss, Greg Davies. the Colchester Arts Centre. Today, it’s Lolly Adefope’s turn and ■ At lunch, Andy the director and We’ve been sloppily mixing music we meet for a pre-task breakfast at a Andy the producer and I meet to and comedy for seven years now and conference centre next door to my talk about what’s next for the show, seem to have found our audience. By kids’ primary school. both here and abroad. Despite 10:00pm we’ve led that audience in a the surroundings (the home-side genuinely exhausting Zumba routine, ■ Lolly has no idea what’s in store so I changing room and laundry area) as well as a backwards conga. Home leave her nibbling nervously and join this feels incredibly glamorous. around midnight, I sleep well. the crew at a nearby farm to set up her The Belgians and Swedes are mak- first situation. I can’t reveal details in ing their own versions of Taskmaster, Taskmaster, Series 4, will be shown on case her competitors are reading – but which is by far the best and most UKTV’s Dave in April.

Television www.rts.org.uk January 2017 5 Apply now u need £2,000 for the 2017 yo elevision pro 1 y of t ject? o istor Shiers Trust D a h ant of up to £2,000 tow r ke a gr ards fo n ma of th t ca any aspect e history of tele Award 1 rus k on vision e T wor Th hing blis pu

2 Objectives The promotion of public education through the study and research of the history of television in all its aspects and without regard to country of origin, including the development and encouragement of publications and associated projects such as bibliographies and monographs on particular aspects, provided that the results of such study and research shall be published and that the contribution made by the Trust shall be suitably acknowledged in any publication. 3 Criteria Grants will be given to assist in the completion of new or unfinished projects, work or literature specific to the objectives of the Trust. ‘Literature’ is defined as including audio-visual media such as DVDs and websites. The Trustees must be satisfied that the work they are supporting either could not be finished or published without the grant and that, with it, the work will be completed, or, the grant will provide the initial phase of a project that will be continued and completed with other identified funding. Applications will be considered broadly in support of research, development, writing, editing or publication. Grants for research will require that the results of the work will be made known and accessible through appropriate 4 means. In the case of literature, projects must have a real prospect of publication. Applicants must demonstrate that their work will have a clear expectation of making a significant contribution to the objectives of the Trust. Applicants will be required to satisfy the Trustees of the soundness of their projects, and identify any grants from other sources. The Trustees will not make commitments to support recurring funding, nor make grants to cover fees or maintenance of students undertaking courses. George Shiers George Shiers, a distinguished US television historian, was a long-standing member of the RTS. Before his death in 1983, he 5 and his wife, May, provided for a bequest in their wills. The Shiers Trust grant, now in its 17th year, is normally worth £2,000. Grants will be considered and approved by the Trustees who may, at their discretion, consult appropriate experts to assist their decisions. In assessing priorities, the Trustees will take into account the sums of money available. Application procedure Applications are now invited and should be submitted to the Trustees by Friday 31 March 2017 on an officialapplication form (available from the RTS, address below). Applications should set out the nature of the project in not more than 500 words. 6 Supporting documentation may also be included. Details of your experience or qualifications should be provided. Applicants should ensure that their project conforms to all the criteria. Applications should be accompanied by a budget that clearly identifies the sum being requested for a grant and the purposes for which it will be used. Application forms are available from the RTS and should be returned to the same address:

Clare Colvin, Archivist Previous recipients 7 Royal Television Society 1 2016: The Scottish Broadcasting Heritage Group recorded interviews with 3 Dorset Rise people who worked at and watched STV from 1957 to 2017. 2 2015: Oral history project by former Granada staffers Stephen Kelly and London EC4Y 8EN Judith Jones, with interviews published at: www.granadaland.org [email protected] 3 2014: Shared between Dr Sheldon Hall, whose Armchair Cinema is a study of feature films on British television, and Marc Scott, whose research focuses on the unofficial development of TV in Australia 4 2013 : Barry Fox has built a website (www.tekkiepix.com) to present his 8 collection of historical consumer electronics imagery and documents. The picture shows a publicity still for Philips’s optical videodisc 5 2012: Paul Marshall researched a biography of Alan Archibald Campbell Swinton, the early visionary of all-electronic television 9 6 2012: Simon Vaughan digitised the 300-page ‘Black Book’, the first manual of the Marconi-EMI electronic television system, installed in 1936 7 2011: David Rose presented an illustrated retrospective of his exceptional career as a groundbreaking television and film producer to a large number of live audiences 10 8 2008/2010: Steve Arnold digitised back issues of Radio Times to make a searchable online archive of articles and schedules 9 2001: Simon Vaughan, archivist of the Alexandra Palace Television Society, printed a collection of 1,200 photos by the father of television 11 lighting, Desmond Robert Campbell 10 2004: Don McLean compiled an authentically accurate audio two-CD 13 presentation of the beginnings of television in Britain 12 11 2005: John Grist wrote a biography of Grace Wyndham Goldie, the first Head of BBC Television News and Current Affairs 12 2009: Ronald Sandell, a key planner of the analogue terrestrial transmitter network, conducted research for a book, Seventy Years Before the Masts 13 2010: John Wyver conducted interviews on the presentation of theatre plays on British television n these giddy years of peak TV nothing is cooler, more fever- ishly consumed, than US television drama series that seem, unaccountably, to be taking the medium in new and exciting directions. IThe widespread praise heaped on often dark and complex series, from The Wire to Breaking Bad, is, no doubt, due to sheer surprise: how did television – in particular, American TV – suddenly get so smart, so original, so good? US TV, derided not so very long ago as a cultural desert, is now enjoying a golden age. Critics fall over themselves to lavish praise on the latest box-set treat. David Bianculli, the respected TV critic for National Public Radio, recently published a panegyric enti- tled The Platinum Age of Television. The term “Golden Age” no longer suffices. But another recent book, no less fulsome in its praise, perhaps inad- vertently, makes a curious point about the creators of many of these shows. Difficult Men by Brett Martin anatomises the genesis of The Sopranos, Deadwood, The Wire, Mad Men, Breaking Bad, Six Feet Under and many others, without paus- ing to consider the question of gender contained in its title. David Chase, David Simon, Ed Burns, David Milch, Alan Ball, Matt Weiner, Vince Gilligan are the Men – difficult Profile or otherwise – of the book’s title, with not a women in sight. Which brings us to Shonda Rhimes, Shonda Rhimes, creator of the hugely successful creator of Grey’s Anatomy, Scandal, How to Get Away with Grey’s Anatomy and Scandal, Murder and Private Practice, and has set a new benchmark for TV founder of Shondaland, a production company that employs many hun- storytelling, argues Simon Shaps dreds of people.

Rhimes is black, a woman, and over Shondaland the past decade, has made her reputa- tion with a series of brilliantly commercial series, which don’t even make it into the index of Martin’s book. Her shows are the tent pole that props up Thursday nights on ABC, the most competitive night of the week. A defining Former ABC Network President Paul Lee says of Rhimes: “I loved working with Shonda. She’s a stunningly talented showrunner and a defining American American voice.” So, if Lee is right and Rhimes is a defining voice, how come her contribution to this golden (or platinum) age seems to be overshadowed by the voice creators of the shows that feature in Martin’s book? �

Television www.rts.org.uk January 2017 7 � Is she the wrong gender, or is she is about to begin work as a surgical just making shows for one of the intern, we are drawn into what the unfashionable networks? voice-over describes as “the game”, Difficult Men reports that, back in where a person “either has what it 1993, when Steven Bochco and David takes to play – or they don’t”. Milch joined forces to create NYPD Blue The game is the pressurised and for ABC, they offered the show as competitive journey that 20 interns are something of a departure for the net- about to begin. It will involve personal work. “Part of Bochco’s pitch to ABC… triumphs and failures, lives saved and had been the prescient notion that lives lost. Not all the interns will last network TV needed to adjust its stand- the course. ards to compete with the coming In five expertly crafted minutes, threat of cable,” writes Martin. having opened the series with Grey’s The threat to the networks was, one-night stand with Shepherd, Rhimes of course, far greater in the end than introduces five or six key characters Bochco and the networks could have and the challenges they will face: the imagined. Today, cable is itself under medical hierarchy at Grey+Sloan threat from the on-demand players – Memorial Hospital. She also hints at Amazon, Netflix, Hulu and, no doubt, the revelation that comes at the end of others to come. the episode, when Meredith’s mother, So where does that leave network a legendary surgeon, is revealed to be drama? When Alessandra Stanley, TV suffering from dementia. critic of The New York Times, writing The same compression and ener- about Scandal, says it is “more Aaron getic storytelling is in evidence again Spelling than Aaron Sorkin”, we pre- at the beginning of Scandal, which sume that this is a put-down. takes us straight into the unique world Not merely is the best stuff being of Olivia Pope (Kerry Washington), a done elsewhere – beyond network TV former media adviser to the US Presi- – but the high-rating shows are just dent who runs her own crisis manage- commercial pap. ment company. Thus, Rhimes finds herself in a curi- The firm is immediately plunged into ous position. Unlike many of the most working for a blood-stained socialite talented writers, she has so far stayed who arrives at Pope’s door, fearing that loyal to ABC and network TV. he will be charged with murdering his She has created a number of new girlfriend. That story runs alongside shows, and performed the seriously Kerry’s personal instruction from the underestimated task of keeping them President to close down a Monica creatively strong over many seasons. Lewinsky-style scandal that is about Grey’s Anatomy is now in its 13th to engulf his Presidency. series, and Scandal is already up to In a session at Mipcom in October, Series 6. The constraints of network Rhimes talked about her early ambition TV actually seem to make her shows to be a great novelist, only to discover sharper and more engaging than that “Toni Morrison already had that is sometimes the case with slow- job”. She convinced her parents that burning serials, where the narrative she should apply to the writing pro- unfolds over many weeks. Remember, gramme at USC School of Cinematic she has to operate in just 40 minutes Arts, rather than Harvard, “because it of airtime and needs to deliver self- was more difficult to get into”. contained stories each week. After graduation, she wrote screen- Looking again at the opening epi- plays, including Princess Diaries 2, but sodes of Scandal and Grey’s Anatomy says that she only began to think about offers a masterclass in the creation writing for television when she was at of fictional worlds. home with her first child, and started From the moment that Meredith to watch intensively, not least all the Grey (Ellen Pompeo) wakes up in the episodes of the first series of 24, back arms of Derek Shepherd (Patrick to back. Dempsey), unaware that he is head of Having written a script about war neurosurgery at the hospital where she correspondents that she couldn’t sell,

8 Complex heroines: Scandal’s Olivia Pope (played by Kerry Washington), left, and Meredith Grey of Grey’s Anatomy (played Rhimes’ rise: by Ellen Pompeo), right her story arc she set out to find out “what Bob Iger wanted”. The answer was a medical Born in 1970 and raised outside series. And the result was Grey’s Anatomy. Chicago, she is the youngest of six There are currently five Shondaland children. Her mother is a college shows in production: Grey’s Anatomy, professor. Rhimes’ father worked Scandal, How to Get Away with Murder, The as a university administrator. Catch and a project that had the work- Of her mother, she once said: ing title Still Star-Crossed, described as a ‘When people say “I’m too old” to sequel to Romeo and Juliet. It is Rhimes’s do something or “I could never do first venture into period drama. that”, I’m always like, “My mom had She is the executive producer of all six kids and then she became a five shows and still works as a show- professor – like, what are you talk- runner on Grey’s and Scandal. Given her ing about? Anything is possible!”’ legendary attention to detail and the Rhimes is unmarried and has pace of US drama production, it is two adopted daughters and one difficult to imagine her having the daughter by gestational surrogacy. time to run more series. She started her TV career as a But, in a Broadcast interview in Octo- development assistant. ber, Rhimes raised the prospect of cre- Her early scripts included fea- ating an original drama series for UK ture films The Princess Diaries 2: television. She said: “It’s a new day in Royal Engagement, Britney Spears television. Working outside of the vehicle Crossroads and co-writing States is something I have always HBO movie Introducing Dorothy wanted to do.” Dandridge. It would be foolish to bet against Prior to Grey’s Anatomy, Rhimes Rhimes succeeding, but the track wrote a pilot for an ABC show record of US showrunners creating about war correspondents, which original series for the UK suggests that never got made. Grey’s Anatomy the odds are against her. Almost all the was her first attempt at writing traffic – writers, producers, directors, series drama. on-screen talent – has been in the Of Scandal she has said: ‘To me, other direction. the awesomest part of my job is Rhimes told the audience at Mipcom I get to type “interior, Oval Office” that she loved television because, more and know that someone’s going to than feature film, it allowed her to build me an Oval Office, and I get to “really do character”. go play in it.’ It is a cliché to argue that, if the great In 2015 she published a memoir, novelists of the past were born today, Year of Yes: How to Dance It Out, they would choose to write for televi- Stand in the Sun, and Be Your Own sion. But in her own telling, that is Person. Rhimes’s story. ‘I get asked a lot how I manage In choosing to leave the novel writ- to create such smart and strong ing to Toni Morrison, she is building a heroines,’ she said in October at treasure house of great popular drama Mipcom. ‘But I don’t know any series, full of subtlety and intelligence. dumb and weak women. I’m All of her ideas are original; all of writing heroines who talk like my them contemporary. Still only in her mothers, my friends, like Betsy mid-forties, Rhimes shows no signs of [Beers, executive producer at flagging. As is evident in her desire to Shondaland] and me. I never felt explore new markets. that what they said was wild.’ When the complete history of this Asked about her success in era of television is written, her having lead roles played by minor- achievements may well put those ity actors, she said: ‘I choose not of the “difficult men” in the shade. to examine that fact. We make TV As she told students at Dartmouth characters look like normal people College in a graduation address: in the real world. We just try to tell “I ended up building an empire out the truth.’

of my imagination.” Sky pictures: All

Television www.rts.org.uk January 2017 9 The man riding C5’s success

David Lynn Viacom

f David Lynn ever grows tired wild year”. It said: “The drama sur- of being a television executive, Viacom International rounding the House of Redstone has perhaps he should consider a been nothing less than Shakespearean.” career in diplomacy. When it Three thousand miles away in Cam- is suggested to him that the Viacom’s UK and den, however, all appears remarkably power struggle at Viacom’s European chief, calm: no blood-soaked daggers or vials NewI York HQ – which finally saw the , explains of poison visible anywhere. departure of CEO Philippe Dauman last David Lynn Dauman, a speaker at the RTS Cam- August – may have troubled his own Channel 5’s place in a bridge Convention in 2015, was replaced working life, Lynn barely bats an eyelid. by another Viacom veteran, Bob Bakish, Five days a week, a Lycra-clad Lynn unique business model who is now Viacom’s acting CEO. cycles the eight miles from his Fulham Lynn sees Bakish’s promotion as an home to Viacom’s office in Camden, to Steve Clarke endorsement of Viacom’s international North London. The 35-minute journey success: “He’s a fantastic leader who’s may be short, but it is long enough for controlling shareholder, Sumner Red- driven the transformation of Viacom’s him to reflect on what has been a stone, continues to obsess US media international business. He’s a real tumultuous period for the company watchers. visionary. in which he has worked for the past One possibility is that Viacom will “The fact that Bob was chosen for 19 years. reunite with CBS under the leadership that role is an indication of the success The stock price has been in meltdown of Les Moonves. of Viacom internationally and also of and the fallout from the feud between Variety recently published a lengthy how Viacom is looking to international Dauman and the family of Viacom’s report headlined, “Sumner Redstone’s for growth.”

10 Quite how determined Viacom is transformation; Viacom inherited Frow “This isn’t to say that it’s not hap- to build its business outside the US from Northern & Shell. pening, but it is back to that old adage became clear two years ago. Then, it “We have shows of real ambition and that people tend to overestimate tech- became the first American entertain- quality now,” notes Lynn. “Ben has done nological change in the short term but ment giant to buy a UK terrestrial a brilliant job. underestimate it in the long term. broadcaster. By successfully outbidding “We’re making innovative content “Our business has thrived during other suitors – who reportedly included such as Gangland, where cameras were that period. Our viewing has gone up Discovery, Scripps and BSkyB – for given to gang members. It was done four-fold, our revenue has gone up Channel 5, Viacom was making a clear really sensitively. three-fold – despite all the change. statement. “Our new series Slum Britain: 50 Years “If you look at Ofcom’s [latest] Until then, the group’s overseas On, highlighting homelessness, is a report, 86% of viewing was either lin- activities had revolved around its pay- fantastic series.” ear or linked with linear – linear PVR channels, principally MTV, Nickelodeon or catch-up. The viewing is still there. and Comedy Central. The ad market has been incredibly The synergies offered by the deal robust over the last few years.” were obvious. Not only could back- OUR VIEWING He does accept that, in the aftermath office functions be shared, more impor- HAS GONE UP of the referendum, there is “a lack of tantly, hit Channel 5 shows could play visibility” in the UK ad market, but he across Viacom’s international channels FOUR-FOLD, OUR is optimistic that more targeted adver- – and hit Viacom shows could appear REVENUE HAS tising should help during 2017. on Channel 5. “Through innovations, such as It is no coincidence that one of GONE UP THREE- AdSmart Five, our advertisers have Channel 5’s signature shows is a UK FOLD – DESPITE the ability to target adverts and match version of Lip Sync Battle, a format that them up with audiences. originated on the Viacom channel ALL THE CHANGE “People buy advertising by broad- Spike across the Atlantic. brush demographics. Going forward, “We’ve already started sharing there are tools that, say, identify people content between Channel 5 and our In the past year, the broadcaster has who are likely to buy a car in the next pay-network in the UK and some increased its spend on programming six months. Car manufacturers can shows are starting to go overseas as by 11% to £230m. advertise against that.” well,” notes Lynn, who was a key player When Viacom bought Channel 5, UK- And then there is the challenge to in Viacom’s purchase of Channel 5. originated content made up 50% of the broadcasters from streaming services. He explains: “Northern & Shell [the schedule. Today, the figure is 66%. Once again, Lynn is upbeat: “There’s broadcaster’s previous owner] had “There are now only seven titles on no doubt that you’re going to see more done a fantastic job turning around Channel 5 that were in the schedule in viewing moving to on-demand. Channel 5: it was handed over to us in 2013,” says Lynn. “We’ve commissioned “When it comes to TV, I’m a believer good health. I think we were best 40 new series this year. There’s been a and an optimist. I think that we have a placed to bring it to the next level.” total reinvention.” unique product. But, yes, we do have to Happily for the London-based Via- Viacom’s UK TV businesses have evolve and give the viewers the oppor- com executive, the company’s strategy always enjoyed a close working rela- tunity to watch our content flexibly.” for growing Channel 5’s business is tionship with Sky – Comedy Central Such is the success of Channel 5 as a starting to pay off. In November, Lynn and Nickelodeon are both joint ven- business model for Viacom that it has announced that the network’s pre-tax tures with Sky. And, since May 2015, inspired the company to buy another profits had increased by almost 50% to Channel 5’s advertising has been sold free-to-air broadcaster – this time in £58.9m for the year to September 2016, by Sky’s sales house, Sky Media. This Latin America. In November, Viacom up from £39.5m. brought the network into line with the announced that it had acquired Argen- “We’ve had two years of profits and rest of Viacom’s UK-based pay-channels tina’s Telefe for $345m. Unlike Chan- year-on-year growth,” says Lynn. and branded digital properties. These nel 5, Telefe also owns a pay service Admittedly, the Channel 5 family of already came under Sky Media’s that operates in 17 countries. channels’ overall audience share has umbrella, following a deal that Lynn As for any more UK acquisitions, fallen by around 1%, year on year, but negotiated in 2009. none appear to be on the horizon for its share of 16- to 34-year-old viewers, While the benefits of Sky selling the time being. But, as Lynn points out, the demographic that advertisers Channel 5’s airtime are clear, isn’t Lynn Viacom is unique in the UK in owning crave, has risen by 9%. worried that, in the longer term, adver- a terrestrial station alongside its tradi- At the same time, Channel 5 is at last tisers will increasingly turn to social- tional assets. winning critical acclaim for some of its media platforms, such as Facebook, “Being part of a free and pay busi- original commissions: MPs Behind Closed rather than rely on TV? Moreover, ITV’s ness in the UK and also being plugged Doors, praised by The Times TV critic advertising revenue has taken a hit, into an international network is a dif- Andrew Billen, wouldn’t have looked out following the Brexit referendum vote. ferent model. Nobody else has that,” he of place on either the BBC or Channel 4. “I’ve been running this business stresses. “That’s been a blank sheet of Lynn singles out his director of pro- since 2007,” says Lynn. “Back in 2007, canvas and enabled us to approach grammes, the charismatic Ben Frow, everybody was talking about disrup- things in different ways and it gives us for his huge contribution to 5’s tion. They’re still talking about it. unique advantages.”

Television www.rts.org.uk January 2017 11 Why social media needs TV

Social media Television is helping to drive platforms such as Facebook and Twitter, hears Matthew Bell

ews of television’s death is premature, heard a relieved RTS audience, who were assured that the US tech giants – Face- book,N YouTube and Twitter – were TV’s partners, not predators. “Television is amazingly resilient – the great thing about it, is that it’s very adaptable. It’s always been good at seizing the opportunities that new technology brings,” said YouTube’s Stephen Nuttall at the RTS early-evening event in November, “Social media muscles in on TV”. “Platforms like ours are part of the distribution mix for any creative storyteller these days,” continued Nuttall, senior director at YouTube EMEA (Europe, Middle East and Africa). “Whether you’re BBC Radio 1 or Chan- nel 4, you think about all the ways you can mix and match different platforms and forms of distribution. Sometimes, that will involve Facebook, YouTube and Twitter and sometimes it won’t.”

12 Over the past year or so, online video has become hugely important From YouTube to mainstream TV to social media companies. “We’re reflecting a massive sea change,” said British actor and comedian Humza ‘The fame that he has generated Patrick Walker, Facebook’s director of Arshad is a popular YouTube presence through YouTube has subsequently media partnerships, EMEA. “We esti- with his ‘Badman’ character. seen him recruited by the Metropolitan mate that 50% of all mobile traffic now ‘He was concerned about being Police to create public-service videos to is video – in five years’ time, it will be forever typecast as “Terrorist No 2” in persuade kids not to become radicalised about 75%.” television dramas,’ explained YouTube’s and to explain Islamic culture in a differ- In August 2015, the company Stephen Nuttall, and so set up his own ent way. He has also been approached launched Facebook Live, which allows channel to showcase his talents. by the BBC to create a series. users to broadcast live video. Walker Nuttall maintained that Arshad ‘Arshad has been able, through said that some 500 million people a would not have been able to build his YouTube and social platforms, to take day were now putting videos on the career ‘if he’d only had access to TV’. control of his career.’ platform, including broadcasters, such as Sky and Channel 4, and online news and entertainment service BuzzFeed. Old-fashioned TV habits, however, Fake news and online abuse are hard to break. “People love watching great programmes and they love Much has been written and broadcast of ideas, which we enable, and some- watching them together. We can see in the traditional media about the times these ideas come from sources that resonate on Twitter – that’s not boost President-elect Donald Trump that might be a bit dubious.’ going to go away,” said Twitter’s UK received from fake news stories during He added: ‘We’re spending a lot of Managing Director Dara Nasr. his successful election campaign. time trying to figure out how to im- He argued that TV and Twitter, At the RTS early-evening event, prove [the situation].’ Measures could working in tandem, increase audiences Facebook’s Patrick Walker addressed include finding ‘much more obvious for both media: “When there’s great the charge that his company had done ways for people to flag content that programming, it drives a peak of little to stop these stories spreading. is potentially false’. ‘The thing that we tweets, and when there are a lot of ‘We are a platform – we see our- can’t do is become the judge of what tweets about programmes, they drive selves first and foremost as a technol- is true and what is not true – that’s an greater viewing on TV – there’s a real ogy company. The mission we have is impossible task and shouldn’t be our reciprocal relationship.” to connect people and make the world responsibility.’ Referring to the title of the RTS event, more connected, which is about shar- ‘Well, that happens in television,’ Nasr denied that social media was ing information,’ he said. pointed out Brooke. ‘There is a judge “muscling in”: “In our case, we like to On the problem of online abuse, in television – the regulator.’ partner or buddy up. We are a bridge Walker argued that it wasn’t ‘easy Nuttall said that his parent company, rather than an island – we celebrate to balance’ a desire for ‘openness Google, tried to stop anyone gaining great media.” and connectivity’ with keeping ‘the financially from fake news: ‘If there is Twitter has recently moved into live place safe’. video that is misrepresentative or in- events, outbidding Amazon and other He added: ‘One person’s freedom accurate, then it won’t monetise – that tech companies to win the rights to of expression can be another person’s takes away a huge incentive to put the broadcast Thursday-night NFL Ameri- hate speech.’ content there in the first place.’ can football. “Live is big for us,” said Walker said that Facebook had He continued: ‘It is important, though, Nasr. “We want to partner people.” created more community guidance to that the internet is a place for free However, the Twitter executive ruled outlaw hate speech and other abuse, speech. It wouldn’t be for us to become out any move into commissioning: but admitted mistakes had been made. a regulator or censor of the internet. “That’s not an area that we’ve ever gone These included the censoring of an I also think that audiences are smart into. We’re a platform. We celebrate award-winning photo from the Viet- enough to work out where to go for content producers and we’d love it if nam war showing children running their trusted sources of news.’ they’d use our platform.” from a napalm attack. Walker noted that ‘people tend to Nuttall, expanded on the importance But social media, argued YouTube’s think that the status quo from before of multiple, online platforms for con- Stephen Nuttall, had brought many was some golden age of truth. But I tent producers: “In the past, if you stories, such as the Arab Spring, the [could] read something in the paper, were a UK broadcaster or production coup in Turkey and the horror of [on the] front page – misinformation, company it was probably hard to have Aleppo, to the attention of the world: potentially intentionally so – [then] distribution beyond the UK. Now, ‘Online has enabled those stories to be there’s a retraction three days later thanks to platforms such as YouTube told to a huge audience.’ on page 42.’ and others, you can reach a global Pressed by Channel 4 communi- When a reader came across fake audience. cations chief Dan Brooke, who was in news online, Walker said, he or she “We’re not content creators; we’re not the audience, on the increasing threat had ‘the power as an individual to call storytellers ourselves. I think that if to democracy posed by fake news, it out, to flag it so that people know. [YouTube owner] Google started doing Walker said: ‘The internet allows for That power to respond is something content it would probably be 1970s-style the instantaneous, global transmission very new.’ sci-fi – it wouldn’t be our strong �

Television www.rts.org.uk January 2017 13 WE ESTIMATE THAT 50% OF ALL MOBILE TRAFFIC NOW IS VIDEO – IN FIVE YEARS’ TIME, IT WILL BE ABOUT 75%

From left: Patrick Walker, Facebook; Stephen Nuttall, YouTube; Dara Nasr, Twitter; and Kate Bulkley, chair Paul Hampartsoumian Paul

There are people who never � point.” YouTube, promised Nuttall, would have had a hope of doing would concentrate on distribution, QUESTION it in the old world [without working with “content creators of all YouTube] and now they are shapes and sizes” to reach an & ANSWER making fascinating content, audience. which allows us all to benefit Unlike Twitter, however, it does across various platforms. commission content. “We are work- What is the creative potential ing with some established YouTube Qof digital social media? How can brands engage creators to allow them to make shows Stephen Nuttall, YouTube: Qwith social media? that they wouldn’t otherwise create,” A We are seeing a lot of people Stephen Nuttall, YouTube: said Nuttall. “We might be giving them experimenting at the moment A People are increasingly some financial assistance to do that, with virtual reality, 3D and 360° integrating brands into content – but it may be assistance with scripts [video]. It’s going to be really YouTubers will make a fair chunk or production techniques.” interesting to see what turns of the revenue they generate Currently, this original program- into a compelling entertainment from brand integration. ming is available only in the US and a experience… It’s an amazing time We are also seeing brands few other territories on the streaming to be a storyteller, and the pace become content creators them- subscription service YouTube Red. of change is increasing. selves. Red Bull isn’t buying “It’s in various international markets Patrick Walker, Facebook: advertising to promote its drinks; now [these include Australia and AThe key things are to it is creating an amazing brand Mexico] and I expect it to be in more,” experiment, have fun… [and] hire [through content], largely using said Nuttall, who wouldn’t be pinned young people who can tell you online but now also using TV. down to a date for a UK launch. about the new language of social In the future, as online video grows, media. What is being done to could more traditional TV channels Qcombat online piracy? follow the example of BBC Three in Will the traditional Patrick Walker, Facebook: becoming an internet-only channel? Qcommissioners continue A It’s an issue and we are very Nuttall predicted that broadcasters to hold sway on social media? quickly building more powerful would pursue a “mixed distribution Stephen Nuttall, YouTube: tools and training our partners strategy”. A You don’t necessarily have to use them – no one should be He added: “There are lots of ways to be commissioned in order to rewarded for distributing content to reach and engage a global audience put out your content. You can that isn’t theirs. – I think people will use all the distri- do it and make money on the Stephen Nuttall, YouTube: bution platforms that are relevant to ad-revenue that you generate. A Some 400 hours of content them and then work out the right You can go to a brand and get the gets uploaded to YouTube every answer [for them].” money. There are many, many minute. Every single one of those “The constant red herring is that it ways to make this work… We are hours gets “fingerprinted” and is one or the other,” said Twitter’s seeing a pretty profound change compared to a reference library Nasr. “People who use YouTube also in the array of content out there that contains pretty much every use Twitter, Facebook and watch TV.” and in the different business film and television show ever models that sit behind it. made… The RTS early-evening event ‘Social media Dara Nasr, Twitter: What [Content ID] is an amazing tool muscles in on TV’ was held on 29 Novem- A should be applauded is that for content owners to protect their ber at the IET in Savoy Place, central there are new winners, too… copyright. London. It was chaired by Kate Bulkley and produced by Stephen Gaynor.

14 January 2017 www.rts.org.uk Television A real stubborn ‘bugger ’ Paul Hampartsoumian Paul

he very best journalists had introduced the event. She said it are often awkward, Journalism would be “naïve to pretend that it dogged characters who was not a complicated event emo- hate taking no for an tionally, as Steve has been admirably answer. So it is with Despite undergoing open about his cancer diagnoses”. Steve Hewlett, the intensive treatment for He had brought “the same relish for 58-year-oldT presenter of Radio 4’s The proper facts and analysis, clarity of Media Show and a tenacious investiga- cancer, Steve Hewlett argument and dry wit about his illness tor responsible for some of the most that has characterised his journalism”. important TV scoops of the past finds the energy to Not to mention his tenacity: “He’s a 30 years. entertain a capacity real stubborn bugger.” The 1995 Panorama interview with So how had Hewlett’s career in Diana, Princess of Wales, edited on crowd with stories of broadcasting started? Actually, it his watch, was seen by almost 23 mil- his unmatched career almost ended before it began. lion viewers. As a student activist, he had been Hewlett has also worked on pro- involved in organising “a massive grammes covering the Troubles in BBC Radio Theatre on a windswept rent strike” at Manchester University, Northern Ireland, including a film Friday evening late last year to hear which came to the attention of the on Bloody Sunday, and interviewed him speak – against doctor’s orders BBC’s notorious Brigadier Stonham, Colonel Gaddafi. – about his career and his attitude the spook who vetted all applicants. Back in March, he was told by doc- towards his cancer. When current affairs show Nation- tors that he was suffering from a very “It’s a bit weird, I feel like I’m wide wanted to give Hewlett his first aggressive form of cancer. The prog- attending my own wake,” was his BBC contract, his boss’s request was nosis was not good but, with his hall- typically mordant opening remark. initially rejected. Bolton, then editor mark persistence, Hewlett uncovered From then onwards, there was little of Nationwide, told the personnel a treatment option – albeit an expen- stopping the dry Hewlett humour as department that he wasn’t going to let sive one that he has to pay for himself Roger Bolton, one of his first BBC it dictate who he hired as a researcher. – that appears to be defying the odds. bosses, posed some penetrating ques- Eventually, Hewlett was given an Eight months later and Hewlett is tions about Hewlett’s life at the BBC extended contract but, by then, he still alive and very much kicking. and beyond. had decided to go and work in inde- This was abundantly clear to the Moments earlier, the BBC’s outgo- pendent production on Channel 4’s 300 or so people who packed into the ing director of radio, Helen Boaden, trailblazing The Friday Alternative �

Television www.rts.org.uk January 2017 15 � and Diverse Reports. These program mes, unlike BBC current-affairs shows, deliberately set out to be subjective. They also liked to confront the prevail- ing liberal view on issues such as capi- tal punishment. “Channel 4 did lots of stuff in the arts, religion and current affairs and in drama that upended the TV consensus,” Hewlett said. “The problem Channel 4 has now – and I do accept that it is, in a way, more difficult now – is: what is its defining purpose? I think that it is struggling to find one.” Panorama was, of course, a very different programme. Hewlett had first worked on it as a freelancer at the very beginning of his career. In 1995, he took over as its editor. Bolton asked Hewlett where his sense of intellectual self-confidence came from. “Of course, I felt overawed by things but I thought, if I could work in a bar and just about keep things together, then everything would be fine. And I never felt I had a great deal to lose.” By the time of that fateful edition of Panorama, shown in November 1995, he did have a great deal to lose. At one point during the machinations surrounding the programme’s production, Hewlett wondered if he’d be fired. He worried that the interview with Diana would end up being too soft. Steve Hewlett “I remember the production team had come to talk about it at my house in Shepherd’s Bush. show employed some of the world’s John Birt having told Hussey about “The minute they left, I felt the bot- best investigative journalists. “I said the interview. Hewlett remains hugely tom drop out of my stomach. I thought that we were doing a top-secret story impressed by the way Birt handled it would be shit. about police corruption, and that shut this: “He was absolutely committed “The only thing worse than not hav- them all up.” to the BBC doing this programme and ing this interview would be if it was He added: “The hardest thing was showing it. There was no interference fawning nonsense. I felt that could be to keep it from Alan Yentob [then con- of any description. Birt took a huge career-ending.” troller of BBC One]. Everybody knew personal risk.” When, eventually, Hewlett saw that, if Yentob got the faintest whiff of Relations between the DG and the the interview he knew that it was a it, it would be everywhere.” Chairman, already strained, took a jaw-dropper. He remembered viewing At the top of the BBC hierarchy the nosedive but Birt survived. a rough-cut of the film with several politics of interviewing Diana were Hewlett, meanwhile, was tipped as BBC executives, including then-head nightmarish. No one involved needed the next controller of BBC One. He has of news Tony Hall, head of current reminding that the then-BBC Chairman, no regrets that the job went instead to affairs Tim Gardam and controller of Marmaduke Hussey, handpicked by Peter Salmon, since the new controller editorial policy Richard Ayre. Margaret Thatcher, was the wife of was denied the resources to do the job “After about three minutes, one by Lady Susan, one of the Queen’s effectively. one, their mouths dropped open. There ladies-in-waiting. Hewlett did, however, reach the top was not a murmur in the room,” Hewl- With breathtaking naivety, the Prin- of the TV greasy pole – as director of ett recalled. “We got to the end of it cess’s only condition for the interview programmes at ITV station Carlton. and no one said a word. Richard Ayre – she didn’t ask to see the questions Ultimately, however, the corporate winked at me… Talk about a pregnant beforehand or seek approval of the life sat less comfortably on his shoul- pause: it went on and on. Eventually, final cut – had been that she would tell ders than the mantle of being an Tim Gardam said: ‘Well, he’ll never be the Queen before the broadcast that uppity journalist who got his kicks able to marry Camilla now.’” she’d been interviewed by Panorama. from asking difficult questions. So, how had Hewlett managed to Once this had been done, the BBC “At Carlton, I ended up in the bizarre keep the programme secret from the launched the show to the press – corporate politics of an ITV company rest of the Panorama team? After all, the without the then-Director-General where people didn’t understand

16 involves the BBC having to report on itself. Bolton suggested that the corporation’s coverage of its own tribulations and crises must, arguably, be more independent and impartial than the BBC’s reporting as a whole. So, had anybody ever told Hewlett what questions he shouldn’t ask or what subject he shouldn’t do on the programme? “No. On The Media Show there is a reluctance to go and do the BBC all the time. The BBC is such a big part of the media landscape that you could do it every week.” Reading between the lines, it is possible to conclude that Hewlett feels more at ease working in the senior service. “I never cease to be amazed at how unlike TV people radio people are,” he said. He also praised BBC Radio for its sensitive and understanding approach to his illness. Turning to the cancer, Bolton asked if, effectively, reporting on his own body was helping him deal with the disease (as well as appearing on Radio 4’s PM, Hewlett writes a diary for The Observer). “I approached the whole thing with my journalistic head on,” Hewlett replied. “I was doing it before I spoke to anyone, before PM came on the scene or any of that. I was doing it with the health authority – that’s how I managed to get from Hertfordshire to Roger Bolton

All pictures: Hampartsoumian Paul the Royal Marsden and get the right course of treatment. television,” Hewlett recalled. When he Inside Story; the programme was con- “A little bit of journalistic nous [comes was made redundant by Carlton, he cerned with Lloyd’s “names”. in handy for] navigating the system. I put together a portfolio career, writing The next two incidents occurred don’t know how my 86-year-old mum a weekly media column for The Guardian on Panorama. Reporters had gathered would do. It would never occur to her.” and, from 2008, presenting Radio 4’s evidence that, among certain vulnera- He added: “It helps me in the sense The Media Show. ble young men, there was a significant that no one is walking on eggshells. He also continued to make TV pro- link between exposure to screen vio- I’m quite open about it… I might have grammes, included a stand-out docu- lence and violent behaviour. weeks, I might have months, I might mentary about Rupert Murdoch and “I got a call from the hierarchy that have years, I might have a long lifespan. his relationship with Britain. said, ‘You can’t do this. Are you work- All these things are possible.” If anyone was expecting a simple ing for the Daily Mail?’ Eventually, he What does he hope for now? “I want hatchet job on the media mogul they went away and the programme went to see my children grow up… I don’t would have been disappointed. “Don’t out. I never caved in to people.” feel my professional life is over. I really get me wrong, Murdoch is no saint,” On the last occasion, Panorama was enjoy what I do and I’d like to carry on Hewlett said. “But the true story of looking at allegations of corruption in doing it… Murdoch has a lot more to it than the how the National Lottery contract was “Do I feel that this is cutting me off caricature… He clashed with almost awarded. “[I was told,] ‘You can’t do in my prime? In other words, having every branch of what you might call that.… It’s the only thing we’ve got on not done so many things that I feel I the British establishment.” Saturday night,’” Hewlett recalled to should have done? Bolton asked Hewlett if, during his gales of laughter and applause from “No, the honest answer is that I feel career at the BBC, he’d ever been the audience. incredibly lucky to have had the career leaned on by powerful executives to Despite Bolton’s probing, Hewlett I’ve had.” tone down any of his programmes. declined to identify the caller, although He said that, in 30 years, there had some in the audience drew their own ‘An evening with Steve Hewlett’ was a been three attempts but he had conclusions. Media Society event held with support rebuffed each one. Hosting The Media Show – as the from the RTS at the BBC Radio Theatre The first was when he was editing editor of any BBC news programme in central London on 25 November. The the BBC One documentary strand knows to their cost – sooner or later producer was John Mair.

Television www.rts.org.uk January 2017 17 Review of the year

Alastair Stewart looks back on a year of Brexit and Trump as sanity and normality were hijacked by social media

he first big story of the year was the Zika virus. It yielded moving pictures of troubled mothers and their babies, with malformed brains. It prompted near pandemonium, however, when speculationT spread that it might disrupt the Olympic Games. There was also the continuing Ebola virus outbreak which had, in 2014, seen British servicemen and women come to the aid of folk in faraway places. That included the building of hospitals, which were staffed by brave medics, many taking time out from the NHS. Evidence of how bizarre 2016 has been came when one of the Ebola nurses, who’d contracted the virus and nearly died, was called before a tribu- nal for malpractice. Welcome Pauline Cafferkey was eventually cleared but a colleague was suspended for misreading Cafferkey’s temperature.

hroughout the year, TV did pow- to the erful work. We offered compel- T ling pictures and, as with radio, thoughtful words and intelligent analysis. Social media, in parallel, gave a post-truth minute-by-minute running commen- tary and pointed folk at good and less good sources. Plus ça change.

world hat it was going to be a “full- moon” of a year become clear T in April, with the leaking of the “Panama papers” by the International Consortium of Investigative Journalists and the German newspaper Süddeutsche Zeitung. With a little help from an insider at Mossack Fonseca, the dubious financial practices of the usual suspects were revealed in eye-watering quanti- ties, both in terms of papers leaked and the amounts of money involved. The dark arts of journalism fruitfully plunged a probe into the dark depths of political and commercial depravity.

18 INCREDIBLE, RIDICULOUS Image redacted THINGS WERE SAID AND CHALLENGED, ONLY TO BE REPEATED

Social media risked more by “calling Ladbrokes; but most of us fell for it out” some of the less usual suspects, hook, line and “Brexit”. Brexit: NHS promise an act that traditional rules and the The PRCA has just launched a courts hampered others from doing. “review of political predictions”. My Then it hit the fan, big time. prediction is that self-interest and self-justification among the pract owards the end of the year, Oxford itioners of those dark arts and their Dictionaries declared “post-truth” clients will make it tough to leave Base T the word of the year. New media, Camp One. now about as new as the internal com- bustion engine, tweeted “hurrah”; tradi- n September, Jeremy Corbyn won tionalists said “lie” was shorter. his second leadership election, In the campaigns leading up to the I defeating Owen Smith after he’d Brexit vote in June and Donald emerged, above marginally better Trump’s election as US President in known opponents, to take up the chal- November, empirical evidence was lenge that the Parliamentary Labour thick on the ground. Party and its friends wanted met. Running up Corbyn won, handsomely. All it A new definition of literature

Public domain Public to the vote on the UK’s membership of really achieved was a strengthening of the EU, there were warnings of an eco- his grip over a supine PLP, with a rule nomic apocalypse if we did not book that, unless changed, would see “remain” and financial falsehoods, fes- him returned as many times as he tooned on the side of a bus, of fabulous fancied, until he called it a day. riches awaiting us if we “left”. Corbyn hates door-steps. He and In truth, neither was true. his aides seem to think that seeking a Image redacted We filmed the bus, we covered the comment in this traditional mode is speeches, we interviewed the players “harassment” and “unprofessional”. and we sought to test these “post- Social media is an unscientific sam- truth” truths. The doubts were there ple of believers and doubters. Tradi- and they were voiced – but the battle tional media has sought to report was bloodier on social media and the Labour’s comings and goings but the doubts were screamed rather than core issue of whether or not Corbyn objectively crafted. is the electable Messiah or the doomed We also reported the polls that con- psephological albatross around the Ebola: tragedy, then farce sistently assured us the electorate had party’s neck is less easy for us to test, decided, just, to “remain”. within the traditional rules of impar- They got it wrong, catastrophically. tiality and balance. “Post-polling” may shortly join So it was doorstep skirmishing that “post-truth”. often won screen space, and partisan screaming that one read on social media. rexit heard “experts” anathema- tised by no less a pillar of the cross the Atlantic, fact-checkers B establishment than the former fell screaming to the floor during education secretary Michael Gove. A the Clinton-Trump campaign. Polling went out of the window. Incredible, ridiculous things were said Pollsters’ explanations have been and challenged, only to be repeated. fascinating, numerate, demographic From the campaign trail, with and almost theological. But they got Trump’s increasingly angry rallies, to it wrong. the pugilistic debates, it was a TV fest. Many will tell you they “knew”; a But it seems that it, too, was all a The case for proper journalism

News UK few will have made a bob or two at “post-truth” event. �

Television www.rts.org.uk January 2017 19 � The polls that tightened when the a Richard Dimbleby or a Brian Walden FBI decided to have another go at did decades ago. Clinton’s emails still said she’d pull it But it does it to little effect, in my off. She didn’t, despite The Donald’s humble opinion. threats of a wall with Mexico, a ban on Muslims entering the US, the jail- he key lesson of 2016 is that the ing of Clinton and video evidence of need to find an attractive, credi- the now President-elect’s propensity T ble and engaging approach is for grabbing women inappropriately. still our singular challenge. Social Social media crucified Trump and media, kidnapped by ideologues Trump and Farage: friends at the gates

continues to do so. Traditional media ITV.com during the referendum and presiden- is focused on “transition”, on curious tial campaigns, won’t really do it. photo-opportunities in Trump Tower stuff that is offered. But those who In this burgeoning domain, veracity with the former Ukip leader, Nigel agree with the thesis, however offen- is often a rare commodity, while Farage, and Trumpian tweets suggest- sive it may be to the mainstream, impartiality has the value of a black ing that Farage should be Her Majes- won’t. They just don’t trust us any pearl, and is found just as infrequently. ty’s next ambassador to the US. more – or they’re on social media. Yet, these are the media that younger While not all young people rely on readers and viewers increasingly turn Shakespearean prologue to instant media, a growing constituency to. Not for them the considered, bal- 2016 would have suggested a does. What is more, those seeking to anced, sourced view of an accom- A fierce fight over Brexit and the join the profession are confronted by plished, experienced reporter on TV or US presidency followed by the resto- the world it has created. radio. Instead, they favour the instant ration of normality and sanity. The It is a new world for the would-be gratification of You Tube, the colourful reality, played out on TV and on social journalist where the few are blessed opinion of the vlog and blog. media, has been more like The Thick of with a place on a traditional training And not for them the “sit back and It meets In the Loop, with asides by programme, via a good journalism listen” approach of an appointment- Chris Morris and music by course. to-view bulletin, but rather the spon- Stockhausen. More, confronted by the reality of taneity of a chat room, with bias- And sitting at the heart of Trump’s the “gig” economy, end up “jobbing” confirmation and the apparently White House will be the right-wing, in an “instant” world, paid or – more ex-cathedra rants that echo their own agitprop Breitbart man Steve Bannon often – unpaid, in the jungle of social- prejudices. as director of strategy. media journalism. It will colour their We traditionalists seek truth, balance It says it all. outlook and warp the profession to and audiences: share matters in the which they are the heirs and tough world in which we earn our athy Newman’s Channel 4 News successors. living, in commercial TV and radio clash with Bannon’s Breitbart Mainstream media – MSM – and at the BBC. C protégé Milo Yiannopoulos was experiments with competition: But where we use “bongs” and seminal in understanding where our shout-fest phone-ins; TV studio “pre-comms” to tempt folk, social journalism ends this curious year. debates that echo this approach but media is content to unleash the click- Newman used old-school manners, with a tad more dignity; and reality bait approach that embraces the sala- research and dignity to charge Yian- TV stars, seeking to shed light on the cious, the inaccurate and the “never nopoulos over sexism, rape, impover- great issues of the day in the way that wrong for long” to get audiences in, ishment and race. build up the impact-count and cash His answer, essentially, was that in on the volumes. Newman just “didn’t get it”. In a curious It is the brutality of monetisation, way, he was right. There is a new cadre but it is unseemly. out there, despoiling a landscape we A bleak prospect, perhaps, for those once thought we understood; what of us who still believe in brilliant, they soil it with, many find offensive. unbiased broadcast news funded by But they don’t find it offensive; nor commercials and the licence fee. do their many followers at the ballot Oh, by the way, Bob Dylan won the box; and, on social media, their views Nobel Prize for Literature and Ed Balls are echoed, liked and retweeted. gave a more than reasonable acquittal Considered news-bulletin reports, of himself on Strictly Come Dancing. even lengthy documentary-format Or was that the “post-Nobel” and expositions, don’t do the trick. “post-dancing”? Those judging themselves to be on the side of the gods will watch any Alastair Stewart OBE is a presenter of Yiannopoulos: ‘You just don’t get it’

calm destruction of the offensive Channel 4 ITV News.

20 OUR FRIEND IN THE NORTH

s the glass half full or half How healthy is since the demise of Taggart remains empty? That classic ques- Scotland’s TV a major concern. tion, or cliché, is actually a Northern Irish Screen has a really useful way to look at production sector? remarkably clear mission statement the production industry in – to be the second sector in produc- Scotland. On the surface, all Alan Clements tion after London – and is putting its appears rosy. gives his diagnosis money where its mouth is. The BBC has survived largely intact Those Game of Thrones enthusiasts Ifrom the Charter renewal process. doing the tourist trail on the Antrim Whatever emerges from the scrap- coast could, and perhaps should, have ping of the in-house guarantee and been travelling through the Western the establishment of BBC Studios, the Isles of Scotland on a similar quest. corporation’s spending commitment Late last year, I was interviewed by in the nations and regions of the UK a consultant. He was a perfectly nice remains undamaged. man but the dispiriting fact was that Channel 4, guided by Ian MacKenzie I was answering the same questions in its Glasgow office, is also committed that I was asked 20 years ago. to spending more in the nations. The Meanwhile, Scotland has gone from last Pact survey revealed Scotland challenging for second place in the securing 8% of out-of-London spend. production race to fourth, behind The end of last year also saw new Manchester/Salford and Bristol/Cardiff, flowers blooming north of the border. with Belfast breathing down our neck. Ross Harper and Jane Rogerson set up Part of the problem is undoubtedly

Red Sky, while Firecracker opened STV institutional. Creative Scotland for business in Scotland under the remains, at heart, a cultural, rather than talented Elspeth O’Hare. BBC Scotland’s in-house production an industrial, organisation. It is focused The Scottish Baftas ceremony in unit will have to shake off the current on theatrically released content. Scot- November was a glittering affair. round of redundancies and get ready tish Enterprise has dabbled in the Hollywood actors mingled with hard- to scrap for commissions from buyers sector but has not made TV production nosed journalists. There were well- 400 miles away. a priority. And the Scottish government deserved gongs for programmes as New companies do spin out of already has these two quangos dealing diverse as Shetland and This Farming established companies and do well, with the creative industries in place. Life and, of course, our own moving as Raise the Roof Productions has Crucially, no one has an annual job documentary Dunblane: Our Story. done, but no indigenous Scottish com- review at which they are quizzed on Lots of very full glasses were drunk. pany has grown through acquisition to their responsibility for the health of But dig deeper and a more worry- challenge the London super-indies. the TV production sector in Scotland. ing picture emerges. The glass starts Consider how Tinopolis grew It is everyone’s problem, therefore to drain. from a Welsh base via the purchase no one’s problem. Everyone means The incoming Director of BBC of Mentorn and Sunset+Vine, among well but nothing changes. And we Scotland will have to fight some others. The Scottish independent continue to fall further behind. sharp-elbowed colleagues to try to sector remains small and under- I hope 2017 brings a renewed focus ensure that more of the licence fee capitalised. on the sector, so that this time next raised in Scotland is spent in Scot- As Scotland has dithered endlessly year I will raise that half-filled glass land. He also needs to answer politi- about a studio, Pinewood has built to wish you a very Happy New Year. cal questions about why we don’t do one in Wales. More importantly, the as well, proportionately, as Wales. lack of returning network drama Alan Clements is Director of Content, STV.

Television www.rts.org.uk January 2017 21 The protracted reign of able-bodied white men over British television may finally be drawing to a close, Diversity writes Steve Clarke Shutterstock

or many people who believe in diverse, multi- racial societies, 2016 was a year of profound political setbacks. But, paradoxi- cally, it may also go down 2016: TV’s as the year in which British television finallyF embraced real and permanent change in how it deals with diversity. As we begin a new year, many influential voices are convinced that TV’s defining year decision-makers are now determined to move towards a genuinely diverse workforce. They also hope to see big improvements in the on-screen representation of people from margin- for diversity? alised groups. This optimism is underpinned by radio stations, White made it clear that On Sky’s entertainment channels two important milestones. First, the she intended to keep an especially close (Sky 1, Sky Living, Sky Atlantic and Sky new BBC Charter commits the corpo- eye on the BBC. She stressed that, on Arts), the company had made “signifi- ration, for the first time, to specific diversity, “the BBC ought to be a shin- cant, tangible progress” in ensuring that agreements on diversity. Second, and ing beacon and have the highest stand- a fifth of “significant on-screen roles”, not before time, Ofcom looks deter- ards in the industry”. In March, Ofcom senior production positions and writing mined to act on the issue. takes over the job of the BBC Trust. teams were from black, Asian and Much of this was brought into focus Of course, as Sky’s CEO Jeremy minority-ethnic (BAME) backgrounds, late last year during an afternoon debate Darroch stressed during his opening he said. hosted by Sky Television, “Breaking remarks, fine words were one thing – Real challenges, however, remained, boundaries: diversity in broadcasting”, implementing real change was consid- especially in comedy and arts shows, held at the firm’s west London HQ. erably more difficult. where the production companies It was here that Ofcom CEO Sharon “Despite the very best of intentions, making the programmes were often White announced that the regulator people reach for the status quo because very small. “Two years on we’re would henceforth carry out annual it’s the path of least resistance, it’s famil- pleased with the progress we’ve made audits of UK broadcasters (see box on iar, and it’s worked before,” acknowl- but we know that we, collectively, have page 23) in order to hold them to edged Darroch. “We’ve made good a long way to go,” said Darroch. account on diversity. progress in some areas, and less than In news and sport the job was, per- And while this applies to all TV and we’d like in others.” haps, harder still. Not even Sky could

22 select the players who turned out on the pitch for, say, Manchester United or Chelsea. However, the satellite station had THESE introduced several initiatives to FAILINGS improve diversity in the sports newsroom and sports production. ARE A Sky News, meanwhile, had set specific targets for on-screen rep- STAIN ON resentation of guests in terms of eth- ALL OF nicity and gender: 35% female representation (increasing to 50/50 US IN THE over the longer term) and 14% BAME INDUSTRY representation. As the panel discussion got under way, it became clear that these initiatives and others like them across British broadcasting were having an impact. Lenny Henry, who gave new impetus to the TV diversity agenda by speaking out at Bafta in 2014, was convinced that attitudes in broadcasting were “on

the brink of a massive change”. British Ofcom TV was “at the start of something big,” emphasised the comedian and actor. But, as Darroch pointed out, the Ofcom’s priority is transparency Shutterstock definition of diversity had broadened to encompass the disabled, as well as Ofcom CEO Sharon White said: ‘We will ‘As a regulator, we have a very ethnicity, sexuality and gender. be looking at diversity data across the important role to play in helping to Channel 4 had led the way in TV broadcasters that we regulate to help tackle barriers and providing guid- portrayals of disability by championing us get the most comprehensive picture ance but also in holding the industry coverage of the Paralympics. One of yet of how well each broadcaster is to account,’ said White. ‘It’s an area the panellists at the Sky debate was doing.’ where I raise my hand and say that, as JJ Chalmers, a presenter of this year’s The regulator aims to collect a vari- a regulator, we haven’t done enough in Rio Paralympics. ety of information about the diversity the past. As an organisation, this is now The ex-Royal Marine suffered of people employed by broadcasters very clearly a priority for us.’ life-changing injuries in Afghanistan in and gauge what steps are being taken It was important for Ofcom to pub- 2011, when he was wounded by an IED. to monitor diversity. lish independent and impartial statis- He described how the experience had Ofcom wants to know if targets tics on diversity, said Lenny Henry: altered his perspective on himself and are being met. Data will be collected ‘We can’t just tick our own homework towards other disabled people (see box in 2017 with the first report due to be any more.’ on page 24). published by the summer. Ofcom also needed to define what Channel 4 CEO David Abraham said White said: ‘Broadcasting both diversity meant, Henry added, calling the Paralympics “teach us that, when reflects and shapes the values that we for the regulator to repeat for diversity you get very talented people from all hold as a society… We know that we’ve what it did in defining precisely what walks of society to do very daring still got some way to go. A number of qualified as programme-making in the things – and to say new things in new groups struggle to get into the business. nations and regions. ways – [the result] is very compelling ‘Once they’re in, they struggle to He called on Ofcom to set ‘some for the audience”. get on. It’s opened up a bit of a gap minimum standards’. In some aspects of diversity, Chan- between the people who make TV and ‘If diversity is now a requirement nel 4 had done “quite well,” he said, radio, and the audiences who watch of the BBC Charter, we need to know but in others “there’s a heck of a long and listen to them… These failings are a what the minimum level that the BBC way to go”. Abraham continued: “For stain on all of us in the industry.’ has to achieve in terms of staffing all of us, this is never going to get done. She added: ‘Sky has shown just what and production to meet that Charter It is going to be a lifetime’s effort but can happen with the will and the com- requirement,’ said Henry. we can begin to look back now on the mitment. Similarly, I am pleased to see The Charter required the BBC to first steps to progress.” what the BBC has recently announced, broadcast a specified number of hours ABC is one US broadcaster that has regarding diversity in commissioning in genres such as news and current made great strides in bringing more from the indie sector.’ affairs; diversity needed to follow African American actors into TV. She praised Channel 4 for helping to suit, said Henry: ‘Without a minimum The company’s London-based head transform perceptions of disability with requirement it is a bit like having a of international content and talent, Keli its 2016 Paralympic Games coverage. high-jump competition without a bar.’ Lee, outlined how she had introduced �

Television www.rts.org.uk January 2017 23 DON’T LOOK AT THE DISABILITY, LOOK AT THE ABILITY

� an initiative that transformed casting at the Disney-owned network. Image redacted Fifteen years ago, ABC realised that it suffered from a lack of diversity both in front of and behind the camera. It decided to prioritise drama in a drive to improve representation of non-whites in acting roles. Seven hun- dred actors from minority backgrounds were auditioned. The aim was to identify the best 40 to 50. They were then mentored in a one-year programme, the Talent Showcase. Said Lee: “It didn’t happen overnight, we had to have a lot of conversations and get the entire company’s support, which we did, from the top down.” Today, ABC’s scripted shows such as Disability: a presenter’s perspective Modern Family, Grey’s Anatomy and Scandal (the last two were created by Shonda ‘For the first 23 years of my life I didn’t at the Paralympics I did it because I real- Rhimes – see profile on page 7) aim to live in a very diverse environment, par- ised that there were incredible stories to reflect the diversity of the US audience. ticularly in the Marines, which is made be told… Channel 4 is currently writing Henry highlighted the importance up of young, white males,’ Channel 4 the blueprint. of avoiding negative stereotyping in presenter JJ Chalmers told the assem- ‘If you try and be creative in some of casting. There was still a tendency for bled executives. ‘Back the established sports young black actors to end up playing then, if you had talked such as football peo- criminals on TV. about diversity, disability ple get upset because “Gun and knife crime are only one would not have been you’re changing some- side of society… What everyone in the something that came thing. But at Channel 4 community tells me is that there needs into my head. we’ve taken Paralympic to be a counter narrative,” he said. ‘Becoming disabled sport and created the “People want to know what happened was a massive eye- way it’s viewed. We that day your mum hit you over the opener... There was a managed to make it head with a frying pan because you time when I was more lighthearted and enter- hadn’t made your bed.” or less a head stuck in a taining. At Channel 4, Lee chipped in: “We hear so many bed, unable to do any- JJ Chalmers we’ve got so much stories from diverse people who say, Channel 4 thing for myself… room to be creative. ‘I want to be able to play any role, it ‘At that stage, my physical strengths ‘I played to my strengths because, in doesn’t have to be a role that is only had gone. Yes, I got them back through being disabled, I was an expert in the written for a black man or a black adaptive sport and sports that were subject matter. So I spoke from my woman.’” tailored to my abilities. It made me heart when I was on the screen. Henry emphasised the need for realise that I needed a new career and ‘Yes, I’ve done Paralympic sports but sensitive casting and storylines that I needed to find something as exciting I found out that I’m quite good at talk- feature black characters in flagship as being a Royal Marine. ing. And the reason I am is that I grew shows such as EastEnders and Corona- ‘I wanted to challenge myself and, up dyslexic and I struggled to write. My tion Street: “What’s interesting about basically, be one of the good guys. way of expressing myself was vocally. minorities is that we watch the big Believe it or not, I joined the Marines so ‘My diversity has shown me my shows, too. [But] if we watch a show that I could do some good in the world. strengths. With disability, don’t look at once and we’re not in it, then we don’t ‘When I looked to become a presenter the disability, look at the ability.’ watch it again.... When you leave us out, it’s as if you don’t value our custom.”

24 WHEN YOU LEAVE US OUT, IT’S AS IF YOU DON’T VALUE OUR CUSTOM

A critical part of improving diversity on screen is to appoint more non- white executives empowered to green- Image redacted light shows. Those with commissioning power at ABC in the US hailed from a range of ethnic backgrounds, noted Lee. “The head of drama is an African American woman,” she said. “On the ABC Studios’ creative team, all the heads are women. It’s not just one person, or about one day, it’s about everyone coming in and trying to make a difference.” Commissioning is an area where British broadcasters have a lot of heavy lifting to do, according to one of the other panellists, Pat Younge, Managing Lenny Henry Director of Sugar Films and a former head of production at BBC Television. Younge said that, while the diversity “There was never anyone who looked vote for Brexit was raised. Channel 4’s of those who made UK TV shows was like me in the room. The male, pale, David Abraham said that the vote to improving, programme pickers had Oxbridge-educated ruling class ran leave the EU posed challenges for largely remained white. everything. British television’s diversity agenda. “It’s necessary to have a diversity of “For 35 years, I never had a meeting He said: “It’s going to be very interviews in your commissioning teams or with someone who looked like me. esting seeing how the industry [avoids] you’re always going to struggle to get Then I came across Anne Mensah at the reacting in a stereotypical way to the truly authentic and diverse content,” BBC [Mensah is now head of drama at referendum. I think we’re probably in a he stressed. “To me, diversity is about Sky]… I didn’t have to translate stuff state of some confusion as to exactly authenticity. It’s about properly reflect- any more. what it means. ing the range of lives and experiences “When someone looks like you, you “We can be very patronising about led by people in this country. can relax a little bit. It makes it easier what it is saying while, at the same “You can get another black actor in to have a conversation.” time, perhaps, not finding new creative the back of the shot on EastEnders or a Sky’s ambitious diversity targets ways to address it in what we’re third lead [actor] in that new comedy, were one way of attempting to do commissioning.” but what we still lack are stories that something to change the composition Alarmingly, Henry revealed that, come from the perspective of the of commissioning teams. The broad- following the vote, he’d suffered racial other. That’s true diversity.” caster’s head of content, Gary Davey, abuse on the street for the first time He added: “A lot of stories involving said that, for Sky to tackle and improve since he was at school. His daughter, people from a BAME background are diversity, putting faith in organic too, was recently subjected to racial not being told. People don’t under- changes was never an option. abuse. stand them… “With the best will in the world, it was Henry concluded: “Of course, the “It’s not that the people who are clear that, to make real progress, it was nation has spoken and Brexit is going picking shows are not good people, it’s not going to happen organically,” he to happen, but it’s more important just that we need a greater range of said. “If it was going to happen organi- than ever that the people who make experiences – black, white, female, cally, it was going to take way too long. the programmes have positive things disabled, working class.” “As Jeremy [Darroch] said, as a com- to say about diversity.” It is a problem that Henry was only pany, we love ambitious targets. We too familiar with. When he started his embraced it as a means of disciplining The event ‘Breaking boundaries: diversity small-screen career in the 1970s, British ourselves.” in broadcasting’, was held at Sky Television TV was an all-white zone, he said: Finally, the topic of the referendum on 1 November.

Television www.rts.org.uk January 2017 25 Profile Sky Vision chief Jane Millichip is a TV executive who confounds the corporate stereotype, says Tara Conlan Mixing it up on a global scale

ike the sheep and pigs peak drama,” she says. “I don’t think core distribution business have risen that she rears with her we have, because we’ll never tire of from £8m to £33m. She finds it “par- husband at their telling each other stories… but have we ticularly pleasing [to be] growing that Cotswold home, Sky reached the peak in our ability to fund significantly in a business where our Vision Managing Director it in a conventional way? I think we earnings are all from sales commission”. Jane Millichip is a rare might be approaching that point.” Around 50% of Sky’s original shows breed.L A mixologist, surfer and former She is trying to find new forms of are sold by Sky Vision. Sales are doing journalist, Millichip has worked across funding – while drama ambitions and well across the catalogue, with new television sales, commissioning and budgets are rising, the licence fees that comedies, such as Sick Note, starring acquisitions. She is renowned for her broadcasters pay producers are not. Rupert Grint and Don Johnson, per- business acumen and an ability to build “More and more of the deficit funding forming strongly, as are new dramas, relationships with producers. of the distribution business is required such as Riviera. Her wit and incisive distillation of for core funding. Therefore, it is no In July 2014, Sky Vision took the first trends were in evidence at September’s longer an advance against distribution step to broadening its business by RTS London Conference. There, she rights, it is core funding. And it’s taking buying 70% of Great British Bake Off warned that drama was in danger of more of the world sales to recoup that producer Love Productions. experiencing a sub-prime-mortgage- deficit – ultimately leaving a smaller This was followed by an investment style crisis unless new sources of back-end. I’m trying to push up the in new indie Znak & Co and a 60% stake finance emerged. value chain a bit and look for funders in Jupiter, a US company specialising in Sitting in a meeting room in the vast, who derive their value from some- factual entertainment and formats new Sky Central building in West Lon- where other than the international pot.” “A successful, sustainable content don, she says that some people thanked Having started out at Haymarket business needs multiple pipelines of her afterwards for addressing “the ele- magazines on Car and Accessory Trader revenue,” says Millichip. “I felt that, to phant in the room… I kind of feel like (“My first published article was three grow Sky Vision, we needed the Sky someone had to at some point. It was pages on in-car air fresheners”), Milli- originals pipeline, a third-party pipeline one of those quotes that kind of sticks.” chip spent eight years as a journalist. – which is still vital to our lifeblood She adds: “I don’t want to be the At TV World, she found herself “pub- – and our own production pipeline.” naysayer of TV drama. All I’m asking lishing an edition of the magazine Five more production investments for is that we all think more broadly, which I put Bananas in Pyjamas [an followed, including The Secret Life of the more strategically, about drama funding Australian kids’ show] on the front Zoo producer Blast! Films and Sugar in order to maintain these ambitions. In page. I thought: this isn’t exactly Films, co-founded by ex-BBC Chief many ways, we’ve never had it so good Woodward and Bernstein.” Creative Officer Pat Younge. in drama and I want that to continue. So she took up an offer of a sales job “It’s really important to invest in the “The model is not broken,” Millichip at distributor Intel. She subsequently talent… we are adamant that they retain explains. “We had our biggest launch rose to running the nascent Sky Vision their own brand, name and flavour,” slate of dramas this Mipcom, and we nearly four years ago, via Living, RDF Millichip argues. “The culture that you have very high expectations.” and South Pacific Pictures. She oversees foster, particularly in a creative busi- With eagerly awaited shows such as sales operations in London, Singapore, ness, is important… We’re engaged with Tin Star (starring Tim Roth), the glamor- Los Angeles and New York. our production businesses, but it’s a ous Riviera and a second run of Arctic The distributor’s revenues have since light touch. We don’t tell them what drama Fortitude, Sky is building a repu- grown tenfold to just under £100m per they should be producing and why.” tation for pacy ensemble dramas that annum. Some of that has been via the That light touch was in evidence score internationally. acquisition of stakes in seven production when Love controversially chose to “Someone asked me if we’d reached businesses, but sales at the division’s leave the BBC and sell The Great British

26 A SUCCESSFUL, SUSTAINABLE CONTENT BUSINESS NEEDS MULTIPLE PIPELINES OF REVENUE Sky

Bake Off to Channel 4. Millichip sits on that show through thick and thin. It is a and Sky Italia. She says that the broad- Love’s board. fantastic producer and format devel- caster is now well-placed to weather “I still maintain that every effort was oper and has tweaked and enhanced the currency fluctuations following the made to make a deal with the BBC… the format brilliantly over the years, UK’s Brexit vote. “Having negotiated for more than a particularly in the transition from BBC Outside of television, she and her year, there was a point at which the Two to BBC One.” husband have been on “a quest to relationship had become untenable… She continues: “Even the story about make the perfect air-dried Cotswold We had every intention of making a the presenters was completely misrep- ham” and breed Gotland sheep to deal with [the BBC]. resented in the press. It wasn’t possible “bring hogget (it’s a bit like teenage “But when, finally, that was not pos- to negotiate with the talent until all the lamb) back to the British table”. sible… when they still had not come to conversations with the BBC had been In the corporate media world, Milli- a resolution at the end of the last concluded due to confidentiality chip is a tonic, revealing: “I’ve done meeting, we passed a board resolution reasons. mixology at our launches. That slightly allowing Love to walk, which it did. “Channel 4 knew that and it was backfired once when we did a pre-sales “It wasn’t easy and it wasn’t done prepared to take the show with or launch of Fortitude. I knew about half the lightly. But Love had our full backing without the presenters. Obviously, buyers there. to do so. We’d spent many long hours once Channel 4 bought it, it opened “I invented some Nordic cocktails discussing the situation. We knew that discussions up and we are very glad – I’d made up names associated with Channel 4 was very keen. Love went that Paul [Hollywood] came with us.” the show – and was mixing these straight there and David Abraham and Millichip believes that Channel 4 drinks. When it was time to do the Jay Hunt [Channel 4’s CEO and chief “will treat the show very well” and that speeches, I took off my apron and got creative officer, respectively] were “the increase in budget will be a brilliant onto the stage – and I could see half the fantastically decisive in making Love thing for the show… In many ways, it’s room looking at me thinking, ‘Why is an offer.” a reconciliation of many years of the the cocktail waitress making a speech?’” Millichip insists that newspaper show being underfunded.” If her charcuterie foray proves even articles painting the BBC as the victim As an internationalist working at an half as successful as her day job, she of a rapacious producer were incorrect. international company, she welcomed could be providing the canapés next She maintains that Love “has nurtured Sky’s merger with Sky Deutschland time, too.

Television www.rts.org.uk January 2017 27 Matchmaking fixed-rig style

t’s much more interesting God, there’s cameras everywhere,’ but to watch people fall in love than RTS Futures as soon as Dan turned up I totally for- fight,” said producer Molly Sayers got about them,” said Stewart. at an RTS Futures event in late Muncaster-Ross added: “Because it’s November, which turned the Channel 4’s First Dates a date, you want to impress the person spotlight on Channel 4’s popular revels in its documentary that you’re with. They’re in front of ‘First Dates. you, so you just forget everything else IThe Twenty Twenty Television pro- that is going on. Until you get up to go roots. Matthew Bell duction is that rare thing among dating to the loo and then you think, ‘Oh my shows: it wants audiences to like, not feels the love God, there’s a camera on me.’” laugh at, its lovelorn participants. The waiters and maître d’ Fred Sirieix “The programme comes out of the ask for every single detail [about your- are employed by the programme- docs department of Channel 4 so it’s selves that] you can imagine.” maker and are an integral part of the not an entertainment programme, “Intimate details,” clarified show. Actor Cici Coleman – one of the although it is entertaining,” said Sayers, Muncaster-Ross. panellists at the RTS Futures event who produces the series. “As much as “The process was so quick,” said – explained to the evening’s chair, TV it’s about love, dating and the funny, Stewart. “It was three weeks from presenter Ria Hebden, how she was flirty, sexy things happening in the getting a phone call [from the pro- recruited as a waitress. restaurant, it is a documentary about gramme-makers] to meeting Dan.” “I was serving a table and they hap- people.” Muncaster-Ross applied to appear pened to be a street-casting team from First Dates has been a regular TV on First Dates after watching an episode Twenty Twenty. I didn’t realise who presence since its debut in June 2013, with his flatmate and sharing a couple they were and I was just chatting and has racked up more than 70 epi- of bottles of wine – and then forgot all away,” recalled Coleman. sodes, including various specials and about it. They offered her an audition for the celebrity shows. Two months later, he received a call third series of First Dates – which Cole- Dan Muncaster-Ross and Adam and went to an audition in Newcastle; man had not heard of. The format was Stewart are the programme’s poster more time passed before he was called being tweaked and the restaurant staff boys. They met on the show in 2015 and to London for another audition and were to become part of the show. Muncaster-Ross moved 250 miles to accepted by the show. “Series 1 and 2 had been less of a live with his beau in Bury St Edmunds. Despite being filmed for national TV, hit,” admitted Sayers. “Series 3 was The couple were engaged by the end of the two men didn’t feel at all awkward Channel 4’s last push – it was a good the year. Now they are planning a wed- on their restaurant date. “There is no idea but it wasn’t quite there.” ding in Cape Town in early 2019. camera crew walking around. There Featuring the restaurant staff, she Recalling his audition for the show, are static cameras, a bit like Big Brother, explained, “oxygenates” the show. Stewart said: “I was so honest and scattered about. “Going from date to date, no matter answered every question – they do “When I first got there I thought, ‘Oh how great the casting was and how

28 The making of First Dates

From left: Adam Stewart, Dan Muncaster-Ross, CiCi Coleman, Alex Gray, Molly Sayers and Ria Hebden First Dates, Series 7 Paul Hampartsoumian Paul Channel 4 good the stories were, had left viewers Casting producer Alex Gray picks the screen, and two episodes are canned [feeling] frazzled.” daters and oversees the matching pro- each day. Coleman thought the casters were cess on First Dates. He uses the show’s At any one time, three featured joking: “No one ever comes to you casting database of more than 150,000 couples are filmed in the restaurant by [with a job] – you have to go to them.” people to come up with potential 42 fixed, remotely operated cameras. She went for an audition with Sayers participants, who he supplements with There are also GoPro cameras in the and was offered the job. Her role is not street casting. toilets, which turn on when a featured only to serve food but also to chat with ‘We spend a long time on the phone dater enters. the daters and help them to relax. with people before we even meet The production team, however, can “The only way that we know what’s them,’ Gray explained. ‘When they do record only 10 streams; three streams for going on in the [daters’] heads,” said come in, we treat our auditions as if each couple to get both close-ups and Sayers, “is via Cici or [another waiter] at we were down the pub with a mate so wide shots, and one to record the wait- the table asking, ‘Do you like them?’” that they are as relaxed as possible.’ ers. The restaurant is filled out by other She offered hope to any member of He added: ‘You can match them on couples, who are also on first dates. the RTS Futures audience looking for a paper but it’s a lot easier when you ‘We have to monitor how pissed route into television: “It’s a juggernaut of know them.’ people are,’ said Sayers. ‘We’ve worked a production. We see up to 80 [potential Every week, the production team so hard to get the daters to this point, daters] a week and we always need holds ‘match meetings’, where they so we don’t want them to be smashed. help, so there are logging positions and, ‘fight over their favourites. It can get ‘Generally, however, we leave people on the actual shoot, there are [opportu- really heated but that’s a good thing to it because it is a documentary. nities] for runners. because it means we’re passionate,’ People do get a bit pissed on a date or “In terms of getting a toe in [this said Gray. ‘That’s why the show is so nervous or a bit sexy, but that’s OK. industry], it is a good way in.” successful and creates so many suc- ‘We’re just there to help and look Sayers is herself proof that research- cessful matches.’ after them – we don’t want them to ers on First Dates can make their mark Indeed, the programme’s production do anything that they might regret.’ on the industry. She was a researcher team looked back at series 3 and 4, After a date has been filmed, the on the first series, worked elsewhere to and discovered that around 80% of production team keeps in touch with gain further experience, and returned couples went out together again at the daters, especially during the editing as an assistant producer, before being least once after appearing on the show. process, until the show airs. promoted to producer. The series is filmed at a restaurant ‘It’s not an exploitative programme in Paternoster Square near St Paul’s in any way and that’s the joy of work- The RTS Futures event, ‘First Dates: in London, which the production team ing on it,’ said Sayers. ‘You really want Uncovered’, was held at The Collective take over a week before filming starts. [daters] to fall in love. You want to see in central London on 23 November and Seven dates are filmed for each epi- your months of hard work end in a Dan was produced by Sasha Breslau and sode, although only five make it to the and Adam moment.’ Alex Wootten.

Television www.rts.org.uk January 2017 29 RTS Programme Masterclasses

RTS Masterclasses I Four distinguished programme-makers offer their insights across a range of genres. Matthew Bell and Steve Clarke report

DRAMA he multi-award-winning TV writer Sally Wainwright is known primarily for her gritty, authentic dramas. Her series are usuallyT set in the North of England and invariably feature strong female leads. Think of Happy Valley, Scott & Bailey or Sally Wainwright

her latest show, a two-hour BBC film JeffMorgan/Alamy examining a famous literary family, To Walk Invisible: The Brontë Sisters, shown of yourself. If you believe in your talent, over Christmas. don’t have any inhibitions or shame “Women write for women today,” about pushing your scripts out there.” DOCUMENTARY she argued at the opening RTS Student Wainwright added: “The very first ver the past decade, Rowan Programme Masterclass. time I handed over a script to someone, Deacon has made audiences But when she first worked as a writer, I was terrified and I made her read it laugh, but mostly cry. Her as part of a mainly-male team on ITV’s while I sat there watching her. After documentaries examine Coronation Street, female writers were that, I was never inhibited again. livesO in crisis, people beset by physical unusual. “I think I was only the third “I will bore people senseless with and mental illness. woman writing for Coronation Street,” my scripts… Be bold.” Deacon’s latest film – BBC Two’s Wainwright recalled. She had another tip for wannabes: How To Die: Simon’s Choice, about a man She added: “It was a hard environ- “The single best thing to do as a writer wanting to end his life – won the ment… It was very male-dominated. is to get an agent because most pro- director/producer a second Grierson In those days, everybody got pissed at duction companies won’t read unso- documentary award this year. lunchtime and in the afternoon it was licited scripts… Her television career began with a a bloodbath. “Find out who will read new work, false start in programme development. “There were a lot of very confident, who is looking for new work, who “I did that for about two years and went older men who’d been there a long, deals in TV scripts, or whatever it is quietly mad – I hated being in an office,” long time. As a 30-year-old woman, it that you do, and target them. Write to she recalled. was quite a hard environment to come them all.” Deacon escaped, moving from in on and to feel confident.” Sally Wainwright was interviewed by researcher to assistant producer before What advice did she have for aspiring Carolyn Reynolds, former CEO of Lime her directing debut came on Channel 4’s screenwriters? Self-belief and persis- Pictures and a former executive producer 2007 documentary Health Food Junkies. tence were essential: “Make a nuisance of Coronation Street. She develops her own ideas but also

30 accepts commissions: “If something For a film and TV production student good comes your way, it would be who is interested in a career in TV crazy not to take that opportunity.” entertainment what is the best way to JOURNALISM One such commission was the 2010 get started? “I always say: look at the espite his tender years, ITV BBC Three film, Tulisa: My Mum and Me, credits; look at the website; and email News’s first security editor presented by former X Factor judge the people who make the show. If Rohit Kachroo brings a wealth Tulisa Contostavlos, about her mother’s something you say about yourself of experience to the job. Still struggle with mental health problems. jumps out, that helps.” inD his early thirties, Kachroo is a crime Deacon’s next project was lighter, Landing work experience was and terrorism veteran. He has served 2013’s entertaining BBC Two series, The essential, the more of it the better. “Of as a foreign correspondent – and Tube, looking at London Underground. course it is really hard,” Lamb conceded. secured a rare interview with Zimbab “For me, humour is essential in doc- wean President Robert Mugabe. umentary,” she said, adding that films At the RTS masterclass, Kachroo had a tendency to become “po-faced”. discussed some of the ramifications of The director changed tack with BBC being a black TV journalist with fellow Three’s Our War: Goodbye Afghanistan, reporter Tazeen Ahmad. He accepted which won a Grierson award in 2015. that one of his roles was to “represent Deacon was determined not to glorify the voice of our own background”, but war: “The losses that the [soldiers] added: “You’ve also got to speak for the incurred, not just physically but men- whole country, as well. I am always tally, and how they feel quite lost in the reluctant to be sectioned off into one world now, probably don’t make a good corner of the news spectrum.” advert for joining the Army. Although Kachroo, a former RTS Young Jour- the Ministry of Defence loved it!” nalist of the Year, worked at ITV Central Deacon’s next film is similarly News before the call came to join the downbeat: the story of the last male ITV network in 2008. northern white rhinoceros, who is not Fulfilling an ambition to become a long for this world. foreign correspondent, Kachroo was The rhino’s interests and those of the appointed to cover Africa for ITV and film-maker, however, have diverged: its news partner, NBC, in 2011. He “This sounds awful but I kind of need reported on the death of Nelson Man- the rhino to die,” she said. “The rhino dela and the murder of Reeva Steen- [probably] isn’t going to die when I kamp by Paralympian Oscar Pistorius. want it to, so I’ve got a second [alterna- Working as a foreign correspondent tive] ending in case it doesn’t.” was “a huge privilege”, he said, Rowan Deacon was interviewed by Helen “because you are the eyes and ears of Scott, a media consultant and former head your viewers [across] a huge continent. of factual programmes at ITV Yorkshire. “I felt a responsibility to immerse Rohit Kachroo

Paul Hampartsoumian Paul myself in some of the bigger stories – getting to know members of Man “There are thousands and thousands dela’s family and the key players in ENTERTAINMENT of people who want to work in TV, but the Pistorius story.” uzy Lamb is the queen of you’ve just got to keep knocking on Kachroo left Africa in 2014 after Saturday-night TV. She has those doors.” being appointed UK editor and, a year worked on many of British Getting the basics right was essential later, security editor at ITV News. TV’s iconic popular entertain- to secure work in TV: “Make sure you The journalist explained that he had mentS shows, including Noel’s House Party spell people’s names right. It’s one of tried to “humanise” the story of the and Bruce Forsyth’s Generation Game, my real bugbears. If we’re going to take three schoolgirls who fled their East and masterminded live broadcasts such you on we want to know you’re going London homes to join Isis. as NBC’s Clash of the Choirs in the US. to best represent the shows.” “We followed their stories and those Yet, Lamb began her TV career as a And don’t be shy, advised Lamb: of their families as well – people BBC production secretary. “When you’re a runner, go up and always forget the people left behind. “Bob Monkhouse once said to me: speak to people. I love it when runners One of my aims, and of the team I ‘You cannot buy the experience that come and knock on my door and ask work with, is to put a human face on the BBC has given you. It is what will for advice. these issues,” he said. make you the producer that I hope “When I’ve got the time, I try and Rohit Kachroo was interviewed by Tazeen you’ll turn out to be,’” she told the take the runners out for lunch. I’m a Ahmad, a TV reporter who has worked for masterclass audience. human being, too. I had to start some- ITN, NBC, the BBC and Channel 4. Today, she is head of entertainment where. I worked with some scary at Thames, part of FremantleMedia, grown-up producers at the BBC. But, The RTS Student Programme Masterclasses where Lamb executive-produces without them, I wouldn’t be here now.” were held on 14 November at BFI Southbank, long-running ITV dating show Take Me Suzy Lamb was interviewed by Toby London. They were produced by Helen Out and its spin-off show, ITV2’s Take Earle, a journalist and broadcaster who Scott. More masterclass reports at: www.rts. Me Out: The Gossip. works for London Live. org.uk/education-training/rts-masterclasses

Television www.rts.org.uk January 2017 31 Listen, look and learn RTS Craft Skills Masterclasses

craft award for BBC One’s Sherlock. around these editors and literally wait RTS Masterclasses II Clips from the editors’ films were for one of them to die,” he joked. shown during the masterclass, includ- Earlier this year, Houseman cut his ing an episode Houseman edited for first drama, Channel 4 thriller The Watch- Matthew Bell and BBC Three’s Life and Death Row and man. “It was only [then] that I realised Steve Clarke look, listen 7/7: One Day in London. Excerpts from how different the [genres] are,” he said. Sherlock and Netflix’s drama The Crown “In docs, I’m much more of a writer and learn as experts illustrated Miles’ work. than an editor, because [the job] is Houseman “fell” into editing after about finding the story and putting share their tradecraft working as a runner at Disney, where it on screen. he met Sean Barton, who had cut “Yan’s a real editor – when you do Return of the Jedi. Barton let Houseman drama, it’s about breathing life into EDITING play with his new Avid editing system footage and giving it a heartbeat.” and he was hooked. Editors Rupert Houseman and Yan Miles he best editors are the ones He took editing courses at the were interviewed by Carolyn Reynolds, who can make everyone feel National Film and Television School former CEO of Lime Pictures and former listened to,” argued Rupert and then started assisting on docu- executive producer of Coronation Street. Houseman at the opening RTS mentaries. One of Houseman’s first ‘masterclass.T The trick was “to listen to jobs was as dubbing editor on BBC the best idea and make that work”. One’s Children’s Hospital. It was here that Documentary specialist Houseman he met Miles, who was working at the and Yan Miles, who cuts drama, are post-production house Salon, which SOUND both at the top of their game, picking was supplying the editing equipment ound is an underrated medium up awards for their work on some of for the fly-on-the-wall series. – people have absolutely no TV’s biggest hits. Determined to work as an editor, idea how psychologically The duo were interviewed by former Miles left Salon and cut music videos influential sound is to a pro- Coronation Street executive producer and promos, but then had to start ‘gramme,”S argued Louise Willcox. Carolyn Reynolds. almost from scratch when he decided The sound supervisor and location Houseman is the recipient of two to return to his first love, drama. recordist – together with sound engi- RTS awards for the first series of BBC “I became an assistant in the cutting neer Emma Penny – offered a passion show The Apprentice and the heart- room again. It was a difficult thing to ate defence of the importance of sound rending BBC Two film on the 2005 do because I had convinced myself that to live broadcasts. terror attacks, 7/7: One Day in London. I was an editor. So I had to eat humble Willcox was a BBC secretary in the Miles has won an Emmy and a Bafta pie and go back to the beginning, sit late-1970s, when she decided to pursue

32 working in a live technical environment Television, working in the sound suits me,” she said. department cleaning mud off the A clip of Penny’s work mixing sound cables used for Emmerdale. for ITV News emphasised the prepara- Next, he was employed by a lighting tion required to ensure high-quality rental company before finally getting a sound from outside broadcasts. break as a camera operator. It takes months of planning, said Moore has shot Poldark, Doctor Who, Penny, “to flip from location to loca- Mapp and Lucia and Cucumber, among tion and make it all look seamless”. other shows. He recently completed The sound department is often seen the latest batch of ITV’s offbeat detective as TV’s Cinderella department, pointed series, Vera, starring Brenda Blethyn. out masterclass chair, Screenhouse Lang left school at 16 to work as Productions creative director Paul an electrician at Devonport Dockyard. Bader. So, did the two sound experts On completing his apprenticeship he feel valued? landed a job at BBC Radio, also as an At the end of a live show, said Will- electrician. cox, “invariably, nothing is said about After rewiring navigation systems sound. I say to [my team]: ‘We were on Royal Navy frigates and nuclear great – if nobody noticed us, that submarines, changing light bulbs at means we did a brilliant job.’ It’s only Broadcasting House was an anticlimax. when it goes wrong, [that people] Undeterred, his next job was at Eal- notice sound.” ing Film Studios, working as a BBC Emma Penny, sound engineer, and Louise film-stage electrician. At that time, Willcox, sound supervisor and location prior to the privatisation of some BBC recordist, were interviewed by Paul Bader, technical services, the BBC Film Unit creative director, Screenhouse Productions. employed around 60 in-house film crew. They worked across the full range of programme genres, including drama, children’s and current affairs. CAMERA “One month, you’d be working on a long-held ambition to move into he two directors of photogra- an adaptation of Bleak House, the next sound. She took a night class in physics phy (DoPs) who gave the RTS you’d be on an assignment for Pano- and was accepted by the Audio Unit at camera masterclass work in rama,” Lang recalled. “It was a great BBC Pebble Mill, working on The Archers very different television disci- training.” and then on TV show Pebble Mill at One. plinesT – Ed Moore specialises in His ambition was always to move Technical knowledge was important, scripted shows, while Paul Lang films into the camera department. Lang but Willcox pointed out that she was TV documentaries. worked his way up from best boy, only educated to what is now GCSE Both, however, agreed that team clapper loader and focus puller to DoP. level. “The BBC taught me the bits that work was vital for anyone ambitious to “A lot of people wanted to work on I needed to know at a higher level,” she work as a DoP – the person on set big feature films for big money but I said. “It’s not rocket science.” responsible for the look of a film. found my niche in documentary.” “If you’re a good sound engineer, “Collaborate with people,” said Lang. Lang’s credits include Great Railway you work by ear – you know what “Nowadays, the temptation is to send Journeys, Mozart in Prague and the edi- doesn’t sound right,” added Penny. people out with a single camera and tion of Who Do You Think You Are? star- For the past decade, Willcox has do everything yourself. ring Len Goodman. worked as a freelancer on BBC shows “You don’t get a very good product Regardless of the seriousness of the such as Question Time, Match of the Day, like that. Get a good mate who’s a material for which he is responsible Springwatch and Autumnwatch. sound recordist, get a friend who’s a (Lang once made a film about a group Discussing BBC Two’s live nature director and go out and collaborate.” of people who knew they were termi- shows, Willcox said: “I decided that, a It was important to form relation- nally ill), he advised students to little bit like The Archers, you’ve got to ships early on in your career with remember that making TV shows have the right sound effects – other- directors who were your contemporar- was not brain surgery. He concluded: wise, some natural history buff will ies, he said. These associations would “Filming should be fun. A lot of people call to say, ‘That’s the wrong sound prove their value throughout the have lost sight of that. We’re not saving from the right bird.’ course of a long working life. lives. It’s entertainment.” “The solution was: if you can see it “It is very rare for either of us to work Directors of photography Ed Moore and live, you ought to hear it live.” for a director who is completely new to Paul Lang were interviewed by Helen Penny took a different route into us,” explained Lang. “Form a strong Scott. sound: while working as a journalist at base of people you come through the her university’s student radio station ranks with. They’ll be the ones who call The RTS Craft Skills Masterclasses were and then reading news for local radio, when they get the big one.” held on 15 November at BFI Southbank, she discovered that the technical side Moore began his career in the thea- London. They were produced by Helen Scott. of broadcasting was more to her liking. tre, where he was responsible for light- More masterclass reports at: www.rts.org. “I thrive better under pressure, so ing. He then got a job at Yorkshire uk/education-training/rts-masterclasses

Television www.rts.org.uk January 2017 33 efore Christmas, RTS Futures Telly nostalgia held a festive quiz at ITV From the 1970s… Studios in London, hosted 1 Which two actors played Doctor Who by The Only Way is Essex per between 1970 and 1981? sonalityB Mark Wright and TV pre 2 Which actor narrated the children’s senter Ria Hebden. show Roobarb and Custard? A team of young Futures members, From the 1980s… led by Channel 5 director of program 3 In which year was the Blue Peter garden mes Ben Frow and commissioning vandalised? editor Sean Doyle, were crowned 4 Which singer flew across the Atlantic in champions – and walked away with Concorde to appear in both the UK and tickets to The Graham Norton Show. US Live Aid concerts? Can you match their performance? From the 1990s… Or is your TV knowledge on a par 5 In 1998 Ant and Dec were signed up by with the ITV team that came last? ITV to present which show? Xmas 6 Complete the 1997 TV series title Full Telly true or false Circle with…. 1 Model and Strictly Come Dancing com- From the 2000s… petitor Daisy Lowe is the granddaughter 7 In January 2001 ‘Nasty’ Nigel Lythgoe of Dad’s Army actor Arthur Lowe. was a judge on the first of a new gen- 2 Amy Winehouse once appeared in an quiz eration of talent shows. What was the

episode of The Fast Show. Hampartsoumian by Paul Photo Ria Hebden. name of the show? 3 The first product advertised on ITV was 8 In which year was high-definition TV Bird’s Eye Fish Fingers. 7 Which stand-up comedian is changing first broadcast in the UK? 4 The Grange Hill and Countdown theme channels and has just signed a two-year tunes were composed by the same man. deal with Sky? Christmas on the box 5 TV presenter Ben Shephard once 8 24 May 2015 was a special day for two 1 On 25 December 2015, millions were appeared in an episode of Friends. TV stars – who got hitched? glued to the screen for the finale of the 6 Sabrina the Teenage Witch’s talking cat drama that won the Christmas ratings was called Boston. A year in television battle. What was it? 7 Sarah Lancashire’s character in Happy 1 In January 2016, Tiffany Pollard mis- 2 Christmas is rarely a happy occasion Valley was a traffic warden. takenly thought that one of her fellow when it comes to the soaps – what 8 Sue Johnston and Ricky Tomlinson played Celebrity Big Brother housemates had big secret was lying under the floor in married couples in two different TV shows. died after being told by Angie Bowie, 2015’s Christmas Coronation Street? ‘David’s dead?’ Who was it? 3 In which well-known show does a choir TV personalities 2 The three hosts of Top Gear left the of children perform Hark! the Herald 1 We lost Terry Wogan this year. But who BBC and moved to which subscription Angels Sing at Christmas? was fighting back the tears as he made channel? 4 Which channel couldn’t wait for Christ- a tribute at Sir Terry’s memorial? 3 Michelle Obama appeared on The Late mas and treated us to an afternoon of 2 According to Forbes, what is Simon Late Show in July, but in which segment? Christmas movies in August 2016? Cowell’s net worth in dollars? 4 For the first time, the BBC shared the 5 The Snowman is a Christmas favourite. 3 Former Doctor Who Matt Smith is a rights for the Olympics, but with which It was shown for the first time on Box- successful actor. But acting was not his network? ing Day – but in which year? first love – what did he want to be? 5 Who was recently promoted to Sky 6 Channel 4 has invited us on several occa- 4 Who is the new master of time travel director of progammes? sions to cook our Christmas dinner ‘live’ with a new entertainment format on ITV 6 In this year’s big format scandal, how alongside a celebrity chef. Which chef? – and what’s the name of the show? much did Channel 4 pay for The Great 7 Which of the Christmas 2016 adverts 5 Which celebrity recently tweeted this? British Bake Off? features two teddy bears returning ‘Winter florals – yes please! Tune into 7 BBC Three moved from its home on TV home? @thismorning to see some gorgeousness.’ to online, but in which month? 8 Whose Christmas 2015 single pipped 6 Gogglebox stars June and Leon are 8 How many contestants were forced to Justin Bieber to the number one spot happily retired watching lots of telly. But withdraw from the 2016 series of The and was featured on the Top of the what profession did they share before? Jump through injury? Pops Christmas Special?

ANSWERS

Downton Abbey Downton 1 Briers Richard 2 Bennett Zai 5 Howard Russell 7 True 8

Christmas on the box the on Christmas False 7 Greenwich NHS Choir Choir NHS Greenwich (1974-81) Baker Tom and Discovery 4 Teaching 6

False 6 Lewisham and and Lewisham 8 (1970-74) Pertwee Jon 1 Karaoke Carpool 3 Wan Gok 5

Telly nostalgia Telly True 5 Heathrow 7 2006 8 Prime Amazon 2 Year Next Time

True 4 Gordon Ramsay Gordon 6 Popstars 7 Gest David 1 This and McCall Davina 4

A year in television in year A False 3 1982 5 Palin Michael 6 Seven 8 footballer Professional 3

True 2 Channel 5 Channel 4 Live SMTV 5 February 7 $550m 2

False 1 Blue Peter Blue 3 Collins Phil 4 deal) three-year Keegan Michelle Evans Chris 1

Telly true or false or true Telly TV personalities TV Callum’s dead body dead Callum’s 2 1983 3 a for (£75m £25m 6 and Wright Mark 8

34 Hosted by Sandi Toksvig, the awards were presented on 28 November at the London Hilton Park Lane RTS Craft & Design Awards 2016

In partnership with:

Judges’ Award We’re the SuperHost: Humans Jennifer Saunders Paralympics Trailer Channel 4 ‘In August 1996, Great Britain’s Paralympians brought home a whopping 123 medals only to find coverage of their success con- densed into two half-hour com- pilations, late night, on BBC Two. Twenty years later, not only has society made huge steps in the acceptance and understanding of disability – the 2016 Paralympics enjoyed as much anticipatory glee as any other major sports event this year. ‘This three-minute trailer, We’re the Superhumans, was the pinnacle of two years’ work. The resounding “Yes I can” message, combined with… a thrilling soundscape, let us wonder at the steely determination and skill of our Para- lympians. The public reaction was one of awe and inspiration.’

The winners and nominees of all 31 awards are listed over the following seven pages � Paralympics Trailer Pictures: Richard Kendal/Channel 4 Pictures: Richard Kendal/Channel

Television www.rts.org.uk January 2017 35 Costume Design – Drama Design – Trails and Packaging Signe Sejlund, The Night Manager Ron Chakraborty, Jonathan Bramley, The Ink Factory, Demarest Films, Char- BBC Sport Marketing Team & RKCR/ acter 7, Producciones Fortaleza AIE, Y&R, 2016 Rio Olympics BBC and AMC for BBC One BBC Sport, RKCR/Y&R, AAO @Passion ‘High-end intensity across the board; Pictures, Jamie N Commons, Native characterisation through costume; Music & Jungle for BBC every last decision carefully thought ‘Lovely idea, brilliantly executed – through; dripping with style and wit.’ utterly compelling, couldn’t take your Nominees: eyes off it – and the slow reveal as to Phoebe de Gaye, The Living and the the conceit works perfectly. Witty, Dead, Monastic Productions for BBC stirring and inspiring.’ One Nominees: Fotini Dimou, The Dresser, Playground Lambie-Nairn, Channel identity for Host: Sandi Toksvig Television UK/Sonia Friedman Produc- Olympic Channel, Lambie-Nairn for tions/Altus Productions/Prescience for Olympic Channel BBC Two sequence and the judges loved the Shaun Qureshi, The Rack Pack, Q&A for Bowie track!’ BBC iPlayer Costume Design – Entertainment Nominees: and Non Drama Ron Chakraborty, Jonathan Bramley, Director – Comedy Drama/ Heather MacVean, The Keith Lemon BBC Sport Marketing Team & RKCR/ Situation Comedy Sketch Show Y&R, 2016 Rio Olympics, BBC Sport, Jack Clough, People Just Do Nothing Talkback (part of FremantleMedia UK) RKCR/Y&R, AAO @Passion Pictures, Roughcut TV for BBC Three for ITV2 Jamie N Commons, Native Music & ‘We were blown away by the joyous ‘Larger-than-life stereotypes, as befits Jungle for BBC mastery of the comic documentary the show, skilfully delivered, creative Alex Maclean, The Durrells, Sid Gentle style – even making the downright and funny.’ Films/Masterpiece for ITV ordinary look beautiful.’ Nominees: Nominees: Claire Finlay-Thompson, Hunderby, Rob and Neil Gibbons, Alan Partridge: Baby Cow Productions for Sky Atlantic Scissored Isle, Baby Cow Productions Lucy Williams, Murder In Successville, for Sky Atlantic Tiger Aspect for BBC Three Richard Laxton, Mum, Big Talk Productions in Design – Programme association with The Content Sequences Money Men for BBC Two Made in Colour, Newsround: China – The Left-Behind Director – Children Documentary/ Made in Colour for Factual and CBBC Non Drama ‘An amazing achieve- James Bluemel, Exodus: ment on the budget Our Journey To Europe – the complex story KEO Films for BBC Two and emotions were ‘Hard-hitting, personal conveyed simply and with huge impact, and beautifully.’ this piece brought fresh Nominees: insight and compelling Simon Baker, Diana narrative to stories we Elkins and Tamsin may feel we’ve seen Herbert, Formula 1 many times before. You British Grand Prix, haven’t, unless you’ve Evoke Films for seen this programme.’ Channel 4 Nominees: Made in Colour, News- Huw Cordey, The Hunt: The round: The Battle of the Hardest Challenge, Silver- Somme, Made in Colour back Films, co-produced with for CBBC the BBC, BBC Worldwide, BBC America, The Open University, Design – Titles CCTV9, NDR Naturfilm for Miki Kato and Momoco, BBC One The Last Panthers Clare Johns, Life and Warp Films for Sky Atlantic Deaf, CTVC/Flashing ‘A haunting, dreamlike The Night Lights for BBC Four

Pictures: Richard Kendal/BBC and memorable visual Manager

36 1 2 3

4 5 6

7 8 9 All pictures: Richard Kendal

1 Costume Design – Entertainment and 2 Design – Trails and Packaging: 3 Editing – Documentary/Factual: Non Drama: The Keith Lemon Sketch Show 2016 Rio Olympics Exodus: Our Journey to Europe

4 Design – Programme Content Sequences: 5 Director – Comedy Drama/Situation 6 Editing – Drama: Newsround: China – The Left-Behind Children Comedy: People Just Do Nothing Doctor Foster

7 Design – Titles: 8 Director – Documentary/Factual and Non 9 Editing – Entertainment and Comedy: The Last Panthers Drama: Exodus: Our Journey To Europe Flowers

Television www.rts.org.uk January 2017 37 Director – Drama Editing – Drama Effects – Digital Bruce Goodison, Murdered by My Tom Hemmings, Doctor Foster BDH Digital Effects Team, Countdown To Father Drama Republic for BBC One Life: The Extraordinary Making of You BBC Studios for BBC Three ‘Totally immersive and believable, BBC Studios/Science/London for BBC ‘The winner stood out owing to their always in the right place for each beat Two marked decision to put text and per- and building seamlessly to a terrific ‘The textures and liquids they created formance above all else, allowing for climax.’ were so realistic that the jury felt com- an authenticity of storytelling, atmo- Nominees: pletely immersed. An extraordinary sphere and environment. This detailed Adam Biskupski, Neil Gaiman’s Likely piece of work.’ and empathetic approach ensured that Stories, Sid Gentle Films for Sky Arts Nominees: a harrowing story got told in the most Katie Weiland, The Tunnel: Sabotage, Lola Post Production, A Midsummer sensitive and thoughtful of ways, mak- Kudos and Shine France for Sky Atlantic Night’s Dream, BBC Wales for BBC One ing for an important piece of drama and Canal+ Milk Visual Effects, Beowulf: Return to that lacked any sense of self-importance the Shieldlands, ITV Studios for ITV or worthiness, it just allowed an audi- Editing – Entertainment ence into the drama to experience it and Comedy Effects – Special directly for themselves.’ Selina MacArthur, Flowers Jens Doeldissen and Darius Cicenas Nominees: Kudos for Channel 4 in association with @Film Effects, War and Peace John Alexander, One Child, BBC Drama Seeso BBC Cymru Wales in association with Productions/Sundance TV for BBC Two ‘The cutting was performed with skill TWC and LookoutPoint for BBC One Craig Viveiros, And Then There Were and sensitivity, yet also with bravery ‘We were enthralled by the scale and None, Mammoth Screen/Agatha Christie and originality.’ authenticity of the in-camera effects… Productions/Lifetime for BBC One Nominees: The team brought Hollywood-style Gary Dollner, Fleabag, Two Brothers effects to the small screen.’ Editing – Documentary/Factual Pictures for BBC Three Nominees: Simon Sykes, Nick Fenton and Sun- Ben Yeates, The Rack Pack, Zeppotron Pau Costa Moeller, The Night Manager, shine Jackson, Exodus: Our Journey to for BBC iPlayer The Ink Factory, Demarest Films, Char- Europe acter 7, Producciones Fortaleza AIE, KEO Films for BBC Two Editing – Sport BBC and AMC for BBC One ‘The editors successfully stitched Nicholas Perry, John Nicholson and Real SFX and Millennium FX, Doctor together material from multiple sources Simon Livingstone and BBC Sport Pro- Who, Series 9, BBC Wales for BBC One in a way that allowed the refugees to tell duction Team, Olympics 2016 (Opening their own stories in their own words.’ Ceremony) Lighting for Multicamera Nominees: BBC Sport & Karma for BBC Gurdip Mahal, Ross Williams and Alex Elkins, Handmade: By Royal ‘The editing skill on display in this Rob Bradley, The Voice 2016, Series 5 Appointment – Steinway & Sons, BBC sequence was hugely impressive… full Wall to Wall for BBC One Arts for BBC Four of energy and visually stunning, a ‘In a crowded and competitive market, Gwyn Jones, The Prosecutors: Real triumph of painstaking research and the team managed to be consistently Crime and Punishment, Gold Star Pro- careful crafting.’ imaginative, different and challenging.’ ductions, Open University for BBC Four Nominees: Nominees: Dave Horwell and the Editing Team, Ski Martin Kempton, Upstart Crow, BBC Sunday 2016, BBC Sport for BBC Comedy for BBC Two War and Peace Whisper Films, Channel 4 and Matt The Lighting Team, Coronation Street Loughlin, Channel 4 Formula 1 – Live, ITV Studios for ITV Monaco Grand Prix Opener, Whisper Films and Channel 4 Make Up Design – Drama Jenna Wrage The Night Manager The Ink Factory, Demarest Films, Char- acter 7, Producciones Fortaleza AIE, BBC and AMC for BBC One ‘Elegant and subtle. The make-up design made a significant contribution to how the ambitious extremes were painted in this drama.’ Nominees: Claire Pritchard Jones and Neill Gorton, A Midsummer Night’s Dream, BBC Wales for BBC One Jenny Shircore, The Dresser, Playground Television UK/ Sonia Friedman Productions/ Altus Productions/Prescience

BBC for BBC Two

38 1 2 3

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7 8 9 All pictures: Richard Kendal

1 Editing – Sport: Olympics 2016 Opening 2 Lighting for Multicamera: 3 Multicamera Work: Ceremony The Voice 2016, Series 5 Coronation Street Live

4 Effects – Digital: Countdown To Life: 5 Make Up Design – Drama: 6 Multicamera Work – Sport: FA Cup The Extraordinary Making of You The Night Manager 2015-16: Salford City vs Notts County

7 Effects – Special: 8 Make Up Design – Entertainment and 9 Music – Original Score: War and Peace Non Drama: Tracey Ullman’s Show Flowers

Television www.rts.org.uk January 2017 39 Make Up Design – Entertainment and Non Drama Vanessa White, Floris Schuller and Neill Gorton, Tracey Ullman’s Show BBC Comedy and Allan McKeown Pres- ents for BBC One ‘An extraordinary range of transforma- tions, with that variety executed with the highest level of skills.’ Nominees: Neill Gorton and Vanessa White, Cath- erine Tate’s Nan, Tiger Aspect Produc- tions for BBC One Emma Leon and Reza Karim, The Keith Lemon Sketch Show, Talkback (part of FremantleMedia UK) for ITV2 Multicamera Work The Camera Team, Coronation Street Live ITV Studios for ITV ‘Staggering in scale and ambition Exodus: Our Journey to Europe throughout: it created a genuine sense of event.’ Nominees: Nominees: BBC Studios for BBC One Camera Team and Nikki Parsons, Pete Andrews and Centre Court Cam- ‘The photography interacted beauti- Strictly Come Dancing – Series 13, BBC era Crew, Wimbledon 2016: The Men’s fully with its subject matter, providing Studios for BBC One Final, BBC Sport/Visions OB for BBC real insight and emotional resonance.’ Coky Giedroyc and Richard Valentine, Jim Storey, The Open, IMG for Sky and Nominees: The Sound of Music Live!, ITV Studios- the World Feed Peter Beard, My Son the Jihadi, True Entertainment for ITV Vision Productions for Channel 4 Music – Original Score Camera Team, New Zealand: Earth’s Multicamera Work – Sport Arthur Sharpe, Flowers Mythical Islands, A BBC Studios/NDR Andrew Clement, Joe Noonan, Richard Kudos for Channel 4 in association with Naturfilm/National Geographic Channels Lancaster and Glen Woodcock, FA Cup Seeso Co-production for BBC Two 2015-16: First Round – Salford City vs ‘The music effectively became another Notts County character in the show – hard to pull Photography – Drama BBC Sport and Arena for BBC off, but done with aplomb.’ and Comedy ‘A textbook example of a sporting Nominees: George Steel, War and Peace event where the coverage and techni- Edmund Butt, From Darkness, BBC BBC Cymru Wales in association with cal craft and imagination on display Productions for BBC One TWC and LookoutPoint for BBC One significantly added to the natural Edmund Jolliffe, Elizabeth at 90 – ‘Bold, original choices kept us con- drama; a triumph on all fronts.’ A Family Tribute, Crux Productions nected to the characters, despite the for BBC One scale and breadth and technical challenges of such a complex period story.’ Music – Original Title Nominees: Victor Reyes, The Night Manager Stuart Biddlecombe, Hinterland, Fiction The Ink Factory, Demarest Films, Char- Factory for S4C/BBC Wales/All3Media acter 7, Producciones Fortaleza AIE, BBC International and AMC for BBC One Tony Miller, Fleabag, Two Brothers Pic- ‘Wow, they got it right! The music gave tures for BBC Three you a sense of the show, it branded the series with a sense of menace, scale, Picture Enhancement glamour, danger, you name it. Perfect.’ Kevin Horsewood, A Midsummer Nominees: Night’s Dream Edmund Butt and Tim Rice, From BBC Wales for BBC One Darkness, BBC Productions for ‘We were in awe of the bold colour BBC One palette, which created a truly magical The Insects, The Living and the Dead, world – more Oz than The Wizard of Oz.’ BBC Cymru Wales for BBC One Nominees: Ross Baker, Doctor Thorne, Hat Trick Photography – Documentary/ Productions for ITV Factual and Non Drama Simone Grattarola, War and Peace, BBC Morag Tinto, Imagine… Antony Cymru Wales in association with TWC

Sky The Tunnel: Sabotage Gormley: Being Human and Lookout Point for BBC One

40 1 2 3

4 5 6 BBC

7 8 9 All pictures: Richard Kendal

1 Lifetime Achievement: 2 Production Design – Drama: 3 Production Design – Entertainment and David Odd The Durrells Non Drama: Murder in Successville

4 Design and Craft Innovation: 5 Picture Enhancement: 6 Sound – Drama: Springwatch A Midsummer Night’s Dream The Tunnel: Sabotage

7 Music – Original Title: 8 Photography – Documentary/Factual 9 Sound – Entertainment and Non Drama: The Night Manager and Non Drama: Imagine… Antony Gormley: Charlie Hebdo: 3 Days That Shook Paris Being Human

Television www.rts.org.uk January 2017 41 Design & Craft Innovation Springwatch

‘This series was able to capture and share the most dramatic and intimate wildlife dramas as they unfolded live. Through the use of cutting-edge technology, this intrepid and dedicated team filmed in and among Britain’s prolific wildlife, day and night. ‘With a compelling desire to present the animals honestly and with minimal human interference, the Springwatch team have pioneered live broadcast systems that enable The Durrells

the audience to enjoy glimpses ITV of such inaccessible places as the nests of tiny birds. Production Design – Drama Sound – Drama ‘The show has pushed Stevie Herbert, The Durrells Simon Bysshe, Nigel Squibbs, Jamie boundaries in post-production, Sid Gentle Films/Masterpiece for ITV Caple and Jeremy Price, The Tunnel: too, and elicited an impressive ‘Seamless and discreet design beautifully Sabotage audience response from natural- delivered this ramshackle and idyllic Kudos and Shine France for Sky Atlantic history enthusiasts who want world with a warmth and integrity that and Canal+ to contribute and be part of this is deceptively difficult to achieve.’ ‘The sound effects set the mood. national phenomenon. Nominees: Naked dialogue worked with huge ‘Springwatch has enabled us Luana Hanson, Flowers, Kudos for dynamics and a very delicate mix to to share in the wonders of the Channel 4 in association with Seeso create intimacy but with scale.’ natural world in a way we never Chris Roope, War and Peace, BBC Nominees: have before.’ Cymru Wales in association with TWC James Bain, Howard Bargroff, Pete & Lookout Point for BBC One Gates and Steve Browell, Marcella, Buccaneer Media for ITV Production Design – Billy Quinn, Martin Jensen, Duncan Entertainment and Non Price and Alex Ellerington, Lifetime Drama River, Kudos for BBC One Achievement Antony Cartlidge, Murder in Successville Sound – David Odd Tiger Aspect for BBC Three Entertainment ‘Working to a low budget and Non Drama ‘Our recipient is a superb cin- and unforgiving schedule, Greg Gettens, James ematographer, who has worked the success of the produc- Evans and Gregor non-stop across many genres and tion design was … rigorous, Lyon, Charlie Hebdo: 3 in many styles. From early Prime ambitious and witty… Days That Shook Paris Suspects to Our Mutual Friend, with a knowing and Films of Record for More4 White Teeth, Great Expectations, impressive ‘The sound gave impact The Second Coming, The Line of flourish.’ and felt like great story- Beauty, Persuasion, Occupation, Nominees: telling. You were caught The Village, Complicity, Endgame, Patrick Doherty, in the moment and it Marvellous and plenty more. Strictly Come felt natural… the tran- ‘His way of working is free, intui- Dancing – sitions between the tive, helpful, instinctive. The idea is Series 13, BBC sources was seamless.’ that things should be done with as Studios for BBC Nominees: much simplicity as possible. Adrian One Matt Coster, Harry Hills, Shergold describes him as “a mag- Peter Gordon, Pete Howell and Ben ical maverick and the fastest, most Time Crash- Wood, Life in the Air, fabulous butterfly of all time”. ers, A Wall to BBC NHU for BBC One ‘Above all, film-making for him Wall Media and Tony Revell, Strictly has always been a joy, a privilege, a GroupM Enter- Come Dancing – shared endeavour, a celebration.’ tainment Produc- Series 13, BBC

tion for Channel 4 Murdered by My Father Studios for BBC One BBC

42 RTS NEWS Still Game after nine years away

cottish sitcom Still the West of Scotland lecturer Game returned in Paul Tucker – offered an October after a break insider’s view of the hit show. of almost a decade Fans had the opportunity S– winning a bumper 58% to ask Hines questions – and share of the Scottish TV audi- the chance to be crowned ence in its Friday-night slot. RTS Scotland’s Still Game RTS Scotland Chair James Wilson (left) It follows the antics of two expert and win tickets to the with Michael Hines

pensioners played by the live show, which returns to Photography Reich Paul show’s creators and writers, the Hydro next February. Greg Hemphill and Ford Hines explained that the One person thought that but I don’t think the format Kiernan. Michael Hines has popularity of the live show the main difference was in would work.” directed every episode of the reminded him of how its look. Hines agreed that, Returning to the live show, show since it first aired on warmly people felt about the while cameras had changed Hines said that few of the BBC One Scotland in 2002, series: “We knew that people over the past few years, it actors encountered problems including Still Game: Live, would want a new series, but was still the same show: “I moving from TV to theatre, which was performed in fans were worried that it had to trust myself [when] explaining that a lot of the front of 210,000 fans over a wasn’t going to be Still Game.” I pushed myself to make cast had started out in panto. 21-night, sell-out run in 2014 The director asked what Still Game relevant for today.” He continued: “We were at Glasgow’s SSE Hydro. the audience thought of the The director poured cold all overwhelmed by the At an RTS Scotland event new series of the show, water on the possibility, enormous scale of what we at the Hub in Glasgow in late which aired throughout the raised by a member of the were doing. You have to take November, Hines – who was UK and finished its BBC One audience, of a Still Game film: it moment by moment.” interviewed by University of run in early November. “I would love to do a movie Rebecca Robertson ONLINE at the RTS

went to meet natural history Now that he’s in the driving director of photography Robert seat, Reid tells us what we can Hollingworth for the latest Tea look forward to in the upcoming Break Tips video. Hollingworth, Top Gear series. (ww.rts.org.uk/ who has worked with David RoryReid). Attenborough on a number of projects, shared his advice on n Ed Gove also sat down with how to set up the perfect shot, researcher and rising comic and how it’s easy to get started Rosie Jones. She worked on with an iPhone or GoPro (ww.rts. Channel 4’s The Last Leg during org.uk/RobertHollingworth). the Rio Paralympics and has Adam (left) and Dan from First Dates

Paul Hampartsoumian Paul cerebral palsy. She explained n New Top Gear presenter Rory why she was proud to work on n If you’re a fan of Channel 4’s Game, Set and Match. Paddles Reid recently had a chat with the show – ‘For the first time First Dates, you may remember at the ready! (www.rts.org.uk/ our online journalist Ed Gove. it’s saying, “Yeah, we’re disabled. charming couple Adam and Dan, AdamandDan). Reid was so keen to get the So what?”’ – and why deliv- who got engaged last year after presenting job on the BBC Two ering your own jokes is much being matched on the show. We n With BBC One’s Planet Earth II show that he took to waiting more fun than watching Jimmy caught up with the pair at the showing the huge talent and outside Broadcasting House so Carr do it (www.rts.org.uk/ RTS Futures ‘First Dates: Uncov- patience of wildlife film-makers, that he could play his showreel RosieJones). ered’ event for a fun round of Holly Barrett and Toby Hood to then presenter Chris Evans. Pippa Shawley

Television www.rts.org.uk January 2017 43 RTS NEWS Starling flies off with NI awards

elfast indie Erica of his outstanding contribu- Starling Productions tion to local production. was the big winner The County Down-based on the night of the indie also won the Factual BRTS Northern Ireland Pro- Single Award for Patrick Kielty’s gramme Awards 2016, taking Mulholland Drive (BBC One). home two prizes. The Comedy and Enter- Find Me a Family, a BBC One tainment Award went to Northern Ireland series that Waddell Media’s The Commute, followed the lives of children a BBC One NI documentary through the care system, series looking at the journey scooped the Factual Award, to work. Kids in Crisis production team with Adrian Chiles (left)

while Kids in Crisis for Chan- The other winners on the Brian Morrison Photography nel 4’s Dispatches took the night were UTV Live at 6: EU Current Affairs award. Referendum Result (News Cov- mid-November. Coleraine- and we’re extremely heart- Hat Trick Productions’ The erage) and Sixteen South’s born actor Bronagh Waugh, ened to see the quality being Secret – a true-life ITV drama Lily’s Driftwood Bay for RTÉ who played Sally Ann Spector produced in Northern about double murderers Colin and Channel 5 (Children’s/ in BBC Two’s The Fall, pre- Ireland.” Howell and Hazel Buchanan, Animation). sented the International Pro- The RTS Northern Ireland starring James Nesbitt and Broadcaster Adrian Chiles duction award to BBC Sport Programme Awards 2016 were Genevieve O’Reilly – won hosted the ceremony, which for Sports Personality of the Year. sponsored by Performance the Drama prize. attracted some 200 people Northern Ireland Chair and Film and Media Insurance, The Judges’ Award went to from across the creative Head of BBC Northern Ireland and supported by BBC Green Inc Film and Televi- industries to the Metropoli- Productions Steve Carson Northern Ireland, Northern sion Managing Director Ste- tan Arts Centre during the said: “This year’s awards have Ireland Screen and Channel 4. phen Stewart in recognition Belfast Media Festival in been an outstanding success Matthew Bell BBC promises ‘landmark’ Troubles projects

n BBC Northern Ireland Direc- interests and new audience The annual lecture – the tor Peter Johnston pledged to needs is tougher than ever. first was presented in March ‘mark the 50th anniversary ‘We must find and 1997 – is given in memory of the start of the Troubles nurture the new talent, but I of Dan Gilbert who had a through some landmark and believe we can rise to these long career in Northern Irish definitive projects’ before the challenges if we work together broadcasting with the BBC, BBC’s 100th birthday in 2022. and continue to think bigger, including a stint as editor of Projects would include ‘the but with strong local roots.’ Radio Current Affairs. full release of our digitised RTS Northern Ireland Chair Gilbert was highly regarded news archive to help all in Steve Carson said: ‘We were for the training and mentoring understanding the past’ and delighted that Peter accepted he offered to many leading ‘capturing the true stories our invitation to give this figures in the industry, including of that period of our history, year’s lecture and he delivered TV presenter Gloria Hunniford. including the experiences of a fascinating overview of the Previous lecturers include Peter Johnston

victims and survivors’. Mulligan Paul broadcasting landscape in broadcaster and writer Frank Johnston was giving the Northern Ireland as we head Delaney, former member of Dan Gilbert Memorial Lecture, in this new Charter period,’ he towards the BBC’s centenary.’ The Undertones and head of organised by RTS Northern said, but warned of dangers The event was held at the UK Music Feargal Sharkey, and Ireland, at the Belfast Media ahead. ‘We miss a step in Metropolitan Arts Centre, BBC executives Helen Boaden Festival in November. ‘This is technology at our peril, [and] which also hosted the Northern and Bob Shennan. a time of opportunity for us keeping in tune with audience Ireland Programme Awards. Matthew Bell

44 London Centre event in early November cele- brated the 80th Abirthday of the BBC Televi- sion Service with a presentation by Norman Green featuring some of the corporation’s earliest broadcasts. The BBC officially launched the service from Alexandra Palace on 2 November 1936 – although this was not the first broadcast from its new base, as Green revealed: a test transmission had been put out in August at RadiOlympia, an annual exhibition put on by the Radio Manufacturers’ Association.. One of the first program Farmers at Ally Pally

mes broadcast was Television BBC Comes to London, a look at how Alexandra Palace – “a playground of northeast London [and] relic of Victorian Eng- The early days of BBC TV land,” according to the film – was rebuilt and fitted out as a broadcasting centre. magazine and variety shows event – its first major out- Court and motor racing from At the London Centre were not the public’s favour- side broadcast – as the film, Crystal Palace all followed. event Green showed the film, ites, Green revealed: “An audi- Televising the Coronation Pro- Famously, the BBC covered which also included music ence appreciation [survey] in cession, shown at the RTS Prime Minister Neville specially composed for the the 1930s [showed that] the London event, demonstrated. Chamberlain’s return to occasion and sung by the most popular programming Later, armed with the new Heston Aerodrome from well-known radio and musi- was outside broadcasts.” Super Emitron cameras, meeting Hitler at the Munich cal theatre star Adele Dixon. Initially, the BBC was only which had a more sensitive Conference in September It included the lines: “There’s able to televise within about camera tube and gave better 1938 – when he claimed to joy in store, the world is at 150 metres of the studio picture quality, the BBC have delivered “peace for your door – it’s here for control room. “So, what the continued to go out and our time”. everyone to view. Conjured BBC did was to take the cam- about filming. “It was Green suggested that this up in sound and sight by the eras out into the grounds of 10 times more sensitive than was, arguably, “the first magic rays of light that bring Alexandra Palace,” said the original Emitron and example of electronic television to you.” Green. Early programmes it gave the BBC the news gathering”. But Green, the first head of featured gardening, horse ability to televise “then came the Second technology at ITV Network, racing and a programme on things in all weath- World War and [all who also founded the RTS farmers who brought their ers,” said Green. the equipment] London Centre, showed the animals with them – all The camera was was packed up”. audience a clip from the filmed at Ally Pally. used for the Matthew Bell magazine show Picture Page. The BBC rapidly increased first time in The London event, This featured a bewildering its broadcasting capacity, November “The dawn of broad- array of performers and char- with EMI building an outside 1937 to film the cast TV”, was held at acters – or “visitors, types broadcast unit to cover the Lord Mayor’s ITV London Studios and personalities” as the coronation of George VI in Show. Sporting on 9 November. Alexandra Palace show’s announcer referred to May 1937. This consisted of events such as Thanks to Sarah them – including folk danc- three vehicles: a mobile Wimbledon, Hayes, director of ers, pearly kings and queens control room, a transmitter the Derby, BBC Archives and and Chelsea pensioners. van and a generator vehicle. boxing Simon Rooks and Picture Page ran until 1952 Using Emitron cameras from Sean Whyton, also – with a break for the Second and sending the shots back Earl’s from BBC Archives, World War, when the BBC to Alexandra Palace via 12km for their help in suspended its TV service. of cable, the corporation sourcing the But studio-based successfully covered the archive material.

Television www.rts.org.uk January 2017 45 RTS NEWS

He said that TV became What Made dull when producers tried to find out what audiences in Cardiff wanted rather than offering something new and arresting. stands for “Take risks and share enthusiasms!” Lloyd told his youthful audience, most of n Former whom were not around for stand-up the original broadcasts of comedian classic comedy shows Spitting Daniel Glyn is Image, Not the Nine O’Clock John Lloyd an enthusiastic News and Blackadder, all of ambassador which he produced. Glyn for his TV Lloyd stressed that comedy channel, which came from characters who he describes as, “local TV, but Comedy legend is viewers loved, rather than with loftier ambitions”. situations, and that good Launched in October 2014, producers were script editors Made in Cardiff is part of the ‘quite interesting’ with power. He added that Made Television group, there was no room for big which also has stations in egos: “Leave that to the talent.” Tyne and Wear, Leeds, Bristol, f Mastermind met Have I Lloyd was appearing at a The session ended with Liverpool and Birmingham, Got News for You, is how Southern Centre event held a screening of the “over the broadcasting on Freeview, John Lloyd first sold the at Southampton Solent top” scene from the final Virgin and Sky. idea of QI to perplexed University in early Blackadder programme, In December, a group of IBBC bosses 14 years ago. December. Interviewed by pulled from potential disaster RTS members were shown It was based on his lecturer Tony Moon, he by a team who, said Lloyd, around the station’s compact, conviction that everything emphasised the need for TV “worked beyond the call of city-centre TV studio and in the world could be made practitioners to know what duty” to produce what has gallery. interesting if approached they liked and then be honest become an iconic piece of TV. Glyn took over as manager from the right angle. in setting out to achieve it. Gordon Cooper in January 2016 and has tweaked the channel’s output to include “raw stand-up comedy”, as well as locally produced news, arts, Irish actor turns his hand to Hitler music, entertainment and current-affairs programmes, n Irish audiences fondly covering both the city remember Joe Taylor’s council and the National recreations of sensational Assembly for Wales in episodes in Ireland’s recent Cardiff Bay. There is also a history. They provided an catch-up TV service, with eyewitness account for a archive content online. nation gripped by political Recently registered with corruption scandals, while audience measurement also showcasing his own service Barb, Made in Cardiff talent as an actor. has a monthly reach of more In the 1980s and 1990s on than 400,000, which Glyn RTÉ Radio One, the words of Joe Taylor claims, “shows that we’re the likes of Taoiseach Charles connecting with viewers in Haughey, whistleblower Tom the city”. He said: “We’re not Gilmartin and journalist The actor and writer went Timur Vermes. Its premise is afraid to experiment,” Frank Dunlop were relayed on to appear in the much- that Adolf Hitler is discovered revealing that, “we’ve hired to the nation by Taylor. loved sitcom Father Ted and in modern Berlin by TV an outside broadcast [unit] to Although the media devoted the film Veronica Guerin. producers who believe he is a cover live events such as hours of airtime and acres Taylor’s presentation to the talented Hitler impersonator. [our] Cardiff Lifestyle of newsprint to the tribunals Republic of Ireland Centre in The RTS audience at RTÉ Awards. We’ve also broadcast investigating corruption, it was early December, “Small Television Centre, Dublin, live using just a smartphone Taylor who gave the evidence voice: talks loud”, offered his were spellbound by Taylor’s with a wi-fi connection.” a recognisable and easily take on the German satirical performance. Hywel Wiliam digested voice. novel Look Who’s Back by Charles Byrne

46 Red triumphs in the North West

BC One’s hard-hitting went to CBeebies’ Twirlywoos: police drama Happy Twirling (Mackinnon and Valley took three Saunders/Ragdoll Produc- prizes – including tions) in the Pre-school cat- BBest Performances in a Sin- egory and the CBBC gle Drama or Drama Series Production Hiroshima: A News- for Kevin Doyle and Sarah round Special (School Age). Lancashire – at the RTS Danger Mouse (CBBC Pro- North West Awards 2016. duction/FremantleMedia) The series, which was took the Best Animation produced by Manchester- Award. based Red Production Com- Kids’ shows also won in pany, also picked up the Best the Best Factual Entertain- Production (Craft) Award. ment category (CBBC Pro- More than 450 guests duction The Dengineers), and Sarah Lancashire won with Happy Valley

attended the ceremony at Entertainment (CBeebies Farrington Andrew the Hilton Deansgate in Production Swashbuckle). November, which was hosted In news and current affairs, Hillsborough Inquests and Best Hands (Best Factual Series, by comedian Les Dennis. Andy Bonner was named Best Regional Story for Hillsborough Films of Record/GroupM “TV production is one of Regional News Journalist, Compilation. Tonight: Meeting My Entertainment for Channel 5) the North West’s big employ- one of three awards taken by Enemy (ITV Studios for ITV) and Life Begins Now (Best ers and global export indus- ITV News’s Granada Reports. won the Current Affairs prize. Single Documentary, tries. There were some It also won Best Regional Other winners included Platform Productions for brilliant winners, some witty News Programme for The Kid’s Hospital: Your Child in Their BBC Three). speeches and some people who got a bit carried away on stage. We would not want ITV crime drama Cracker, it any other way,” said RTS starring Robbie Coltrane. North West Chair and Shine Other winners included: North MD Alex Connock. Channel 4 soap Brookside; BBC One’s Reg, produced BBC mock chat-show The by Liverpool-based LA Pro- Mrs Merton Show; Kay ductions, took home two Mellor’s ITV drama about awards: Best Single Drama or prostitutes in Bradford, Band Drama Series and Best Script of Gold; Coltrane; and Sarah Writer for Jimmy McGovern Lancashire, for her role in and Robert Pugh. Coronation Street. Both McGovern and Lan- Andrea Wonfor, who died cashire won awards at the in 2004, gave the keynote first RTS North West Awards speech. Wonfor was Chair of Band of Gold

two decades ago (see box). ITV the RTS – the first woman to Coronation Street’s Tina hold that role in the Society’s O’Brien picked up the award history – and Joint Managing for Best Performance in a Two decades of riches Director of Granada. BBC Continuing Drama. Radio 4’s Jenni Murray pre- In the comedy categories, n The RTS North West well represented in many sented the awards. Alison Steadman received Awards were launched of the awards categories,’ The ceremony was recorded the Best Actor Award for her 20 years ago, with the first reported Television. by Mersey Television (now role in BBC One’s Broken ceremony held on 9 Novem- The Judges’ Award went Lime Pictures) – the Brookside Biscuits (Jellylegs Productions), ber 1996 in the Banqueting to Jimmy McGovern, who producer set up by writer Phil while BBC Two’s Boy Meets Hall of Manchester Town Hall. had penned the script for ITV Redmond – and highlights Girl (Tiger Aspect) was named ‘Mersey Television, the BBC docudrama Hillsborough and, broadcast by Granada. Best Comedy Programme. and Granada Television were a few years earlier, created Matthew Bell The children’s awards

Television www.rts.org.uk January 2017 47 RTS NEWS Southern advice for young hacks

atch the eve- the same techniques applied ning TV news across a range of platforms, even though even for bite-size news on that’s not your smaller screens. ‘Wusual practice,” was the Eighteen experts from the ITV Meridian’s Ruje Yasmin Sky Sports’ Laurie Tucker advice given to more than BBC, ITV, Sky, Olympic 150 journalism students who Broadcasting, local TV and attended Southern’s “Work- press, including a range of were all mentioned as essen- confident and proactive. ing in journalism” event at freelancers, were on hand to tial requirements. The new journalists also said Southampton Solent Univer- reflect on changing industry Among the visiting profes- that they had learned the sity in late November. practices, as well as outlining sionals were those who had importance of honing social The comment came from the unchanging skills qualified in the summer and skills and being well organ- Sky’s assistant editor (mobile), required for TV journalism. were in their first jobs. ised. “Great,” said one student. Peter Diapre, who said that Basic curiosity, good writ- They stressed the need to “I feel ready to go and do bulletins were good at visual ing, stimulating stories and land work placements and, it now!” storytelling. He added that a strong visual imagination when on a placement, to be Gordon Cooper

RTS East is up London hails women comics and running gender – what was important was whether it was funny n A brand new RTS for the or not. East has been launched in Schuster’s advice to Norwich, with a great show women who wanted to make of support from the region’s their way in comedy was to creative media industries. get up and do it: ‘Write and More than 80 people gath- practise so you learn your ered at the Forum in late craft and grow as a performer. November, at the AniMotion ‘How we as broadcasters exhibition, which celebrates grow new talent is also cru- the UK’s most imaginative cial – it’s all about nurturing Chewing Gum

animation techniques, to find Channel 4 and supporting contributors,’ out more about the RTS. she said. “It is so good to have the n ‘Women aren’t funny,’ a Women Stage Award and Parker said there were more RTS East active again, and it male head of comedy once she entertained the audience women being funny on TV felt like there is the will and told one of the panellists at with songs about Matisse and now in successful comedies energy to achieve something London Centre’s ‘Women in Pablo Picasso. such as E4’s Chewing Gum in celebrating, recognising comedy’ event – but things ITV commissioning editor and Sky Arts’ Psychobitches. and developing the talent in have changed for the better. for comedy Saskia Schuster ‘It’s important for estab- this region,” said one attendee. Lynne Parker was the pan- and BBC Comedy head lished producers to encour- The new centre screened a ellist, and the attitude repre- of production Sophie Taitt age new people,’ said Taitt. film showcasing the best of sented by that quote was one completed the panel for the ‘We do some shadowing, the East’s media industry, of the things that inspired her November event at ITV Studios. bringing people on – there along with a film about the to found the Funny Women Even when alternative can’t be a “pull up the ladder RTS and highlights from Awards in 2003. Seventy stand-up comedy first found after you” attitude.’ Norwich University of the women entered in the first an audience it was something Parker added: ‘If you can Arts’ 2016 degree show. year; this year there were of a boys’ club, but that has cut through the noise, the The centre also launched more than 500 entries. changed, argued the panel- commissioners will look at its RTS East Awards, which Musical comedian Harriet lists. They agreed that com- what you do.’ will be held in March 2017. Braine won the 2016 Funny edy shouldn’t be defined by Nick Radlo Nikki O'Donnell

48 t a packed RTS event on the future Haynes gives of the media in Mixed messages Wales, Bethan Jen- a directing Akins AM said that, “although broadcasting is not devolved, masterclass it’s an area of great impor- on Welsh media tance to public life in Wales”. The Welsh Assembly’s n Devon and Cornwall wel- Culture, Welsh Language and comed students to its annual Communications Committee “Breaking into media” event has already taken evidence in mid-November, which from broadcasters, and Jen- featured a fascinating insight kins, who chairs the com- from Toby Haynes into the mittee, said she was keen to art of directing for television. hear the public’s views. The forum at the Theatre Dr Ruth McElroy from the Royal Plymouth’s rehearsal University of South Wales, venue, TR2, also offered which hosted the November students advice from a panel event, welcomed the com- of experienced media indus- mittee’s creation but said the try professionals. debate was long overdue. She Haynes – who got his also stressed the need to look break on Channel 4 youth beyond the narrow “echo From left: Marshall, RTS soap Hollyoaks – charted his Wales Chair Tim Hartley, chamber” of social media. own journey from his student Jenkins, McElroy and Shipton Western Mail chief reporter film,Nam , to directing big- Martin Shipton, speaking in budget TV dramas. a personal capacity, argued – a lot of Trinity Mirror’s easily consumed, informative, The director has worked that public subsidy would digital ad revenue goes short-form video content on BBC One dramas Jonathan have to be forthcoming straight to Facebook.” delivered through a range of Strange & Mr Norrell and Doctor to sustain Wales’ limited Digital producer Huw platforms,” he said. Who, as well as the audacious English-language press. Marshall gave a more upbeat “As a bilingual nation,” he finale to the second series of He argued that serious assessment, announcing the added, “Wales is the ideal Sherlock, The Reichenbach Fall. journalism was being side- launch of Y Newyddion, a new test bed for developing He likened the role of lined: “The current revenue bilingual online news service. global, multilingual services.” director to one of “catching models aren’t working either “Audiences are looking for Hywel Wiliam the smoke”, and talked the students through the meth- ods he uses to visualise scripts, generate ideas and illustrate them to the crew. Thames Valley focuses on GoPro Haynes also discussed the “little things” that have helped n Russell O’Neill captivated triggers recording, and a along the way, including the the audience at RTS Thames wrist strap provides remote hungry agent who helped him Valley’s November event in operation in noisy environ- secure his first directing job Reading with a compelling ments. A variety of innova- – and the mantras he uses in talk on GoPro’s new Hero5 tive clamps, mounts and interviews. family of small cameras. tripods add to the flexibility The “Getting in and getting GoPro is trying to meet the of the camera. on” panel included Twofour’s creative needs of programme- The GoPro sales manager Rick Horne, BBC journalist makers by simplifying its demonstrated his company’s Jenny Kumah and Phillippa cameras and accessories. new image-stabilising tech- Giles, the founder of Bandit Single-button operation nology, with a video showing Television. enables recording in two two cameras mounted side Persistence was key in a seconds and an improved by side on the handlebars of fast-moving industry envi- Russell O’Neill case design waterproofs the a mountain bike – one with ronment, said Silverstream camera to a depth of stabilisation, one without. TV’s Simon Walton, who 10 metres, even without with straight horizons and, With the bike careering observed that the jobs that additional housing. close-up, faces without down a treacherous path, the students would end up doing Built-in processing smooths exaggerated noses. steadiness of the stabilised “might not even have been out fish-eye distortion, Voice activation, using image was convincing. invented yet”. resulting in landscape shots simple spoken commands, Tony Orme Edwin Miles

Television www.rts.org.uk January 2017 49 OFF M E SSAGE

lastair Stewart has As regular attenders of RTS events stunning trailer for the Rio Paralym- written a brilliant know to their benefit, Martin, previ- pics, We’re the Super Humans. review of the year ously part of Channel 4’s corporate Without so much as batting an in this edition of team, is also a regular producer of eyelid, he asked if there was anyone Television. So Off Society debates. The good news is in the audience who supported pri- Message won’t that he will still be helping the RTS. vatising Channel 4. even try to com- Not a single hand was raised. You ment on That Was The Year That Was. ■ Politically, 2016 was not the best can guess the rest. ABut, as we contemplate the months of times for Channel 4. Some had ahead, the many uncertainties sur- hoped that, with John Whittingdale’s ■ With the brilliantly filthy Fleabag rounding Brexit and leaving the EU dismissal to the backbenches, Chan- widely tipped to be one of the big could affect our creative industries. nel 4’s present state-owned status winners of 2017’s TV awards season, And then there is the imminent would be confirmed. you’d hope that, by now, sitcom arrival of President Trump. Well, win- Not so. More alarming still, perhaps, writing was no longer dominated by ning against Hillary has paid off in was the DCMS’s apparent determina- pale males. unexpected ways for the first reality- tion to block a black woman, Althea Not so, apparently. According to TV star to make it to the Oval Office. Efunshile, from joining the broad- research by talent agent Hollie Ebdon And not just for the producers of caster’s board. – who specialises in comedy – just Have I Got News For You. As Ofcom’s formidable Chair, Patri- 15% of the BBC’s recent comedy In case you didn’t know, Donald J cia Hodgson, gave Efunshile her bless- pilots were written by women. Trump is to retain his executive pro- ing, there can be little doubt about Thanks to the likes of Victoria ducer credit when the 15th season of Efunshile’s suitability for the job. Wood, Dawn French and Jennifer The New Celebrity Apprentice kicks off in Hopefully, a U-turn by Karen Brad- Saunders, Catherine Tate and the the US next year. ley will have taken place by the time brilliant Jo Brand, we’ve never been What’s the betting that Trump will you read this. short of female comic writing talent. make a guest appearance alongside Incidentally, if the DCMS can get Phoebe Waller-Bridge has set the new presenter Arnie Schwarzenegger? itself in such a mess over what should bar high. But she can’t be the only Or maybe he’ll just stay in contact have been a straightforward piece of funny thirtysomething female out with The Apprentice via his red-hot headhunting, the chances of finding a there keen to get onto TV. Twitter feed. credible and willing new chair for the BBC look frighteningly slender. ■ To end the year on a high note, ■ Let’s hear it for Martin Stott, Chan- let’s celebrate the extraordinary nel 5’s long-serving corporate-affairs ■ Talking of a potential Channel 4 work of the BBC’s Natural History guru, who stood down this month. sell-off, it was interesting to see Unit and the forever-young David Remarkably, he first worked at the wholehearted support for keeping Attenborough for the TV treat that broadcaster when it was part of the the broadcaster in public ownership has been Planet Earth II. RTL empire – in other words, before visible at the recent RTS Craft & We know that it takes something Richard Desmond’s takeover. Martin Design Awards. like four years to film a single episode, must be congratulated for toiling Dan Brooke, Channel 4’s marketing but is it too much to hope for a third successfully for three very different chief, took the stage to accept a instalment of what was the autumn owners of the station. much-deserved award for his team’s season’s pride of British TV?

50 January 2017 www.rts.org.uk Television RTS PATRONS RTS Principal BBC Channel 4 ITV Sky Patrons

RTS A+E Networks The Walt Disney Company International Discovery Networks Turner Broadcasting System Inc Patrons EndemolShine Viacom International Media Networks Liberty Global YouTube NBCUniversal International

RTS Accenture Enders Analysis IMG Studios S4C Major Amazon Video FremantleMedia ITN Sargent-Disc Patrons Audio Network FTI Consulting KPMG STV Group BT Fujitsu Kantar Media UKTV Channel 5 Huawei Kudos Virgin Media Deloitte IBM McKinsey and Co YouView Pinewood Studios

RTS Alvarez & Marsal LLP ITV Granada ITV West Quantel Patrons Autocue ITV London ITV Yorkshire Raidió Teilifís Éireann Blackmagic Design ITV Meridian Lumina Search UTV Television Digital Television Group ITV Tyne Tees PricewaterhouseCoopers Vinten Broadcast ITV Anglia ITV Wales

Who’s who Patron President CENTRES COUNCIL History at the RTS HRH The Prince of Wales TBA Lynn Barlow Don McLean Charles Byrne Vice-Presidents Chair of RTS Trustees Steve Carson IBC Conference Liaison David Abraham Tom Mockridge Dan Cherowbrier Terry Marsh Dawn Airey Isabel Clarke Sir David Attenborough OM Honorary Secretary Alex Connock RTS Legends CH CVO CBE FRS David Lowen Gordon Cooper TBC Baroness Floella Tim Hartley Benjamin OBE Honorary Treasurer Kingsley Marshall RTS Technology Bursaries Dame Colette Bowe OBE Mike Green Nikki O’Donnell Simon Pitts Lord Bragg of Wigton Fiona Thompson John Cresswell BOARD OF TRUSTEES Graeme Thompson AWARDS COMMITTEE Adam Crozier Lynn Barlow Penny Westlake CHAIRS Mike Darcey Tim Davie James Wilson Awards & Fellowship Greg Dyke Mike Green Policy Lord Hall of Birkenhead David Lowen SPECIALIST GROUP David Lowen Lorraine Heggessey Graham McWilliam CHAIRS Ashley Highfield Tom Mockridge Archives Craft & Design Awards Armando Iannucci OBE Simon Pitts Steve Bryant Cheryl Taylor Ian Jones Jane Turton Baroness Lawrence of Rob Woodward Diversity Television Journalism Clarendon OBE Marcus Ryder Awards Rt Hon Baroness Jowell EXECUTIVE Stewart Purvis CBE of Brixton DBE PC Chief Executive Early Evening Events David Lynn Theresa Wise Dan Brooke Programme Awards Sir Trevor McDonald OBE Alex Mahon Ken MacQuarrie Education Gavin Patterson Graeme Thompson Student Television Trevor Phillips OBE Awards Stewart Purvis CBE RTS Futures Phil Edgar-Jones Sir Howard Stringer Donna Taberer

Television www.rts.org.uk January 201751 51 Average UK broadband speeds have doubled in the last three years.1

Everyone cares about their internet speed. It’s critical to how we work, rest and play.

The good news is that internet speeds in the UK have been getting much faster. Average download speeds here are faster than in France, Germany, Italy and Spain.2

Job done? Not a bit of it. We plan to take Britain from superfast to ultrafast – with up to 12 million homes and businesses benefiting by the end of 2020.

At BT, we’re proud to have played our part. And we will continue to invest in Britain’s digital future.

Find out more at www.btplc.com/ukdigitalfuture

Investing in Britain’s digital future.

1 Ofcom data 2Server data from Akamai indicates average download speeds are faster than Germany, France, Italy and Spain