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April 2019

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NEMINUTTY (POP P - - UK) NEMI (POPNEMI -- UK)POP Journal of The Royal Society April 2019 l Volume 56/4

From the CEO It’s been an especially to all the jurors for their hard work. story of mobile media technology. stimulating few weeks was fortunate to attend the Also inside, Anne Dawson, the Soci- at the Society. The Creative Cities Convention, where ety’s bursaries administrator, provides glamorous RTS RTS Wales curated a terrific session in a revealing portrait of the experience Programme­ Awards which Kirsty Wark interviewed ITV of being a mentor and mentee. This is ceremony was an Studios’ Julian Bellamy. He delivered a an inspirational read. amazing occasion. resounding message about how much Last, but not least, I’d like thank the We had star power in abundance and creativity we are blessed with in our indefatigable Charles Byrne for his 29 well-deserved winners (full details nations and regions. achievements over two decades as are in this issue). I am delighted that we have in this Chair of RTS Republic of Ireland. There are so many people to thank issue both a report from the conven- Sadly, Charles is standing down. The for delivering this fantastic evening, tion and an interview with BBC direc- good news is that he will still be starting with our brilliant host, Shappi tor of news Fran Unsworth, who is a involved in the Society’s activities. Khorsandi. I’m very grateful for the truly remarkable leader. contribution on the night of the one Our cover story is Kate Bulkley’s and only David Liddiment. perceptive piece on the potential that Thanks also go to Wayne Garvie, 5G offers the television sector. This is Chair of the Programme Awards, and a fascinating aspect of the unfolding Theresa Wise Contents Gary Gibbon’s TV Diary Everyone gains from a helping hand Gary Gibbon discovers that rational argument and good Anne Dawson talks to three RTS bursary students and 7 manners still exist at a Westminster mired in Brexit 22 their media guides about the mutual benefits of mentoring ‘5G will change TV for ever’ Our Friend in Scotland From revolutionising the transmission of live events to Steven Ladurantaye finds at least some things are 8 consuming content on the move, 5G represents a step 26 common to work in his native Toronto and his new job change in TV, predicts Kate Bulkley in News takes centre stage Masterclass in creativity Tara Conlan meets the unflappable director of BBC News, If you want to write and sell a successful comedy, there 11 Fran Unsworth, as she prepares for further challenges 27 are no shortcuts, reports Steve Clarke History on a human scale Black to the future Caroline Frost learns how the creator of ’s Matthew Bell learns how ITV2’s award-winning 14 set out to tell the disaster’s story from the 30 Timewasters blends jokes, jazz and time travel to tackle perspective of the people caught in it big themes such as racism Make TV sustainable Act local, think global Stephanie Farmer takes notes as calls on Huge global commercial opportunities exist for TV talent 17 TV producers to change their ways and follow Albert 32 outside , Julian Bellamy tells the Creative Cities Convention in Cardiff. Huw Rossiter reports BBC and ITV join the fray As the competition grows more intense, Gideon Spanier RTS Programme Awards 2019 18 assesses the prospects for newcomer BritBox Hosted by Shappi Khorsandi, the awards were presented 34 on 19 March at the Grosvenor House Hotel, London, Comedy of the dispossessed in partnership with Audio Network. The winners and Actor debuts as a TV writer, with BBC Two’s nominees over eight pages 20 Don’t Forget the Driver. He tells Ben Dowell what it was like to co-write and star in his own show Cover: Citi GPS

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

Television www.rts.org.uk April 2019 3 Apply for the 2019 Shiers Trust Award The Trust can make a grant of up to £4,000 towards publishing work on any aspect of TV history

Grants will be given to assist in the ­completion of new or unfinished projects, work or literature specific to the objectives of the Trust. DEADLINE EXTENDED ‘Literature’ is defined as including audio-visual media such as DVDs TO 31 AUGUST 2019 and websites. It is essential that applicants read all the conditions and criteria, which can be found online at the address below.

George Shiers, a distinguished US television historian, was a Do you need long-­standing member of the RTS. The Shiers Trust grant is now in its 19th year. Application procedure £4,000 Applications are now invited and should be submitted to the Trus- tees by Friday 31 August 2019 on for a history of the officialapplication ­ form. www.rts.org.uk/ ­television project? shiers-trust-award

8 Your guide to upcoming events. Book online at RTS NEWS www.rts.org.uk

RTS CONFERENCE Friday 29 November Venue: The Old Fruitmarket, National events 18-20 September RTS Midlands Awards 2019 Candleriggs, Glasgow G1 1NQ RTS Cambridge Venue: TBC ■ April Chamberlain RTS SCREENING Convention 2019 ■ Jayne Greene 07792 776585 ■ [email protected] Thursday 25 April Venue: King’s College CB2 1ST ■ [email protected] screening and Q&A SOUTHERN See ’s Our Planet, followed STEVE HEWLETT MEMORIAL NORTH EAST AND THE BORDER April, date TBC by a Q&A. Organised jointly by LECTURE 2019 ■ Jill Graham Meet the Professionals the RTS and Wild­screen. Speak- Tuesday 24 September ■ [email protected] Venue: Bournemouth University, ers: Sophie Lanfear, producer; Speaker Mark Thompson precise venue TBC Jamie McPher­son, camera oper- Venue: University of Westminster, NORTH WEST ■ Stephanie Farmer ator; , series pro- London W1W 7BY Thursday 25 April ■ [email protected] ducer; and Olly Scholey, assistant A celebration and screening producer. 6:30pm for 6:45pm RTS MASTERCLASSES of 63 Up THAMES VALLEY Venue: The Auditorium, Tuesday 5 November and The Up series began in 1964 ■ Tony Orme 30 Euston Square, London Wednesday 6 November at Granada TV and is made in ■ [email protected] NW1 2FB RTS Student Masterclasses MediaCity by Shiver. Speakers: Venue: IET, 2 Savoy Place, director , execu- WALES RTS EARLY EVENING EVENT London WC2R 0BL tive producer Claire Lewis and ■ Hywel Wiliam 07980 007841 Tuesday 14 May key contributor Tony Walker. ■ [email protected] Promoting well-being and Hosted by . mental health in the TV industry Local events 6:30pm WEST OF During Mental Health Week, this Venue: Compass Room, Lowry Thursday 2 May event will focus on the free- AND Theatre, Quays M50 3AZ Our Planet – creating a social lance-centric TV workforce. ■ Jane Hudson Monday 29 April media campaign Chair: Caroline Frost, entertain- ■ RTSDevonandCornwall@rts. Dorothy Byrne: the future of Masterclass on the social media ment editor, HuffPost UK. Speak- org.uk investigative news journalism campaign around Netflix’s Our ers: Richard Bentley, creative Dorothy Byrne is head of news Planet series. Speakers: Jon Clay, director, Postcard Productions; EAST and current affairs, . director and producer, Silver- Julia Lamb, media engagement Sunday 28 April 6:30pm-9:30pm back Films; Dan Huertas, direc- and awards manager, Mind; Alex Winterlong screening and Q&A Venue: DPL at Salford University, tor and producer, Silverback Pumfrey, CEO, The Film and TV Q&A with writer/director David MediaCity UK, Orange Tower, Films; Amy Anderson, director Charity; and additional speaker Jackson in conversation with M50 2HE and producer, WWF; Host: Lynn TBC. 6:30pm for 6:45pm Fiona Ryder. Screening at 7:30pm ■ Rachel Pinkney 07966 230639 Barlow, Chair, RTS West of Eng- Venue: TBC Venue: Arts Picturehouse, ■ [email protected] land. 6:30pm 38-39 St Andrew’s Street, Venue: Cinema 3, Watershed, RTS FUTURES Cambridge CB2 3AR Canon’s Road, BS1 5TX Wednesday 15 May ■ Nikki O’Donnell ■ John Mitchell Tuesday 14 May Investigative journalism ■ nikki.odonnell@.co.uk ■ mitch.mvbroadcast@ Copyright in productions 6:45pm for 7:00pm btinternet.com Workshop with Abbas Media Venue: RocketSpace, 40 Isling­ Law, hosted by Nigel Abbas. ton High Street, London N1 8EQ ■ Michael Wilson REPUBLIC OF IRELAND Tickets: £30+VAT for Bristol ■ [email protected] ■ Charles Byrne (353) 87251 3092 Media, RTS and Square Club RTS AGM ■ [email protected] members. 3:30pm-5:30pm Tuesday 25 June LONDON Venue: The Square Club, 15 Ber­ All RTS members welcome. 6pm Wednesday 5 June SCOTLAND keley Square, Bristol BS8 1HB Venue: RTS, 7th floor, Dorset Rise, Summer quiz 2019 Wednesday 24 April ■ Belinda Biggam London EC4Y 8EN Hosted by Harriet Brain. Build ­Student Television Awards 2019 ■ [email protected] a team of up to eight people. The awards are supported by RTS AWARDS 6:30pm for 7:00pm STV, which will film the awards Friday 28 June Venue: TBC ceremony and show the event Friday 14 June RTS Student Television ■ Daniel Cherowbrier and the winning films on its RTS Yorkshire Centre Awards Awards 2019 ■ [email protected] digital platform. 6:00pm Ceremony: 7:00pm Sponsored by Motion Venue: Argyle Street Arches, Venue: The Queens Hotel, City Content Group MIDLANDS 253 Argyle Street, Glasgow G2 8DL Square, LS1 1PJ Venue: BFI Southbank, Belvedere Monday 7 October Wednesday 12 June ■ Lisa Holdsworth 07790 145280 Road, London SE1 8XT RTS Midlands Careers Fair RTS Scotland Television ■ lisa@allonewordproductions. Venue: TBC Awards 2019 co.uk

Television www.rts.org.uk April 2019 5 RTS YOUNG TECHNOLOGIST 2019

SPONSORED BY

Nominations now open

Applicants for the RTS Young Technologist Award can be from any sector of the TV and related industries

The judges will be looking for an application that demonstrates how: l The applicant has already made an impact in this field l The receipt of the award would enhance the applicant’s understanding of the ever-changing role of technology in television and related fields l The applicant proposes to share this enhanced understanding with others, both within the RTS and beyond

The prize is a full conference place at IBC, together with costs of travel to IBC and accommodation for the duration of the conference

Application forms and judging criteria are at: rts.org.uk/award/rts-young-technologist-2019

Deadline: Completed forms must be returned to Jo Sampson ([email protected]) by 5pm on 13 May 2019

Finalists will be interviewed on the afternoon of 3 July 2019 TV diary

Gary Gibbon discovers that rational argument and good manners still exist at Westminster, despite the Brexit car crash

arliament is “a sick green to improve our chances of ■ Is it the online revolution that is house” right now. getting MPs as live guests. The dem- driving us into a more brittle polit- That’s not a com- onstrators watch output live on their ical discourse and entrenched posi- ment on the politics mobiles, so they know when to raise tions? One spin-off of the digital of the place but a the volume. zeitgeist, for me, is that I get to record diagnosis by Philippa It’s so loud now that we are all a weekly podcast to chew on ques- Whitford MP, the wearing those microphones that look tions like that (Politics: Where Next?). Commons’ most senior medical figure. like you’ve got a giant wart on the side This week, it meant that I sat down TheP SNP politician has a long career as of your face. with two experts in the field. Jamie a cancer surgeon behind her, and MPs The “ mikes” block out a Susskind, author of Future Politics, aware of her medical background lot of the background noise, which worries that every element of our have been bending her ear to tell her probably makes those who are live politics is going to be challenged by of their anxiety issues. presenting or commentating look advances in technology. Whitford says sleepless nights and even more ridiculous­ as we lean in Giuliano da Empoli has written The persistent stress are rampant and she’s and strain to hear each other or hold Engineers of Chaos, about the populist had MPs telling her of their inability to on to our line of thought. Svengalis who have masterminded the process information as a result. new technologies and pressed them to And there’s little sign of things ■ As I was walking past one demon- the causes of Trump, the Italian Five lightening up any time soon. Sir Keir strator in front of Parliament, Star Movement and many others. Starmer told me he was about to recently, he shouted some abuse Might anti-populists, I asked, one drive his family to the airport for at me. The bit I caught and which day press these amazing new tech- what was meant to be a holiday for is repeatable was something about nologies to different causes – or are them all. He would now be dropping going off “to do your fake news”. algorithms and social media destined them off and heading back to West- I carried on walking, then stopped to be the playthings of political forces minster instead. and decided to go back and to engage. that chime with the darker side of I asked him if he could think of any- human nature? ■ The demonstrators who wave thing I’d done that merited that insult? Both say it is possible for the oppo- flags, shout and sing behind the I asked him if he’d encourage his nents of populism to wrest control of broadcasters’ podiums on College children to shout abuse in the street? these social levers. But both sounded Green in Westminster do not seem I asked him what ever happened to like they thought the populist upris- to be taking a holiday. British inhibitions? He didn’t really ing had quite a bit longer to run They were joined recently by attempt a defence of his abuse and before that happens. Alastair Campbell playing Ode to Joy said he was sorry if he’d caused on the bagpipes. is offence. We shook hands and I Gary Gibbon is political editor of Chan- regularly presented live from the walked on. nel 4 News.

Television www.rts.org.uk April 2019 7 Technology From revolutionising the transmission of live events to consuming content on the move, 5G represents a step change in TV, predicts Kate Bulkley Wizards Unite ‘5G will change TV for ever’

hicago and Minneapo- well and truly on. Despite some con- more immersive and personalised lis may not seem like cerns about the cost of constructing storytelling. the homes of cutting-­ 5G networks, media companies are It also promises to deliver step edge technology but, beginning to place bets that 5G mobile changes in the time and cost involved on 3 April, they services will be a game changer. in preparing for, and transmitting, live became the world’s “The 5G talk has now turned into coverage, from breaking news to sport. firstC two cities with commercial 5G task forces and a notable step up in Moreover, 5G will free up more time mobile services serving 5G-enabled appreciating the monetisable opportu- for media consumption on the move smartphones. nities,” says one senior executive at a as the same next-generation mobile The service was launched by US global media company. technology will be integral to driver- carrier Verizon, keen to beat several The principle benefit of 5G technol- less cars. Korean rivals to the bragging rights for ogy is the faster delivery of mobile At a recent Enders Deloitte confer- commercialising 5G first, if only by a content and an end to the headache of ence, the CEO of EE, Marc Allera, threw few hours. buffering files when on the move. But down the gauntlet to the : he All the world-first posturing aside, speed is not the whole story. Crucially predicted that “a converged network and after several years of trials and tests, for content companies, 5G will allow with 5G at its will change TV the race to roll out 5G commercially is the development of new forms of for ever”.

8 In Allera’s vision, the future is not themselves from rivals. Allera put a just about getting more content deliv- ‘WE SEE 5G name to the EE content plan: “We want ered faster to smartphones, but about CHANGING to be super aggregators of content”. delivering more personalised and Last month, Disney launched a new interactive content. This includes aug- EVERYTHING mobile content service in Japan on mented reality (AR) and virtual reality ABOUT HOW DoCoMo, a telco with 77 million sub- (VR) plus “loads of things that we can’t scribers. All of Japan’s mobile operators give consumers now over legacy MEDIA IS are set to roll out 5G later this year. broadcast networks”, he said. PRODUCED AND DoCoMo hopes to stand out from its EE plans to commercialise 5G in biggest local competitors, SoftBank 60 of the UK’s busiest cities over the CONSUMED’ and KDDI, both of which already offer next few months. Vodafone, Three and Netflix. The Disney-DoCoMo deal will O2 have also announced 2019 5G roll- feature the latest releases from four out plans. vehicles could generally become Disney studios – Walt Disney Studios, But there is one potential problem: unnecessary at live events. Reporters Marvel Studios, Pixar and Lucasfilm. the partial or complete ban on the use already use smartphones to report Viacom also sees mobile distribution of Huawei telecommunications net- from remote areas and breaking-news as a key area of distribution diversifi- work equipment due to western secu- events: 5G will enhance their ability to cation. It is especially keen to see “real rity concerns about using the Chinese file live. traction” internationally, where it company’s kit. “Sports broadcasts of live streams are already offers its content to 5 million If implemented, this ban could slow often multiple tens of seconds behind mobile subscribers. the UK 5G rollout by 18 to 24 months the live feed,” explains Tony Maroulis, Last year, Viacom International Media and cost the UK economy as much as research director at Ampere Analysis. Networks signed a wide-ranging deal £6.8bn, according to a new report from “So, 5G presents some opportunities with the telco Telefónica for its TV Assembly Research, commissioned by there.” Once 5G networks are deployed channels, some of its streaming apps industry body Mobile UK. to a “mainstream degree”, this will and VoD content across its Latin Amer- Despite potential delays, Allera pre- ­enable “greater personalisation and ican footprint. It also has mobile distri- dicted that a “fully converged IP net- engagement for video consumption, bution deals in Sweden with Telenor work” in the UK should be up and further shifting viewing from a joint TV for its Paramount+ streaming service. running sometime in the next three to experience to an individual one”. In March, Viacom signed an agree- five years. The next-generation net- But he cautions that “a lot of the ment with BT Group’s mobile unit, EE, work will allow customers to access applications are still at a ‘proof of con- to launch the first-ever MTV direct- the speed of 5G both at home and on cept’ rather than an ‘actually solve a to-consumer subscription VoD stream­ the move, providing a “seamless, fast problem’ stage”. ing app, MTV Play. and reliable internet experience”. Mobile distribution is already a key Then, earlier this month, the com- The promise of 5G is immense: the strategic priority for most big media pany signed a major programme deal next-generation wireless technology companies – 5G only adds to the with T-Mobile in the US to offer a will be up to 100 times faster than the appeal. In the UK, services such as Net­ content package of Viacom brands current 4G standard for consumers. It flix and YouTube are already among the to its 80 million mobile customers. will be possible to download a digital most popular applications for mobile ­Viacom sees its newly acquired ad-­ movie in just 10 seconds at speeds of customers. Access to these services supported VoD service, Pluto TV, as a 300Mb/s. Over 4G, this same download requires no set-top box or TV screen. value-added app for mobile networks. takes three to four minutes at 20Mb/s. Viacom and Disney are among the Viacom President and CEO Bob Bak- Even faster speeds, theoretically big media players that have already ish believes that signing deals now will reaching 10Gb/s on standard hardware, leaned into mobile distribution. They accelerate the transition to “next-­ mean that 5G is also perfectly suited see mobile as not only another monet- generation platforms”, including those for delivering AR and VR. Removing isation channel for their content but running on 5G. This could help Viacom buffering issues on mobile handsets also as a way to compete more effec- tap into new audiences who might never opens up all sorts of creative opportu- tively with Netflix and other over- have watched traditional TV. Speaking at nities for content creators, especially in the-top streamers. the CES conference in Las Vegas in Janu- live sports and gaming, both of which Mobile telecoms operators, for their ary, Bakish was bullish about the poten- require real-time access to rapidly part, are keen to add more exclusive tial for mobile and 5G, saying that changing data. content to their services to differentiate “mobile distribution really is the cata- No wonder, then, that Disney’s lyst that will turn this whole ‘decline of Studio­Lab partnered with Verizon in television’ argument on its head”. January to explore the possibilities of 5G ‘MOBILE This could be especially true among for media and entertainment. “We see younger demographics, who are not 5G changing everything about how DISTRIBUTION watching traditional TV in traditional media is produced and consumed,” Walt IS THE CATALYST ways. For Viacom, with its younger-­ Disney Studios chief technology officer skewing brands such as MTV, Nickel­ Jamie Voris told Variety in January. THAT WILL odeon and Comedy Central, it is 5G networks bring some obvious [REINVIGORATE] crucial to be where the audiences are. opportunities for content production Mobile is therefore a big opportunity. and transmission: outside broadcast TELEVISION’ The financial returns on mobile �

Television www.rts.org.uk April 2019 9 5G will transform sports broadcasting

� content deals are “similar to, [and] in trend, according Ovum’s “5G eco- some cases actually better than, what ‘MOBILE [WILL nomics of entertainment report”. we see on the pay-TV side”, says David BECOME] A By 2026, there will be more media Lynn, President and CEO of Viacom consumption over 5G networks than International Media Networks. PRIMARY VIDEO over 4G. Ovum says that will be EE’s Allera says that 5G will also ENTERTAINMENT worth an extra $765bn by 2028 – by help to blur the lines between gaming which time, media and entertainment and video story telling – it “will DISTRIBUTION companies will be competing to win change everything for everyone” and CHANNEL’ a share of a near-$3tr cumulative especially for entertainment because wireless revenue opportunity. And “you’re going to go from watching nearly half of this ($1.3tr) will be ena- content to being immersed in the experiences alone will generate a bled by 5G networks, predicts Ovum. content of the games that you play”. total of $140bn from 2021 to 2028. Self-driving cars – whose auton- Niantic, the company behind The immersive and new media omy will be underpinned by 5G com- mobile AR game phenomenon applications – some of which remain munications – will offer passengers Pokémon Go, is set to release a new at the speculative stage – are forecast more time to consume media. multiplayer game using AR late this to generate more than $67bn annually “The last vestige of video-free con- year, Wizards Unite, based on the Harry by 2028. That sum equals the value of sumption is the automobile,” said Potter franchise. the entire global mobile media market Viacom’s Bakish at CES. “Those of us The game will capitalise on the low (including video, music, and games) in media and entertainment have to latency of 5G and new computing for 2017. think about how to transition from technologies that mean gamers no “The video space is ripe for innova- being living-room companies to longer need to be tethered to a games tion with the transition to 5G,” says Ed being everywhere companies, both in console. Barton of Ovum. “Rather than supple- the kind of content we produce and Also launching later this year is menting viewing experiences native in how we deliver it.” Google Stadia, a Cloud-based games to other screens, mobile is set to come Given the increasingly competitive streaming service that promises games into its own as a primary video enter- landscape for both telcos and media in 4K ultra-high definition. When 5G tainment distribution channel.” companies, 5G offers enticing oppor- rolls out, Google says it will be able to The growth of video consumed on tunities for providers and consumers support 8K definition and even higher. mobile has been astonishing in 4G looking for the next step change in Ovum forecasts that AR and VR – 5G is only going to continue that consumption and creativity. n

10 News takes centre stage BBC

hen I ask the Boaden stepped aside during a review BBC’s director BBC of the Jimmy Savile affair. of news, Fran Observing previous corporation Unsworth, if the Tara Conlan meets crises, such as Savile and the Hutton first year in her Inquiry, at close quarters had helped new role has Fran Unsworth, the Unsworth to “build up a certain resil- lived up to her expectations, she gives unflappable director ience”. She says this enabled her to aW hollow laugh. deal with being in the glare of the “I always knew it was going to be a of BBC News, as public last year. challenging job, let’s put it like that,” “I think that it helps to have been she admits. “But quite how challenging she prepares for around a long time. I’ve been through it turned out to be – pretty quickly further challenges quite a few crises in the BBC… not into it – I possibly hadn’t anticipated. always at the centre of them, but I’ve “It was pretty tough for the first six her male colleagues. Unsworth, who seen them. Savile [was] the worst, months, truthfully – actually, for the was responsible for Gracie’s contract, really: when you lose the Director-­ whole of last year – dealing with apologised to her for “loose” language, General, it’s a big deal, when the some of the managerial issues over which “led to some kind of misun- grown-ups have been lopped off. It gender pay. I think we’ll get to a bet- derstanding”, and was forced to defend feels a bit like Brexit… everyone thinks ter place with that… it’s probably the indefensible when quizzed by MPs the grown-ups have lost control. That’s something that had to happen but, over BBC pay. very destabilising for organisations.” nonetheless, it was a bit bruising. Six months later, Sir Cliff Richard With negotiations continuing over “And, then, of course – we may as won his privacy case against the BBC. how much the BBC will finally pay well take all the difficult bits head on The corporation had broken the news Richard (£210,000 in damages plus – [there was] the Cliff Richard trial.” – using a helicopter to film it – that £850,000 agreed legal costs, and the Unsworth was promoted from police were searching the singer’s singer is asking for more), there is a director of the World Service Group home over historical limit to what Unsworth can say but to her new role in January 2018. Her sex allegations. she concludes: “That was a difficult promotion coincided with an escala- At the time, Unsworth was under- period… hopefully, most of those things tion of the gender pay row. study to her predecessor, James Har- are now, as they say, in the rearview China editor resigned ding. She had also been acting mirror and we can get on with… the in protest over being paid less than director of news in 2013, when Helen issues [affecting] the future of news.” �

Television www.rts.org.uk April 2019 11 � But more bruising encounters are corporation via work experience at BBC on the horizon. Following the axing of Bristol through a friend of her boss. political series This Week and the She worked on Radio 1’s and merger of Radio 4’s The World Tonight Radio 4’s and PM, before with the World Service’s Newshour becoming head of political program­ (which “caused a bit of a kerfuffle”), mes, then head of newsgathering. she reveals with sadness “that this is As hers was not the Oxbridge-­ only the start of it”. BBC News has to educated trainee route taken by many save £80m as part of the of her predecessors, her pan-BBC target of rise to the top was more £800m-worth of cuts. ‘PEOPLE difficult. “It took a bit “We’ve done half of it; longer, I think, because we’ve got to find another ARE SEEING if you do those [trainee] £40m,” she says. “Not all schemes, you go straight in this year, but we US AS LESS into newsrooms, might do it all in this IMPARTIAL whereas it took me a year – we’re not sure. few years to prove I was Certainly, a big chunk of THAN WE ‘worthy’ of going into a it will hit the budget by USED TO BE, newsroom because April 2020. there was a bit of, ‘Well, “I think [viewers] will SO THAT’S A you’ve got no training, see it this time. We are PROBLEM’ have you?’ But you learn looking at our whole on the job.” operating model: is there She adds: “It has its anything we can do… moments, but it’s a priv- through further efficiency… [through] ilege to do this job because it’s… one of more sharing of material across the the most important... in journalism.” She board? But that’s always a difficult thing acknowledges that, with a salary of to achieve in the BBC, because we’ve £340,000, “I’m paid extremely well”. got a lot of services – they all like to do She seems remarkably unflappable. their own thing. Her glass, corner office at New Broad- “Actually, when we look across the casting House looks out on to the news- At work, she tries to chair one or two piece, we think we could make the room. It also has a view of the road, she of the Monday to Friday 9:00am news material go further across outlets. informs me, where a bomb disposal meetings to keep in touch with the out- We’ll have something on that by June. squad once blew up a suspect package. put. Her in-tray includes ’s cur- I think there will be further programme The news chief uses less jargon than rent review of BBC News. This is, among announcements, too, probably. We’re some of her colleagues. Her appoint- other things, examining how the BBC not sure what they are yet… none of ment to the top job was welcomed by helps people “make up their minds”. them have been signed off.” many staff. As a former colleague says, Impartiality is a red-hot issue. Lat- Brexit is all-consuming domestically “Fran is one of those people who just terly, Jacob Rees-Mogg MP branded – and she pays tribute to the BBC gets on with the job. She’s not one of Mishal Husain’s questioning of his pro- journalists covering it – but it is not those Oxbridge-educated men who motion of a video of a German far-right expensive, as the story is mostly play the game; she is extremely able leader as “the Today programme’s leftie located in Westminster and Brussels. and a safe pair of hands.” approach” (of which Unsworth says: “I “Obviously, if we get into a general Some felt she should have got the think it was a fair question on Mishal’s election, that’s a different matter. That’s role before, when the former Times part”). Some of her own staff took to going to cost and we’ll be thinking editor James Harding was appointed. social media to lambast Question Time’s hard, corporately, about how we’re However, she praises him for his focus decision to air a question about the going to fund it,” says the brightly on digital expansion. morality of five-year-old children dressed Unsworth, who tells me she When asked how she deals with the learning about LGBT+ issues in school. originally wanted to be an actress. stresses of managing such a huge, and The BBC’s Charter says it should Born in 1957 and from North Staf- public, global news machine, Unsworth “provide duly accurate and impartial fordshire, she has been at the BBC her says simply: “Well, there’s a team and news [and] current affairs” while whole career, and says, “no one’s ever they each have their responsibility.” “championing freedom of expression”. asked” her to go elsewhere. “I think She feels that it is easier to cope with So, is the BBC forever damned if it I’ve been invited to throw my hat in for a high-profile job if you have friends does and damned if it doesn’t? a few things… but, actually, they’ve and family who are “quite understand- “Yeah!” she says with a snort. “Our been abroad.” ing” and supportive when evenings or trust scores are still the highest but, Educated at St Dominic’s High holidays are ruined by phone calls. She nonetheless, people are seeing us as School for Girls in Stoke-on-Trent, she does “make spare time… I go to the less impartial than we used to be, so studied drama at Univer- theatre, I meet my friends”. She is a that’s a problem that we feel we have sity but did not get into drama school, regular at the National Theatre and to address. so worked in publishing in London. Royal Shakespeare Company and “Truthfully, this might be a product She subsequently joined the loves and David Hare. of the world in which we live, a more

12 ‘OUR SOCIAL MEDIA GUIDELINES REMIND OUR STAFF WHAT THEY SIGN UP TO WHEN THEY JOIN THE BBC’ BBC polarised world. It is probably the case dog Unsworth. Although around 85% weekly audience is 346 million and that, if people don’t see their views of equal-pay cases raised have been she believes the BBC is on course to hit reflected, they assume a bias, and that’s resolved, the Equality and Human its target of a global audience of half a a problem for us. We really need to get Rights Commission said in March that billion by its centenary in 2022. on the front foot and explain – as we it was formally investigating the BBC Internationally, she sees her main do, actually – that you will hear things about the issue. rivals as the other state-funded broad- on the BBC that you, personally, don’t “[The gap] has come down but, of casters, some of whom “don’t really agree with.” course, it was never actually that high!” have the same commitment to free- She adds: “We are living in quite she says with a rueful laugh. “There dom of expression and human rights difficult times, and… certain subjects were some anomalies at the top. That that we do”. She celebrates the impact become a kind of lightning rod. They was the problem.” made by Eye, winner of an RTS do change a bit from week to week… She concedes that she does not Television Journalism Award. there’s Brexit, then there’s transgender know if she was ever a victim of pay Another of the BBC’s five 2019 RTS rights and then LGBT+ rights. It’s ‘what inequality herself. Her pay has been awards went to Chris Cook at . is the subject of the day that people disclosed for around 10 years, so can Unsworth considers the BBC Two feel very strongly about?’ be compared with male colleagues: to be “on fine form… doubling “But I am quite clear that we are “Prior to that… who knows?” its audience” under new editor Esme universally funded: everyone pays, “One of the reasons” for the gap, she Wren. She applauds the of everyone has an expectation of seeing reckons, “is that local managers were Emma Barnett at the programme: “It is their views represented.… [However], making pay decisions without refer- great to have this array of really good we’re not going to give a platform to ence to what was going on in other strong women. It’s about appointing people’s views that are factually wrong divisions. the best people to the job and it’s about without challenging them. “We are disclosing people in bands not making assumptions, which I think “Some of our own staff sometimes so they can see more clearly where were made in the past, that women don’t like that… and they are saying so they are. I think the next phase is that somehow had less authority. quite vocally, which is why I’ve seen fit they will see the male/female split. “If you look at the number of our to issue our social media guidelines “With these bands, now it makes it on-air correspondents and editors, an and remind our staff what they sign up much easier to have these negotiations awful lot of them are still men – and to when they join the BBC.” Those with people because, it’s like, that’s the they are brilliant men. This isn’t a guidelines have been updated by BBC deal: if you don’t like it, sorry, there’s ‘We’re shoving out all the men’ by any News editorial director Kamal Ahmed nothing we can do.” means. But I think we are also recog- and were emailed recently to staff. On the grander scale, there are posi- nising that there are brilliant women The gender pay issue continues to tives. The BBC’s global news services’ who are worthy of getting key jobs.” n

Television www.rts.org.uk April 2019 13 History on a human scale

wanted to make a drama unlike hours of the five-hour drama is an Drama anything else, because Chernobyl absorbing, overwhelming experience. was unlike anything else. I wanted It brings to mind blockbuster sci-fi on it to be as unique as the event a Christopher Nolan scale – except Caroline Frost learns itself.” That was the ambitious goal that Mazin’s story is all horribly true. how the creator of Sky set by writer and producer Craig The budget is all over the screen, ‘Mazin for his epic mini-series about the from the pedigree cast – Harris, Stellan Atlantic’s Chernobyl SovietI power plant that caught fire on Skarsgård, , Jessie Buckley 26 April 1986, triggering the most disas- – and explosion scenes filmed at a sister set out to tell the trous nuclear accident in history. And reactor in Lithuania, to the recreation disaster’s story from Mazin has succeeded. of Pripyat, the town, now in Ukraine, While one of the show’s stars, Jared where so many of the plant workers the perspective of the Harris, compares it tentatively to The lived and where children were still China Syndrome and other disaster thrill- playing outside days after the people caught up in it ers, he adds: “There’s the Godzilla myth catastrophe. in there, too, but I think that Craig has The huge production is the benefi- crossed lots of different genres.” ciary of Sky’s partnership with HBO. Sure enough, watching the first two Mazin says he was amazed that he was

14 suits dealing with half-information, and following orders. They weren’t ‘IT WAS DELIBERATELY moustache-twirling­ villains. Gorba­ chev was afraid; they all were.” NON-’ One of the biggest challenges of bringing the story to screen has been the enduring arguments over the final death toll; estimates range between the Soviet official figure of 31 up to a 2007 Russian publication that puts it nearer the million mark. Kate Brown, professor of science, technology and society at MIT and author of Manual for Survival: A Chernobyl Guide to the Future, believes it was the cause of 150,000 deaths in Ukraine over 30 years. She explains: “The biggest misconception is that it was an accident that happened in one place in the past with a clear beginning, middle and end.” While she welcomes a drama that brings the story to young people who weren’t around when the reactor blew, her caveat is that “emphasising the drama of the event – firemen, helicop- ter pilots – works like a broom to sweep away the larger tragedy still unfolding.… It’s not just a TV drama. We all, in many ways, live in the shadow of the mushroom cloud.” Adam Higginbotham, author of Mid- night in Chernobyl: The Untold Story of the World’s Greatest Nuclear Disaster, is equally dismissive of both the tiny figures and the massive ones. “There is an awful lot of scaremongering about this, and it sells an awful lot of papers, but the scientific evidence doesn’t support it. It’s much more important to concen- trate on the fact that hundreds of ­thousands of people had their lives completely overturned by the accident.” Chernobyl

Sky Craig Mazin agrees that there is just no way to marry the competing figures allowed to do so much: “We started a documentary account by a man and narratives. Instead, he offers them with HBO, but it became clear that this directly involved in the cleaning of all at the end of the series, and, in was bigger than any one network, so the roof.” addition, has created a podcast to we reached out to Sky and it rescued Mazin is confident that he has accompany the series. He uses this to us. We were based in London, and our steered clear of any enduring Russian “talk about what I changed and why; prep was in Lithuania. We also shot in disinformation about the accident, what was real, what wasn’t. I hold Latvia and a little bit in Ukraine. It’s a which was hushed up at the time by myself accountable to truth and fact, story about . We only had two the Soviet government: “There is some because it’s incredibly important.” Americans involved.” Soviet nostalgia, but Russians – and, He points out, however, that his aim Moved to research the accident after certainly, Ukrainians – are aware that is not to provide viewers with home- reading an article in the New York Times, Chernobyl hurt them. There was a work. “It’s my job to make people feel Mazin ended up dedicating years to government that caused this, but it no something through drama. I want to creating the project, wading through longer exists. make people feel a true, empathic academic papers by historians and “Instead, I have sensed from the experience with the human beings scientists, as well as more emotional people there a general desire that we who went through this. Telling their first-person accounts brought together not be over the top and do the usual stories is one of the great joys of this.” in the book Voices from Chernobyl. American thing of making the Soviets His star Jared Harris, who plays Valery He remembers: “I even came across into cartoons. They were banal men in Legasov, a Soviet scientist charged �

Television www.rts.org.uk April 2019 15 The city of Pripyat

� with investigating the scale of the capable of doing what Chernobyl did. of going along with the lie, and watch disaster, much to the dissatisfaction of There are great benefits to nuclear what happens, to people’s bodies, to his Politburo superiors, agrees that the power. This is not an anti-nuclear people they love, their governments. success of the drama is dependent on story. I am sympathetic to their con- I want them to see what happens to us caring for the individuals involved. cerns about preconceptions, but the planet.” “Because of the scale of it, we didn’t there’s nothing I can do within the Stellan Skarsgård adds: “A system want the Disney version. The story is show itself, which is about the worst that considers itself perfect is prone big enough without needing in any possible situation.” to start hiding truths that aren’t com- way to be sensationalised,” he says. This approach is supported by Hig- fortable, and that is always lethal. It “Instead, it was all about the produc- ginbotham. “People use Chernobyl as could be a Soviet system or a religion, tion design, the clothes, the cars… a means of portraying nuclear energy but anything that considers itself every detail. It was deliberately as a Pandora’s box that should never perfect is dangerous.’ non-Hollywood, no glamour. It was have been opened. I think it’s impor- Ultimately, however, it is for the deliberately understated, as was the tant to understand that this was an people of Pripyat and the disaster’s truth of the time.” event that could only have happened immediate victims, survivors and their Higginbotham comments: “It’s in the time and location it did, after loved ones that Mazin feels the most important to understand what the an era of stagnation in the Soviet responsibility. “We’re just beginning to people of Pripyat lost through the Union, [with] a reactor that was badly show it to people now. I was very explosion. It was a wonderful place to designed and deeply unstable. gratified – at the first screening, a live, and people who lived there and “This is really a classic story of man- gentleman came up to me and said, worked at the plant were young and kind’s hubris, overconfidence in tech- ‘It was like I was there again.’ ambitious and excited to be involved in nology, human ambition, overreaching “I was so pleased because we’ve something that represented the future cowardice and bravery, stupidity and come at it from a place of great respect. of the Soviet Union, the future of the cover-up – it has a timeless resonance I have no respect for the Soviet govern­ technology they were working with. on all sorts of levels.” ment, but I have boundless respect for “It was overshadowed by what Inevitably, Mazin and his cast see the people who lived there, because happened subsequently, but many political parallels with the world the life of Soviet was hard. still have pride in what they were today. “I want viewers to question our “The sacrifices they made were doing. They would all say we should relationship with the truth,” says the extraordinary, throughout the continue to work with nuclear power, producer. “I want people to start 20th century, and I would like them we just have to be careful with what thinking more critically. to know that everybody who worked we’re handling.” “I want them to ask who benefits on this production wanted to pay Mazin is determined not to make from certain narratives and agendas. tribute to them, their cultures and any comments against nuclear power There is a global war on the truth communities.” n with this series. “There is no nuclear – we’re in the middle of it right now. power plant functioning in the West I want people to experience the cost Chernobyl airs on Sky Atlantic on 7 May.

16 Make TV sustainable Chris Packham Naturewatch

hris Packham brought transformation of the film and televi- his passion and knowl- Production sion industry,” said Annie East, pro- edge to two RTS South- gramme leader for the BA Television ern events at Production course at Bournemouth Bournemouth Univer- Stephanie Farmer takes University. sity in early March, notes as Chris Packham In the evening, Packham was inter- highlighting the need for greater viewed by RTS Southern committee Cenvironmental sustainability in pro- calls on TV producers to member Gordon Cooper, in front of gramme production. an audience of more than 200 mem- In the afternoon, the TV presenter change their ways and bers of the public. and naturalist spoke to media students follow Albert Packham, who was diagnosed with about sustainable TV production. In the Asperger’s as an adult, spoke about evening, he talked candidly about his working in media production. We not fitting in at school, because he life and TV career – and how he copes need a more sustainable approach to struggled to make friends and under- with the effects of Asperger syndrome. the planet and you can’t make pro- stand how to socialise with his peers. The -born presenter grammes about saving the planet if The natural world became his passion of BBC Two’s award-winning Spring- you’re contributing to the problem,” and refuge. watch, Autumnwatch and Winterwatch said Packham, who encouraged the Packham also revealed that an programmes is also a nature photog- students to harness their youth and argument in the street with a TV pro- rapher, programme-maker and out- energy to the environmental cause. ducer about the producer’s poor spoken campaigner for wildlife. Bournemouth University is one of parking led to his first job in TV on He argued that production teams the founding partners of the new BBC children’s series The Really Wild are becoming more aware of the need Albert educational initiative, which Show in 1986. to work sustainably, but that there is aims to develop teaching materials to Cooper guided the conversation still much to be done. Packham help reduce the carbon footprint of through Packham’s life, including the showed the audience a pile of paper the next generation of film-makers. influence Asperger’s has had on his scripts from a recent and Students from Solent University TV career and personal relationships. is urging the series to go paperless. and the Arts University Bournemouth At times moving and funny – but The production – which has Albert also attended the event. “Chris really always brutally honest and impas- certification – does recycle, car share brought alive the need to encourage sioned – the naturalist called for more and use local crews where possible. sustainable awareness in our work to be done to save our natural world. The Albert certification scheme aims and personal lives and this will be “As I got older, I decided to get up to introduce greener ways of working continued with the partnership that earlier every day so I can do more and to film and TV production. we have founded with Bafta/Albert, try to make a difference. If someone He said he had been “pushing for which will enable staff and students says ‘no’ to me, it’s like fuel for me to [sustainability] for as long as I’ve been to contribute towards the try to do more,” he said. n

Television www.rts.org.uk April 2019 17 BBC and ITV join the fray

SVoD As the competition grows more intense, Gideon Spanier assesses the prospects for newcomer BritBox

t seems only a few short years and a £5.99-a-month starting price. and that consumers are willing to pay ago that the BBC and ITV were Other new and established players are for multiple services, with “43% of all thought of as the titans of suddenly jumping on the SVoD band- online homes interested in subscribing British media. But all of us in wagon. Apple announced plans for to a new service that features British the UK’s traditional media Apple TV+ in March, and Disney, which content”. And that increases to 50% in solar system are getting recently completed its acquisition of homes that have Netflix. “We are not a ‘smallerI and smaller in the Apple, Ama- Fox to boost its content firepower, will substitute for Netflix,” she argues, “we zon and Netflix universe.” Thus said launch Disney+ later this year. are complementary to Netflix.” Lord Hall, Director-General of the BBC, Comcast’s Sky already operates a ITV and the BBC gave few details in March, as he unveiled the corpora- streaming service, Now TV, which costs when they announced BritBox in Feb- tion’s plans for its new financial year. from £7.99 a month, and Viacom ruary, because they had only struck an “We need to find new ways to adapt initial agreement. It will be built on the to the changing needs of our audiences, same tech as ITV’s online service, ITV and we need to be able to do it in real ENDERS RECKONS Hub, and will not carry advertising. time to keep pace with our global There is no word on a launch date or competitors,” he continued. BRITBOX MIGHT pricing, although they promised it Hall’s candid admission in the face INITIALLY would provide “good value”. of the US streaming giants’ dramatic McCall says: “The consumer proposi- rise provides the rationale for BritBox. ATTRACT 500,000 tion is good. It is going to be curated. It This joint venture between the BBC SUBSCRIBERS is going to be displayed properly. It’s and ITV will launch an online sub- going to be promoted. We will be build- scription video-on-demand (SVoD) ing a lot of interesting data around what streaming service for British program­ people do and what they don’t like.” mes later this year. launched MTV Play, an SVoD mobile However, the joint venture has lim- For many in British broadcasting, the app with a £3.99 price tag, in February. ited financial firepower compared with long-awaited announcement was Discovery and the BBC have also the US tech giants. ITV has committed 10 years overdue. In a now-infamous announced a global, natural history to make a net investment of £25m in decision in 2009, the Competition SVoD streaming service, following the 2019, £40m in 2020 and less in the Commission blocked a proposal by the break-up of UKTV, which they following years. The BBC has not dis- BBC, ITV and Channel 4 to create what co-owned. This service will not be closed its investment, other than to say would have been a pioneering video-­ available in the UK and Ireland. that “no licence-fee funding will be on-demand service. So, BritBox will be entering an used to pay for the service”. Fast forward to 2019, and Netflix, increasingly crowded UK marketplace The broadcasters say BritBox will be which launched in Britain only in 2012 at a time when, arguably, distinctive “the biggest collection of British content and costs from £5.99 a month, domi- British content is under threat from available on any streaming service”, nates SVoD streaming, with close to global media and technology giants. with “thousands of hours” of “both very 10 million UK subscribers. “BritBox will be the home for the best recent and older archive series” span- Its global investment in high-end, of British creativity, celebrating the ning drama, comedy and factual titles, original drama and documentaries, best of the past, the best of today and plus some original commissions. That such as The Crown and : investing in new British originated programmes from UK public service Bandersnatch, combined with third- content in the future,” promises ITV’s broadcasters are among the most- party archive content, has fuelled binge CEO, Carolyn McCall. watched on-demand content on Sky ­viewing. is also a She insists that research shows there and Virgin augurs well, suggests McCall. growing force, with 5 million UK users is demand for a British SVoD service Enders Analysis believes that “there

18 ITV’s Victoria: a quintessential British show ITV is certainly a market for access to the BritBox will have its own small UK if it can’t compete for top talent. Whit- full series of quality comedies and team to commission shows, with a taker also worries about how BritBox dramas, such as , focus on scripted, rather than might be impacted by questions from Midsomer Murders and Inspector Morse, as unscripted, programmes. Amy Jones, the public about why they should pay evidenced in the past by DVD sales”. who previously worked at Amazon for BBC content “when we are already As for just how big that market is, Prime Video and Little Dot Studios, has paying the licence fee”. The corpora- Enders reckons BritBox might initially joined as managing editor. Kevin Lygo, tion will, no doubt, point to its long attract 500,000 subscribers. ITV’s director of television, will over- history of airing shows on ad-funded Although a commercial alliance see commissioning. UKTV and selling DVDs after shows’ between the BBC and ITV might once “We will commission only from the initial broadcast window. have been unthinkable in the UK, the UK, so, if you’re a UK producer, this is BritBox must tread an awkward line two broadcasters have been collaborat- fantastic,” McCall says. However, the because the BBC and ITV will each ing on BritBox in the US for two years. majority of BritBox’s content will be continue to make most of their content The North American version, which drawn from BBC and ITV programmes available first on catch-up on their costs $6.99 a month and offers a and box sets that have already aired. own standalone online services. The middlebrow­ mix, from the latest epi- BBC and ITV say they would wel- BBC plans to keep its shows on iPlayer sodes of EastEnders and come other partners, such as Channel 4, for 12 months to ensure value for to classics such as and but the publicly owned commercial licence-fee payers. Blackadder, gave the BBC and ITV confi- broadcaster may be constrained Enders Analysis believes that it will dence that they could collaborate on a because it does not own the rights to not be easy for BritBox to differentiate home-grown version. its programmes. itself from Netflix and Amazon, BritBox markets itself in the US and There are no plans to expand the UK because the US streaming giants have Canada by saying “indulge your inner version of BritBox overseas, though for years hosted a lot of archive con- Brit”, and has about 500,000 subscribers. Britons will be able to access it if they tent from the BBC and ITV. ITV’s Reemah Sakaan, who has been travel abroad. If the British broadcasters want to senior vice-president, creative and Ian Whittaker, an analyst at invest- keep shows for BritBox, they could lose editorial at BritBox in New York, is ment bank Liberum , welcomes out on revenue from licensing series to group launch director of BritBox in the BritBox but warns that competing with other platforms. So, BritBox faces a UK. She was previously a marketer for the streaming giants “raises the risk of daunting start, even if there is goodwill ITV, BBC and Diageo. This is a sign that [needing] significant extra investment”. in broadcasting circles. Enders Analysis advertising and promotion are likely to Limited investment might pose a warns: “Selling this service will be a be crucial in the UK. different risk: the venture could struggle hard slog.” n

Television www.rts.org.uk April 2019 19 Toby Jones in Don’t Forget the Driver BBC Comedy of the dispossessed

ou wait years for a TV Peter. But, while Home is amiable, jolly comedy centred on Comedy and laugh-a-minute, exploring the ups the disruption caused and downs of its wisecracking family by the sudden arrival whose members (Peter aside) are of a foreign migrant in Actor Toby Jones largely happy to take Sami into their a settled world and, debuts as a TV writer, lives, Don’t Forget the Driver embraces a suddenly,Y two come along at once. darker and more unflinching palette. This spring, Channel 4 has show- with BBC Two’s Don’t This was signalled in the very first cased Home, Rufus Jones’s well-­ minutes of episode 1, when Peter finds received show in which his uptight Forget the Driver. He a dead body washed up on the Bognor character, Peter, and partner return shoreline. Our hero, to his intense from holiday to find a Syrian man tells Ben Dowell what it shame, runs away from this discovery. called Sami (Youssef Kerkour) living was like to co-write and Later, he finds that he cannot ignore in the boot of car. the plight of a frightened young Eri- Now comes BBC Two’s Don’t Forget star in his own show trean woman, called Rita, whom he the Driver, the first TV show written by finds hiding in the bowels of his coach actor Toby Jones and playwright Tim following a cross-Channel trip. Crouch. It stars Jones as a harassed Although unaware that another show Bognor Regis coach driver, also called dealing with the arrival of immigrants

20 would hit TV screens alongside their “We kind of wrote a drama with a would have voted in the EU refer­ own, neither Jones nor Crouch is that different location for every episode endum, with most of the imagined surprised (and at the time of speaking, and a different constituency of charac- ensemble putting their cross against neither Jones nor Crouch had seen ters for every episode… there’s a big the leave box. Jones won’t be drawn on Home). “The themes are pretty promi- cast list,” laughs Crouch. whether Peter is a leaver or remainer nent at the moment in the world we’re They also had their battles. Opening – “he probably didn’t have time to living in,” says Crouch. “If your writing a comedy with a dead body is certainly vote,” he laughs – but the pair admit is open to the world, then the world a bold move. The scene was something that, probably, he would have voted will come into your writing.” they had to fight to keep in. Similarly, Conservative in the past. That writing experience was, he “It’s about Bognor and, if you look at admits, an eye-opener. He is a stage Bognor, a lot of things are going on in writer, used to working alone and it ‘IF YOUR the town and in the street,” pleads took some time to get the collabora- Crouch. “I think Antiques Roadshow is tion into gear, once he had persuaded WRITING IS a very political show – do you know his friend (they’ve known each other OPEN TO THE what I mean? But you’d never talk for 20 years) to explore his initial idea about the ‘politics of Antiques Roadshow’.” of writing about a Bognor coach driver. WORLD, THEN “We felt the driver was also Love in The actor, who had never written for THE WORLD some way. That it’s Don’t Forget the TV before, found the prospect irresisti- Love.… [The characters] are all in danger ble. “I was very interested in trying to WILL COME INTO of forgetting the love in the business of see what I have learned over the years YOUR WRITING’ their lives and in their own private hell, from reading scripts and their emer- their own private problems and dilem- gence through various drafts,” he says. mas and contradictions.” Jones was also “definitely” inspired they had to defend the many studied That’s true. But, at one point during by his experience performing in the moments of slow TV. our interview, Crouch talks about the award-winning . There, he These include , in the first episode, elderly passengers cheering Brexit as watched writer/director Mackenzie when Peter takes a party to visit war “mildly bigoted xenophobes”. The Crook create his own beautifully funny graves in Dunkirk, the mesmerically writers don’t want to shove politics and gentle world of metal-­ sedate winching of a boat and a down our throats (or court contro- detecting enthusiasts. sequence in which a pensioners’ versy) but the show clearly comes Indeed, Don’t Forget the Driver’s ability mobility scooter ambles tortoise-like from a defiantly liberal perspective, to tease laughs from a very clear but across the screen. I suggest. And doesn’t most TV? Is that ordinary setting does seem straight That opening episode also contains a problem for the industry as a whole, from the Detectorists’ hymn book. a telling moment, when the elderly I ask – that creative people like them “We were encouraged to use our own passengers cheer the subject of the don’t feel comfortable representing voices,” says Jones. “We were encour- UK leaving the EU. So what about the the views of people who don’t share aged to write situations out of which B-word? their outlook? human comedy arises, rather than gags. Don’t Forget the Driver was, it turns out, Crouch answers by insisting that I don’t want people to feel like they are conceived long before the leave vote Don’t Forget the Driver “is not a piece full being hammered over the head and on 23 June 2016. But the writers admit of liberal left-wingers”. His job is not to have to laugh all the time.” that the Brexit saga permeates the trumpet his own personal views and For Crouch, their show is another sign piece. As well as Rita, the refugee, we “allegiance”. of a healthy cross-fertilisation between meet Lech, a supremely optimistic But he doesn’t really address the fact his own world of theatre and TV. He Polish man who sleeps rough in Peter’s that one of the key “drivers” of this was in the audience at the 2013 Edin- bus and whom the driver tolerates show, as it were, is Peter’s conversion burgh Fringe when Phoebe Waller- amiably. – from apathy to action, from shutting Bridge’s was first performed. “Everything is about Brexit,” says out the world to letting it in. It’s a lauda- He cites Fleabag and Stewart Lee’s Crouch, seemingly reluctant to directly ble idea but, perhaps, a predictable one. masterly stand-up performance in his address the question. “Even the weather Jones agrees with his co-­writer that BBC Two Comedy Vehicle shows as forecast is about Brexit.… We are not their creation doesn’t preach. He says examples of an exciting new trend in blind to that… it feels like the language he doesn’t want a “state of the nation” TV. “In the past, I think that there has we are using at the moment.” label attached to it. been a stronger cross-fertilisation back Jones is adamant that the show But he is still prepared to make bold from telly to theatre, with – depress- “doesn’t say anything about Brexit spe- claims for it, citing its title, which refers ingly, sometimes – theatre trying to cifically”, and doesn’t actually use the to the note on Peter’s tip basket which emulate the form of television,” he word at all, just as it pointedly doesn’t he keeps next to his driver’s seat. notes. “Now, it’s working the other way.” use the word “migrant” or “refugee”. “[The characters] might forget the Once Crouch and Jones had com- “It’s about human beings,” he empha- fact that their primary objective and pleted the scripts, they realised that sises. “I am not sure that you could function in life is to love each other,” they had to film what was, on many write something now that couldn’t be he says. “That’s why Don’t Forget the levels, essentially a drama on a com- interpreted in terms of Brexit, anyway.” Driver is the title. That’s why it’s on edy budget. All six episodes were shot However, the writers admit that they Peter’s tip box… because it’s a pretty on a fairly punishing 31-day schedule. did work out what all the characters good tip.” n

Television www.rts.org.uk April 2019 21 RTS bursaries scheme Anne Dawson talks to three RTS bursary The 2019 RTS Futures Careers students and their media guides, who Fair included CV Clinic advice highlight the mutual benefits of mentoring sessions Paul Hampartsoumian Paul Everyone gains from a helping hand

was interested in. He’s very down to expectations. It was so valuable to have . I like that about him. his insights into the industry. I try to Natasha He invited me to meet him at H Club remember to email him every couple Graham London – we get membership as part of months. Student of our RTS bursary, so that was nice. It’s important to keep in touch. I He told me so much about the indus- think the best things about the men- and try. I asked him how you got a script toring scheme is having someone you Julian accepted. He also explained how a series can ask anything related to the indus- has several different writers and how try. I feel I have learned so much from Unthank they get people in for particular bits. him, things that you don’t get from Screenwriter He is making a new programme, university. Queens of Mystery, a comedy crime series. I would advise other students who Natasha on Julian I think it’s going to be really funny. have the option of a mentor to make He asked me which department I’d the best use of this opportunity. It’s wasn’t sure what to expect from like to spend time in. I said sound. So, I easy to put off emailing or ringing. the mentoring programme. I was a spent a day with Jake [Whitelee]. He Sometimes Julian was working hard bit nervous about being matched was brill and showed me all the equip- but he would always try to help. up with Julian. You never know ment and how to connect things up. I’ve found most people in the indus- whatI someone’s going to be like. He got me to go out and record some try will help if you ask. You just need He was really nice, though. He called things. I learned so much that day. to be brave enough to do it. me straight away and asked me what I Julian has more than exceeded my My other piece of advice, which is

22 nothing to do with mentoring, is to seriously. We spoke about once a If I were to offer Lee any advice it get a driving licence. So many jobs month. She helped me focus on what would be to trust his instincts, as they require it. I am interested in. The best thing about are very good. Also, remain open to the the mentoring was the practical advice opportunities that will appear and be Julian on Natasha Sam gave me. She read my scripts and prepared to give things a try. give me her feedback. He can call me any time. I’d love to offered to mentor because I know Sam was an inspiration. She’s been see how things turn out for him. Any how difficult it can be to get into so successful with the shows she has time he wants some advice he is very the industry if you don’t have the worked on. I got such a lot from hear- welcome to get in touch. connections. ing about her own experience and how My advice to anyone considering IIt’s important for the industry to she got her ideas accepted. mentoring is that you probably don’t become more diverse. Having too She gave me very valuable insight know how much useful knowledge many white males from similar back- into the different roles and how they you have, so give it a go. It doesn’t take grounds is not good. I struggled work in practice. a lot of time and you get a lot out of it. myself. It’s not easy if your parents It’s great to know you have someone Lee Hodgetts is undertaking a year’s place- don’t work in the media. on the inside. Already, she has opened ment with Disney. He will return to complete I loved working with Natasha. I’m up lots of opportunities for me. his degree in television and film production always happy to help if I can. If every- I would hope we will stay in touch. I at the University of York in the autumn. Sam one helps a bit, we all benefit. And it would like to have her as a friend. She Hoyle’s credits include Doctor Who, keeps you young, working with a has been really selfless and kind in and The Life and Adven- young person. It’s good to have their giving me so much time. tures of Nick Nickleby. voices and outlook in your life. I think everyone should volunteer. If Sam on Lee you’re in a position where you can help someone, you should. I tell my ’ve benefited from being mentored Andrew kids how lucky they are. Not everyone myself so I thought it would be has the same start in life. nice to do it for someone else. I’ve Michael Natasha’s not sure what she wants to mentored informally before. I Student do yet, but she’s interested in sound. If thoughtI it would be good to do it in a and she trains as a sound engineer, she’ll more structured way. never be out of work. As it turned out, I only ended up Nick She’s a great person, who has lots of meeting Lee in person once, when we skills. I know she will go far. both happened to be in London. Apart Johns Natasha Graham is in her final year studying from that, we Skyped once a month. Head of entertainment television production at Teesside University. Early on, we talked about more gen- development, STV Originally, she considered a career in script- eral industry-related things. Subse- writing, which is why she was matched with quently, in later calls, I had read his Julian Unthank, a scriptwriter whose credits scripts and gave him notes. Andrew on Nick include Doc Martin, New Tricks, Robin Lee is a terrific individual. He is he first time I met Nick I knew Hood and . focused, organised and motivated. He I was in good hands. I went to has a gentle side to his nature that is his office in London. It’s quite very creative and talented. There are cool going to the STV offices. so many jobs that could suit him in TIt has helped me understand what Lee the industry. the different roles are in TV. Generally, Helping Lee to decide what sort of we work via email. When I come Hodgetts role he should aim for in TV has made home for holidays, I usually send him Student me reflect on the choices I’ve made. an email a couple of weeks before and and I’ve worked across comedy, film, radio we then arrange to meet. and kids’ TV before ending up in The mentoring guidelines are quite Sam prime-time drama. loose, so I wasn’t 100% sure what to There are so many jobs I didn’t even expect from him. It has allowed the Hoyle know existed before I stumbled across mentor/mentee relationship to Script executive them. It’s important to stay open to all develop naturally. and producer ideas and opportunities. I’ve learned a lot from Nick, espe- Lee has been a fantastic mentee. He cially about myself. I’ve learned that is really respectful about the amount what I have is enough to get me places. Lee on Sam of time I have available and recognises I’ve learned that, as long as you have a am is a very busy lady, very the value of the help he is getting. smile, are positive and welcoming, you down to earth, friendly and He knows what he wants to talk can get somewhere. really helpful. She answered about and how to make the best of the Nick has exceeded my expectations all my questions and has lots opportunity. It is great to meet a young by 100%. I was expecting him to be ofS experience and good advice to give. person who is so motivated and has so more formal, but our conversations are She took the mentoring very many ideas. relaxed. I’ve had opportunities to be �

Television www.rts.org.uk April 2019 23 Shutterstock

� on set. I also spent a week working Has Andrew met my expectations? in development, which was great. I He’s exceeded them. I really look would really recommend having a forward to our meetings. I always get mentor. There is so much to gain. Join our team something out of them. of mentors I would advise everyone to give Nick on Andrew mentoring a go. Don’t be frightened of it or worried how valuable your expe- volunteered to mentor, mainly to The RTS Television Production rience is. Once you get talking, you’ll give something back. I am fortu- and Broadcast Journalism Bursary be surprised at how much you have nate to be at a stage in my career scheme aims to help people from learned over the years. where I have a fair amount of lower-income backgrounds pur- Occasionally, I still think: “Am I experienceI and knowledge to pass on. sue a career in television. doing it right?” But it seems to work I was also somewhat encouraged to The students say the most for Andrew. become a mentor. I had a small feeling valuable aspect of the scheme If I were to give Andrew one bit of that it could turn out to be a bit of a is the connections they are able advice it would be to stay open to chore. I don’t know if Andrew realises to make through networking at opportunities and don’t worry about it, but I’ve easily got as much, if not RTS events and via the mentoring having a plan for life. Try as many more, from the experience as he has. scheme, which links them to a things as possible. My first impression was: gosh, isn’t mentor working in the sector. People move about a lot in the he young, younger than the youngest If you are interested in becom- media. You can follow many different member of my team. He brings a ing a mentor, more information career paths. There’s so much going different view on things. He’s very can be found at: www.rts.org.uk/ on and the landscape is changing. It’s interesting to talk to and someone mentoring like the Wild West and we’re at the who has a lot to say. frontier. What a great time to be Andrew manages the process really young and starting out. well. He always comes to see me if he become less so. He’s spent some time Andrew is a second-year student studying is in London. He gets in touch before- in the studio. I think he thoroughly film and television at College of hand and makes an appointment. enjoyed his week’s experience with Art. Nick started his career as a barrister The first time we talked it felt like an the development team. before changing tack to work in TV. He has interview. He came to see me at my I feel very lucky to be able to get worked on a range of projects previously, office and it did feel quite formal, but, his view on something because he including Dancing on Ice for ITV and as the weeks have gone by it’s comes from a different generation. BBC One’s Let’s Dance for Comic Relief. n

24 LOVE TV? SO DO WE!

The Royal Television Society bursaries offer financial support and mentoring to people studying:

TELEVISION PRODUCTION BROADCAST JOURNALISM ENGINEERING COMPUTER SCIENCE PHYSICS MATHS

This year we have: l Added 10 new bursaries, funded by STV, for students studying in Scotland l Doubled the total funds pledged to the schemes l Expanded the eligible courses, so that five times as many students can now apply

Apply now at rts.org.uk/bursaries #rtsbursaries OUR FRIEND IN SCOTLAND

Steven Ladurantaye weighs up the was sweltering in the heat of different to living in Canada. I keep a classroom inside the for- differences between stepping into traffic coming from the tress that serves as the head- “wrong” side, and am constantly quarters of Vietnam’s state work in his native wondering why there are entire res- news broadcaster when my Toronto and his new taurants built around menus that phone vibrated with a call contain nothing but baked potatoes. from Scotland. I’d been flirt- job in Glasgow But there are many similarities – a ing with STV News regarding a move fondness for bagpipes, tweed and Ifor a few months. independence polls, to name a few. Aside from my translator, none of The professional challenge is more the 20 journalists I was teaching (dig- complicated. Laws are completely ital skills for broadcast journalists, different in the two countries. This since you ask) could speak English. I is especially true about how those didn’t have to step out of the room charged with crimes can be treated when I fibbed and said, of course, it before a verdict. would be easy for me to visit Glasgow I built my newspaper career report- in a few days’ time for an interview ing the backstories of some of Cana- for the head of news job. da’s most treacherous murderers, Within 48 hours, I went from eating spending weeks and months filling curious soup on hard sidewalks in pages of newsprint with every aspect Hanoi to eating curious pies on ripped of their lives – months before their leather seats in Glasgow. The travel trials even started. If I’d started my time to the interview was 25 hours career in Scotland, all of my best

– the interview itself lasted 2.5 hours. STV work would have been illegal. Seven hours later, I was home in The British newsrooms I’ve worked Toronto, where I worked as a manag- pitch to STV (along with other news in over the years have been fairly ing editor at the Canadian Broadcast- organisations and political parties) hierarchical. In contrast, my time as a ing Corporation, describing the past about the benefits of using the plat- newsroom manager in Canada has few days with a sense of detached form to break news. They humoured been spent with my sleeves rolled up amusement/horror/fascination to me for 15 minutes and sent me on my alongside any manner of newsroom my family. way. No job offer that time around. employees. That’s taken everyone My first exposure to Scotland was Fast forward to the summer of here a bit of time to get used to. It the same as that experienced by most 2018, and there was an offer from STV freaks some people out when I sit at Canadian children – a loud and gre- News to uproot my life and move an empty desk for the day in order to garious Scottish uncle, whom I adored. across the ocean to lead a newsroom be immersed in what’s going on in a He moved to Ottawa from Edinburgh in a country I’d rarely visited, full of different part of the newsroom. in 1959, with £50 in his pocket, and stories I’d (mostly) never heard. The professional challenges have built a life as a carpenter. Obviously, we agreed immediately. been daunting, and the cultural I can only imagine what he’d have No people’s vote needed here: the changes intimidating. Has it been to say if he were still alive to see me family referendum was unanimous. It worth it? set out in the other direction. took me only three weeks to deliver Oh, aye. n The first time I set foot in Scotland on my #Canadexit. was while I was working as the “global I keep telling anyone who asks that Steven Ladurantaye is head of news and chair” for news at . I came to living in Scotland is only about 10% current affairs, STV.

26 From left: Tom Davis, James de Frond, Lara Singer and Andrew Brereton

Masterclass in creativity Paul Hampartsoumian Paul

packed RTS Futures Andy Brereton, the session host, went event, “Pitching script RTS Futures on to do a lot of work together. And, to screen”, offered two years ago, it culminated in the aspiring writers and three of them setting up Shiny Button producers tips on how If you want to write Productions. they should hone and and sell a successful De Frond outlined how, when sell their ideas to commissioners. attending pitching meetings, it paid to ALeading the panel of seasoned comedy, there are have more than one idea. “Always comedy and entertainment practi- have a back-up idea,” he advised, tioners was Tom Davis, the star of the no shortcuts, reports recounting the time he went to Chan- RTS and Bafta award-winning BBC Steve Clarke nel 4 to pitch a high-concept Western Three sitcom . that was rejected. “They said: ‘We Throughout the session, he stressed director, producer and writer James love it but we’re already doing a big, there was no substitute for hard work. De Frond, who went on to direct Mur- high-concept show.’ In our back Even experienced TV actors and writ- der in Successville. “He gave us £10,000 pocket we had another idea – based ers such as himself never stop learn- to film a couple of scenes.… We were on a true crime that took place in the ing: “If you want to learn a craft, take so passionate that, in 10 days, we 1980s, which they loved.” the time to learn a craft. Learn how to filmed an entire half-hour .” Davis added that it was important write. I am still learning every day. All Davis interjected: “I thought we’d to “know an idea inside-out”. It was of us sitting here are still learning.” smashed it [but], if you’ve got to pay a essential to spend a lot of time inter- He continued: “I’ve been in a posi- load of people, 10k doesn’t go very far. rogating an idea before the pitch. tion where I thought I knew best, and But we had got our foot in the door He explained: “You’ve got to make I didn’t. Listen and learn.… Be prepared and we left something with Shane that sure that every question they throw at to collaborate.” Writing comedy often was going to blow him away.” you, you’ve got the answer to. You’ve involves partnerships, because it helps De Frond added: “We threw every­ got to think: why would people watch to have a sounding board. thing at it. At the time, Channel 4 did this? What’s funny about it? The Building up that initial contact with a season of six half-hour pilots, Comedy stronger your idea and the fewer the important commissioners was essen- Showcases. We didn’t get the series, but holes in it, the fewer questions [the tial, agreed the panellists. “We got a we did then have a relationship with commissioner] will have about it. meeting with Shane Allen at Chan- Shane. All these contacts pay off. It Make sure there is nothing half-baked nel 4 [then head of comedy] and we was an opportunity to get a meeting.” about it.” made him laugh for an hour,” quipped De Frond and Davis, together with De Frond pointed out that the way �

Television www.rts.org.uk April 2019 27 Aim high when you’re pitching

Tom Davis Shiny Button: ‘Make sure that your treatment wows the person reading it. Black text on white paper isn’t going to do that. Make sure you’re really selling your idea (for instance, with images).’

Tom Davis Shiny Button: ‘When you’re writing a script, move it on. You read some scripts and they don’t go anywhere.… Make sure that there’s a journey. Keep things moving.… You’d be surprised at how many things we read and, by page 3, I’m bored.’

Lara Singer Big Talk: ‘Remember that movement makes people care.’

James De Frond Shiny Button: ‘If it’s comedy, everything should be funny, including the stage directions.’

It really is the story, stupid

Tom Davis Shiny Button: ‘Everyone in this room has a story. It’s impor- tant to let people tell their stories. ‘When we started pitching, there were only a handful of channels doing comedy. Today’s landscape is different and that’s encouraging for everyone here. ‘Make it the truth of what you Murder in Successville want to write about. We’re working with a couple of young writers and, when they start telling us about � an idea was packaged needed careful “It’s important to have something their lives, it’s incredible. We’ve told consideration. It helped to have star that is going to wow people,” said them: “That’s the thing you should names attached: “It’s got to be a pack- Davis. “As much as you want to be a stick to.”’ age that they can’t turn down.” creative, you’re a salesperson selling an Lara Singer, a development producer idea. I’ve worked selling T-shirts and Lara Singer Big Talk: ‘Fringe theatre at comedy specialist Big Talk Produc- this is no different. is a great place to start sharing tions for the past five years, agreed that “There’s no point trying to sell a your stories and getting people to the overall package was key. She said second-hand Cortina when someone see them.’ that creators needed to ask themselves wants to buy a brand new BMW.” The panellists agreed that writers questions like: do we need to get The experience of working for sev- must be open-minded about feed- another writer on board? Is it innova- eral different production companies back to their scripts. Shiny Button’s tive? Have the commissioners ever helped writers and producers to James De Frond insisted: ‘Be open seen anything like this before? Com- acquire different approaches, he noted: to notes. They’re not criticism, missioners routinely receive 15 to “I’ve worked for Big Talk, Baby Cow they’re ideas.’ 20 scripts day, so yours has to stand and Tiger Aspect. Every company out,” she said. comes at it from a slightly different

28 ‘YOU NEED THE direction. You learn different ways of FIRST LINE OF series before we even start thinking attacking it.” YOUR TREATMENT about episode 1,” he said. “To get the Brereton, who co-created and pro- first episode right, you need to do a lot duced Successville, advised that the TO PIQUE THE of hard work. That’s how we approach opening paragraph of a treatment COMMISSIONER’S every project. Not everyone does that. should sum up the idea in a single The more you can put into it, the better.” sentence, fleshed out by more detail INTEREST’ Davis recommended giving actors in subsequent sentences. more material than necessary – as well He said: “I always think that if you as doing the hard graft. Writers needed can sell an idea in a paragraph… com- Shavon, and was developed from a to ensure that they got paid for writing missioners have no time and have YouTube short made by Sebastian scripts. “We’re working with two piles of scripts, so you need the first Thiel, his sister and best mate (Thiel young guys who had previously writ- line of your treatment to pique their was named by the Evening Standard as ten a script for a production company interest. If you’ve got them by the sec- one of the most influential Londoners that didn’t pay them. Everyone in this ond page, they’ll read the rest.” under 25). room should take heed,” warned Davis. Davis chipped in: “You want to walk “It didn’t come through the usual “That is the most disgusting way to out of that [pitching] meeting knowing route of an agent or a production com- treat new talent, because it will kill that they’re going to remember it for pany,” said Singer. “We get a lot of everything we’re trying to nurture. the rest of the day. Act it out, make ’em shorts sent in, but Just a Couple imme- “Nurture people properly. With these laugh, make it funny.” diately stood out. It was warm, charac- guys, we’re not even ready to write a He continued: “Attach jokes to stories. terful and funny. We spent two years script. Let them have the time to It might not be the best joke you’ve with Sebastian, working on how we develop their story. It’s a very delicate ever heard, but it has to link to the could develop it from a short into subject matter, so we need to make story [otherwise it’ll probably get cut]. something that exists in a bigger world. sure we get this right.” It has to sit in the story. Everything has “Sebastian is a brilliant of De Frond said that he had learnt a lot to be story-based.” someone who didn’t follow the usual from working in American writing After the pitch, said Davis, it was paths. He didn’t go to film school. Just a teams – far more that he did from vital to be clear about which idea the Couple is totally fresh and he has a reading a lot of books devoted to commissioner had bought in to: “What totally distinct voice. He’s amazing and screenwriting. “There, I learnt the basis is the idea we’ve sold?” doing brilliant things. of writing a sitcom episode – the basic With new talent, stressed Singer, it “It’s an example of how someone three acts, the set up, the pay-off.” was important to rehearse the pitch who was off our radar, and who made Simplicity was the key. “When you thoroughly. “We run through something off his own back, can cut sit down and watch a show, you don’t everything beforehand to make sure through.” want to watch something overly com- they’re comfortable,” she said. Davis said it was always important plicated,” suggested Davis. The tone and style of the treatment to spend a long time “crafting and He told the Futures crowd that it was (preferably including pictures) all help, honing” an idea. This had been the always better to leave a TV audience

BBC said Brereton. “A friend of ours did Sex approach on Murder in Successville and wanting more than to let a series run Education and the treatment actually King Gary, which he co-wrote with De and run until it went off the boil. Mur- looked like Sex Education – but not so Frond (who also directed) and which der in Successville had gone out on a that it got in the way,” he said. was shown by BBC One last December. high – following three successful series. Things were changing, though. Net­ “I put my heart and soul into it,” said “There comes a time when you have flix isn’t keen on treatments,” said De Davis. “I didn’t write it because I wanted to ask yourself: why are you making Frond. “It wanted to see . fame and recognition. If you want that, a this? You’ve got to keep on challenging That is how it works.” The emergence quick hit of fame, go on Towie.” yourself. Every day, we come in to of the global streamers had changed De Frond agreed. “We spend a lot of work and try constantly to push our- things radically. “We’ve all had to open time beating out the story arc across the selves as creatives, as professionals and up our minds,” acknowledged Davis. as people.” n Singer explained that “interactive treatments”, utilising social media, had ‘BE OPEN TO The RTS Futures Event ‘Pitching script to started to emerge. screen’ was held at the London Transport She described how she had sold a NOTES. THEY’RE Museum in Covent Garden on 3 April. The new relationship comedy, Just a Couple, NOT CRITICISM, producers were Andy Brereton and Melissa to BBC Three. The series focuses on Clay-Peters, head of creative talent at the lives of a modern couple, Mark and THEY’RE IDEAS’ EndemolShine UK

Television www.rts.org.uk April 2019 29 Black to the future

imewasters has charmed is made by . “I critics and attracted Comedy wanted to write a comedy for young healthy audiences with black actors and I saw that shows such its mix of jazz, time as , Drifters and Plebs were travel and good jokes. ITV2’s award-winning doing well,” recalled Taylor, who also Notably, it also has an Timewasters blends plays Nick in Timewasters. all-blackT leading cast but, according to At the time, Taylor was learning the its creator, Daniel Lawrence Taylor, it jokes, jazz and time trumpet and thought it would be “cool is, “first and foremost”, a comedy. to write a show about an all-black jazz The ITV2 show has much in com- travel to tackle big band”. Next, he decided to set it in the mon with its Channel 4 contemporar- themes such as racism, 1920s, before introducing a “high con- ies Derry Girls, which is set against the cept” – time travel. “And then,” he backdrop of the Troubles in Northern learns Matthew Bell added, “I came up with a title, Black Ireland, and Home, featuring a Syrian to the Future.” refugee. The show finds “comedy in Breakthrough Award at the 2018 RTS In fact, the title didn’t survive a legal dark places”, said Taylor, adding: “Rac- Programme Awards. intervention from Universal, which ism is ridiculous, so finding the ‘funny’ Series 2, which finished its run this made the Back to the Future movies. in that is fun.” month, moved the action forward to “Even though the theme of blackness The first series of Timewasters, in 1958, where the quartet encounter rock is so embedded in the show, first and autumn 2017, catapulted the four lead ’n’ roll and the Windrush generation foremost, it’s a comedy. So, weirdly, characters back in time – from a south – and accidentally trigger the Notting I’m quite glad it now has a different London lift – to 1926, where they were Hill race riots. title,” said Taylor. hired as a jazz band. It was the most At an RTS London event in early He had written for his former com- watched new comedy of the year April, three of the four leads – Kadiff edy duo Ginger and Black, but this was for 16-to-24s on any digital channel Kirwan was in the US – and director his first script for TV. With the help of a in the UK and won Taylor the George Kane discussed the show, which script editor, Timewasters went through

30 Timewasters season 2 (from left): Techniques for Samson Kayo (Horace), Kadiff Kirwan (Jason), Daniel Lawrence Taylor (Nick) time travelling and Adelayo Adedayo (Lauren)

a series of drafts: “In the first draft, the producer. “We are hoping to get the ‘There aren’t too many high-­concept characters and the world were pretty ball rolling,” he said. sitcoms about, so, as a director, I much there, but [in later drafts] there The cast is willing ITV to commis- could do something more cine- were better jokes and storytelling.” sion a third series in the UK. Indeed, matic with it,’ explained George The cast – none of whom had Kayo turned down a US show, which Kane, who directed both series of worked together before – was assem- would have committed him to work- Timewasters. A graduate of Ire- bled from auditions, before Taylor held ing more or less full time across the land’s National Film School, Kane a reading. “We all knew it was special Atlantic for the next few years, to stay recently helmed three episodes of that so many black faces were going to available for home-grown productions. W comedy-drama Flack. be on screen – there was real excite- The actor volunteers at an adventure ‘In the modern day [sequences], ment,” he recalled. “ITV2 seemed like playground in East Dulwich, near to there are a lot more hard surfaces, the right fit. Timewasters came at that where he grew up. “All these kids straight lines, locked-off [fixed moment when the discussion about come up to me and are really excited, camera] shots and fluorescent putting more black talent on screen so I wouldn’t want to go over to the US lights, and I used colours that I was [happening],” said Taylor. and not create any more UK content,” wasn’t going to use in the 1920s. “After it went out, I heard that Chan- he explained. “If the kids want to be When we go to the 1920s… I nel 4 and BBC Three were both pissed actors, [I don’t want them] to see that avoided certain colours – there’s that they didn’t have it, which is a really that’s the route, flying off to [the US]. no blue in it. All the props and cos- lovely thing to hear, because it means “It’s not the case that we can’t make tumes fit this colour scheme… My that they’re going to go out and – programmes [in the UK] – because choice was also to go hand-held hopefully – try to find their own we are.” n once you hit the past, so it feels a version.” little bit more unpredictable. Adelayo Adedayo (who starred in the The RTS London event ‘Production focus: ‘We shot it all in , BBC Three sitcom Some Girls), plays Timewasters’ was held at Atos in central because [it has] these great Geor- Lauren, and was the last of the cast on London on 3 April. It was chaired by BFI gian terraces and cobbled streets. board. “I like how brazen Lauren is: lead programmer Justin Johnson and Peaky Blinders was shot there.

ITV she says whatever she wants to say produced by James Cordell. ‘When [the actors] landed in the and [actors] don’t get to do that often”. 1920s… [I used] a 360° shot that “I had a read-through with the guys Daniel Lawrence moves past horses, carriages and and it was a lot of fun,” she recalled. Taylor won the old cars, and then lands on the The cast bonded immediately, so Breakthrough gang.… We’d cleared the street and much so, that “everyone thought we award, for Time- we were about to shoot it when were a group of mates”. wasters, at the someone parked their motorcycle Samson Kayo plays the endearing RTS Programme in the street and wouldn’t move it, Horace. “I instantly had a feeling that Awards 2018 so we had to wheel a carriage in [Timewasters] was going to be some- front of it. That [shot] was a real thing [special]. As well as the [great] challenge, technically, plus it was writing, it seemed important for us, as snowing half the time during the black actors, to have something on a shoot. big channel,” he said. ‘For the second series, in the Kayo is clearly a star in the making. 1950s, I referenced movies from At this year’s RTS Programme Awards, that period… very rich Technicolor he was nominated in the Comedy movies… with a really vivid look, Performance– Male category for BBC plus particular colours such as Three sketch show Famalam. pastel blue, red and yellow. He also co-created and starred in a ‘The atmosphere [on set] is new sitcom for Dave, Sliced, and has really great.… Everyone sparks off landed a part in 20th Century Fox’s each other so well – as pressured adaptation of comic book series Mouse as [shooting] can be, there’s got to Guard, playing a “William Wallace, be time to play and mess about. Braveheart-type mouse”. If you’re completely stuck to the Taylor is currently discussing a script and schedule, you can stifle

US version of Timewasters with CBS Hampartsoumian Paul some of the energy.’ – with rapper LL Cool J as a potential

Television www.rts.org.uk April 2019 31 Nations and regions Huge global commercial opportunities exist for TV talent based outside London, Julian Bellamy tells the Creative Cities Convention in Cardiff. Huw Rossiter reports

TV Studios’ Managing Direc- tor, Julian Bellamy, wants people to know that he is open for business for creative talent and great ideas – wher- ever they may come from. I“We’re in a world now where crea- tive talent has never been more in Act demand, more diverse, more com- mercial, more mobile – and if you don’t embrace that as a producer, you won’t survive and prosper,” he said. Bellamy already has a large talent local, pool to choose from. ITV’s strategy of acquiring independent produc- tion companies means that it owns 23 labels in the UK alone, with investment in a further five. think He was interviewed by Kirsty Wark in an RTS-sponsored session at the Creative Cities Convention in Cardiff. “Probably the single big- gest thing I spend my time on is global thinking how I can retain and get the best out of the creative talent and how I can attract more,” he told Wark. “We’re always looking to build creative strength. But you have to find the right strategic fit, the right cultural fit, the right people with the right philosophy and ambition to fit in with ITV Studios.” Bellamy oversees a division that operates worldwide, but it also has deep and established roots in the UK nations and regions. Today, nearly half of all ITV Studios staff and half of Studios’ UK labels are based, or have bases, outside of Lon- don. For example, the convention’s

host city, Cardiff, is home to ITV

32 Group labels Boom and Boomerang. for ITV. So, diversification has been an The former produces programmes for ‘YOU GET THE important part of the ITV Studios ITV, Channel 5, BBC One and BBC BEST OUT OF story.” The group also includes ITV’s Wales, as well as 400 hours a year of in-house productions arm, which is Welsh-language content for . PEOPLE IF YOU responsible for two of British TV’s Boomerang is the group’s factual GIVE THEM flagship soaps, Coronation Street, made entertainment company, producing at MediaCity in Manchester, and international hit programmes for CREATIVE , produced in Leeds. How, Channel 4 and Channel 5. ITV Wales, AUTONOMY’ asked Wark, has he gone about raising meanwhile, has collaborated with the game of his in-house teams? award-winning factual label Shiver to “It’s very easy to forget that the create Shiver Cymru. in-house team is already hugely suc- Over the past eight years, ITV Stu- production, Bellamy said the extent of cessful,” he said. “The sheer success of dios has trebled in size to become one change for productions outside Lon- shows such as the soaps – the audi- of the world’s leading distributors and don had been profound. ence share was up last year – the day- independent producers. “All too often, it was all about obliga- time shows, also up this year… We’re It is also the largest commercial tion and regulation, but now, sitting in very lucky that we have a lot of production company in the UK and my chair, what you’re thinking about is strength there. The bottom line is the the largest independent producer of commercial opportunity,” he said. combination of getting the right talent non-scripted content in the US. “And the commercial opportunity in place and having the right culture.” The group has production bases in today is huge for any production group Despite its many acquisitions, 12 countries, making over 8,900 hours that has a reach outside of London.” organic growth had been crucial to ITV of original content annually. In 2018, it The nations and regions, he said, Studios, Bellamy maintained: “Take secured 249 new commissions and 201 provided a “key plank” for ITV. “We Tom McLennan, creative director in recommissions. UK revenues were employ 900 full-time staff. We have the North for ITV Studios Entertain- broadly flat at £695m. major production bases in Glasgow, ment, based in Manchester. Four years “The foundation stone of the busi- Manchester, Leeds, Plymouth and ago, he was overseeing 200 hours of ness, both in the UK and globally, is Cardiff. But, above and beyond that, television, including Jeremy Kyle. Today, great creative talent and great produc- we’re seeking great creative talent that’s gone up to 800 hours.” tion talent,” said Bellamy. “Imbuing wherever they may be.” The session closed with Bellamy them with a sense of trust and free- ITV Studios’ labels are making shows being asked what advice he’d give dom, and creating a culture for them to in the nations and regions across all local indies about “going global”. do their best work, is fundamental to genres, both for ITV and for rival “Think local in terms of creativity,” the business all across the world.” broadcasters BBC, Channel 4, Channel he said. “One of the mistakes people Wark asked how acquired compa- 5 and Sky. They include Poldark (filmed sometimes make is that they think the nies were nurtured and set on their in Cornwall by ), Cold way to go global is to come up with a path to expansion. How did that oper- Feet (Big Talk in Manchester), Line of global idea when, actually, particularly ate from company to company? Duty ( in Northern in drama, there’s a real trend towards “It’s a simple philosophy,” said Bel- Ireland), (SilverPrint Pictures the specific or the local. lamy. “We believe that you get the best in the and mainland Scot- “Then, you need to make sure you’ve out of people if you give them creative land), Victoria (Mammoth Screen in got a partnership with someone who autonomy – so, they continue to have Yorkshire), Vera (SilverPrint Pictures in has the ability to turn local success a culture where it still feels like they’re north-east England) the Educating series into something that can reach the masters of their own company, with a (Twofour, all around the UK), and Code global markets very quickly.” n strong creative, entrepreneurial spirit. Blue: Murder (Shiver Cymru in Cardiff). And that philosophy runs all the way “There’s never been a more exciting The annual Creative Cities Convention through the group. time to be in television,” argued Bel- took place 1-2 April and was organised “That doesn’t mean we’re absentee lamy. “In 2017, there was something jointly by the BBC, ITV, Channel 4, Chan- landlords: we absolutely support and like $53bn of content spend in the top nel 5 and Pact. The inaugural event was engage constructively with production 25 markets alone. in Leeds in 2018. Other speakers included companies and producers but, funda- “A big thing we’ve focused on is BBC Three controller Fiona Campbell, mentally, we believe the way in which diversifying the business. Last year, in director of BBC Cymru Wales Rhodri you narrow the odds on coming up drama, we made more drama for Talfan Davies, Channel 5 director of pro- with more hit shows is creative auton- Channel 4, BBC and Sky than we did grammes Ben Frow, Scottish broadcaster omy and having trust in people.” Ayesha Hazarika, BBC Two channel editor Bellamy’s theme chimed with that Patrick Holland, Channel 4 CEO Alex Ma- of the Creative Cities Convention and hon, Pact CEO John McVay and Bad Wolf offered proof that the old London-­ ‘WE’RE SEEKING co-founder . Commissioner centric commissioning mindset that GREAT CREATIVE one-to-one sessions were held over the saw production in and for the nations two days. The convention featured a ‘Big and regions as an onerous regulatory TALENT city challenge’, which previewed pitches obligation is fast evaporating. WHEREVER by the contenders to host next year’s Asked by Wark if there had been a event – Glasgow, Newcastle Gateshead tipping point in favour of regional THEY MAY BE’ and Nottingham.

Television www.rts.org.uk April 2019 33 Actor – Female: ,

RTS Programme Awards 2019 Hosted by Shappi Khorsandi, the awards were presented on 19 March at the Grosvenor House Hotel, London, in partnership with Audio Network

34  Entertainment Performance: The Show Channel 4

Actor – Female Breakthrough Award Comedy Performance – Female Jodie Comer, Killing Eve Nabhaan Rizwan, Informer Lesley Manville, Mum Sid Gentle Films for BBC One Neal Street Productions for BBC One Big Talk Productions in association with ‘Already iconic, and impossible to ‘An exciting new talent who is clearly The Money Men for BBC Two imagine anyone else inhabiting the destined for an exceptional future. The ‘Extremely funny, nuanced and beau- role in quite the same way.’ performance was simply incredible.’ tifully balanced.… Her performance Nominees: Nominees: really did set a new benchmark for Sandra Oh, Killing Eve, Sid Gentle Films , , excellence in this genre.’ for BBC One Expectation/Dice Productions for Nominees: , Black Earth Rising, Channel 4 Sian Gibson, ’s Car Share Forgiving Earth for BBC Two Alice Feetham, Save Me, World – The Finale, Goodnight Vienna Productions for Sky Atlantic Productions for BBC One Actor – Male Daisy May Cooper, , BBC Lucian Msamati, Kiri Children’s Programme Studios for BBC Three The Forge Entertainment for Channel 4 Prosiect Z ‘Harrowing, unsentimental and Boom Cymru for S4C Comedy Performance – Male nuanced … an extraordinarily brilliant ‘Thoroughly engaging throughout, with and Reece performance.’ a great narrative and a real Shearsmith, Inside No. 9 Nominees: sense of jeopardy at its BBC Studios for BBC Two Ben Whishaw, A Very English Scandal, centre.’ ‘Astonishing and committed – Blueprint Pictures for BBC One Nominees: simply a masterclass in comedy , Save Me, World My Life: Locked-in Boy, performance at the very high- Productions for Sky Atlantic Sugar Films for CBBC est level.’ Jacqueline Nominees: Arts Wilson’s Katy, Alex Murphy and Chris Walley, The Art of Drumming BBC Children’s The Young Offenders, Vico Films for In-house for BBC Three ‘A standout piece of programming, Productions Samson Kayo, Famalam, BBC presenting the familiar in a wholly new for CBBC Studios for BBC Three way without missing a beat.’ Nominees: Black Hollywood: ‘They’ve Gotta Have Us’, AFL Films for BBC Two Germaine Bloody Greer, Big Wheel Film

BBC & Television for BBC Two Host: Shappi Khorsandi

Television www.rts.org.uk April 2019 35 Entertainment The Last Leg Judges’ Award Open Mike for Channel 4 ‘Bold and totally brilliant, entertaining Ben Frow its audience with seemingly endless creative inventiveness.’ The recipient has transformed Nominees: Channel 5 from a broadcaster Britain’s Got Talent, Syco/Thames for ITV heavily reliant on US acquisitions Don’t Hate the Playaz, Monkey Kingdom to one defined by a distinctive, for ITV2 original, home-grown programme mix that has found its own Entertainment Performance appreciative and loyal audience. Big Narstie and Mo Gilligan, The Big Ben Frow joined Channel 5 in Narstie Show 2013, a year before it was acquired Expectation/Dice Productions for by Viacom, and has taken it on a Channel 4 journey of gradual but radical ‘A complete breath of fresh air, refresh- change – all of which seems to have ingly raw, authentic and very enter- paid off in the last year. Channel 5 taining.’ punches above its weight with Nominees: shows that are warm, inclusive, , UK, ITV and really know their audience. Studios and Talpa for ITV Michael McIntyre, Michael McIntyre’s Big Show, Hungry McBear for BBC One Daytime Programme Drama Series The Repair Shop Save Me Formatted Popular Factual Ricochet for BBC Two World Productions for Sky Atlantic The Real Full Monty: Ladies’ Night ‘An original and engaging programme ‘So fresh and authentic, it was if the Spun Gold TV for ITV with lots of heart and great production dialogue was real rather than written. ‘A deftly handled, original piece of values.’ An astonishing achievement.’ work, which has genuinely made its Nominees: Nominees: own impact on the factual landscape.’ Moving On – Invisible, LA Productions Killing Eve, Sid Gentle Films for BBC One Nominees: for BBC One Peaky Blinders, Caryn Mandabach Gordon, Gino and Fred’s Road Trip: Murder, Mystery and My Family, Productions and Tiger Aspect The French Connection, Studio Ramsay Chalkboard TV for BBC One Productions for BBC Two for ITV Mortimer & Whitehouse: Gone Fishing, Documentary Series Owl Power for BBC Two Prison Spring Films for Channel 4 History ‘Cutting deeper than most A Dangerous Dynasty: The House immersive access documenta- of Assad ries, this series had a droll and 72 Films for BBC Two provocative tone, which ‘An accessible, compelling piece, with emerged through astonishing some astonishing archive and telling scenes, encounters and an important story’ characters’­ Nominees: Nominees: Holocaust: The Revenge Plot, Caravan Love and Hate Crime, Top Hat for Channel 4 Productions for BBC One The Ruth Ellis Files: A Very British Crime Drugsland, BBC Studios – Story, Wall to Wall for BBC Four Unscripted Productions and the for Live Event BBC Three The Royal Wedding: Prince Harry and Meghan Markle BBC Studios for BBC One ‘A very British spectacle captured with great style and flair.’ Nominees:

Sky The Real Full Monty Live, Spun Gold for ITV Glyndebourne Opera Cup, Factory Films for Sky Arts Drama Series and Writer – Drama: Save Me

36 1 2 3

4 5 6

7 8 9 All pictures: Richard Kendal

1 Actor – Female: 2 Actor – Male: 3 Arts: Jodie Comer, Killing Eve Lucian Msamati, Kiri The Art of Drumming

4 Breakthrough Award: 5 Children’s Programme: 6 Comedy Performance – Female: Nabhaan Rizwan, Informer Prosiect Z Lesley Manville, Mum

7 Comedy Performance – Male: 8 Daytime Programme: 9 Documentary Series: Steve Pemberton and , The Repair Shop Prison Inside No. 9

Television www.rts.org.uk April 2019 37 Comedy Performance – Male: Steve Pemberton and Reece Shearsmith, Inside No. 9 BBC

Mini-Series RTS Channel of the Year Scripted Comedy A Very English Scandal CBeebies Derry Girls Blueprint Pictures for BBC One ‘The channel seems more important Hat Trick Productions for Channel 4 ‘An exceptionally confident drama that now than ever… commissioning pro- ‘Skilful, special and truthful, combining couldn’t be more relevant in these grammes that entertain and educate its super-smart writing with outstanding uncertain times, but written and per- audience in equal measure.’ acting.’ formed with a sense of both lightness Nominees: Nominees: and outrage.’ BBC One Famalam, BBC Studios for BBC Three Nominees: Channel 5 Detectorists, Channel X North, The Cry, Synchronicity Films for BBC One Treasure Trove Productions, and Lola Butterfly, and Science and Natural History Entertainment for BBC Four Aenon for ITV Drowning in Plastic Raw TV for BBC One Single Documentary Presenter ‘Deeply emotionally engaging on a Raped: My Story Romesh Ranganathan, The subject we thought we all knew about.’ Lambent Productions for Channel 5 Misadventures of Romesh Nominees: ‘A shocking eye-opener of a pro- Ranganathan The Secret Life of Landfill: A Rubbish gramme.… It was beautiful, powerful Rumpus Media for BBC Two History, Tern Television Productions for film-making; carefully produced and ‘It brought genuine originality to every BBC Four edited brilliantly.’ scene, making the whole endeavour Blue Planet II, BBC Studios – The Nominees: distinctive and very special.’ Natural History Unit for BBC One Grenfell, Minnow Films for BBC One Nominees: Married to a Paedophile, Brinkworth Michael Palin, Michael Palin in North Films for Channel 4 Korea, ITN Productions for Channel 5 Bobby Friction, Pump Up the Bhangra: The Sound of Asian Britain, Pacific Quay Productions, BBC Studios for BBC Four

38 1 2 3

4 5 6

7 8 9 All pictures: Richard Kendal

1 Drama Series: 2 Entertainment: 3 Entertainment Performance: Save Me The Last Leg Big Narstie and Mo Gilligan, The Big Narstie Show 4 Formatted Popular Factual: 5 History: The Real Full Monty: Ladies’ Night A Dangerous Dynasty: The House 6 Live Event: of Assad The Royal Wedding: Prince Harry and 7 Mini-Series: Meghan Markle A Very English Scandal 8 Presenter: Romesh Ranganathan, The 9 RTS Channel of the Year: Misadventures of Romesh Ranganathan CBeebies

Television www.rts.org.uk April 2019 39 Outstanding contribution

This year, Lorraine Kelly celebrates 35 years on TV. She’s so famous that she’s usually known by her first name only. For decades now, she has simply been woven into the daily life of our nation. She’s the most empathetic interviewer on television – never afraid to show her own emotions while retaining her tough journal- istic . She’s covered every news story from Dunblane to the death of Diana, 9/11 to 7/7, the Gulf

War to Grenfell. Richard Kendal

Single Drama Sports Programme Writer – Comedy Killed by My Debt MOTD 2018 World Cup: Quarter Final Stefan Golaszewski, Mum BBC Studios: The Documentary Unit – England vs Sweden Big Talk Productions in association with for BBC Three BBC Sport for BBC One The Money Men for BBC Two ‘Devastating, with a true story unpacked ‘Capturing all the intense emotion of ‘Writing that just sings throughout this expertly and brought to life by the occasion, alongside some dazzling masterfully well observed, beautiful extremely well-judged performances.’ punditry and a thrilling commentary.’ comedy.’ Nominees: Nominees: Nominees: Mother’s Day, BBC Studios: The Winter Paralympic Games, Whisper and , Documentary Unit for BBC Two Films for Channel 4 , Roughcut TV for Black Mirror: USS Callister, House of 2018 Ryder Cup, and Channel 4 Tomorrow for Netflix European Tour Productions for Lisa McGee, Derry Girls, Hat Trick Sky Sports Productions for Channel 4 Soap and Continuing Drama Writer – Drama for Channel 4 Lennie James, Save Me ‘We were blown away by it!.… Well World Productions for Sky Atlantic written, beautifully acted, it was bold ‘Witty, warm writing rubbed up against and confident, with terrific central harsh, dark and truthful storytelling performances.’ populated by wonderful, rich characters.’ Nominees: Nominees: , BBC Studios for BBC One David Nicholls, Patrick Melrose, Little Coronation Street, ITV Studios for ITV Island Productions, Two Cities Television and SunnyMarch for Sky Atlantic Sports Presenter, Commentator , A Very English or Pundit Scandal, Blueprint Pictures for BBC One Osi Umenyiora, NFL This Week and The NFL Show Judges’ Award Whisper Films for BBC Two Ben Frow, director of programmes, ‘Charismatic, knowledgeable, Channel 5 insightful and opinionated – a total joy to watch.’ Outstanding Contribution to Nominees: British Television Roy Keane, 2018 Fifa World Cup, Lorraine Kelly ITV Sport for ITV Gary Lineker, MOTD: World Cup 2018, BBC Sport for BBC One

Comedy Performance – Female:

BBC Lesley Manville, Mum

40 1 2 3

4 5 6

7 8 9 All pictures: Richard Kendal

1 Science and Natural History: 2 Scripted Comedy: 3 Single Documentary: Drowning in Plastic Derry Girls Raped: My Story

4 Single Drama: 5 Soap and Continuing Drama: 6 Sports Presenter, Commentator or Killed by My Debt Hollyoaks Pundit: Osi Umenyiora, NFL This Week and The NFL Show 7 Sports Programme: 8 Writer – Comedy: MOTD 2018 World Cup: Quarter Final - Stefan Golaszewski, Mum 9 Writer – Drama: England vs Sweden Lennie James, Save Me

Television www.rts.org.uk April 2019 41 RTS NEWS me much about much actu- ally. She dragged quite a lot of skeletons around. I could give the programme-makers the bare minimum of facts and I was astonished how, a few months later, they had a programme,” he recalled. “Charles is the perfect sub- ject for Who Do You Think You Are? because he didn’t know much and what he did know was partly right and partly wrong,” said Graham, who left Wall to Wall to start Two Cities Television – maker of Sky Atlantic drama Patrick Melrose – with ex-Channel 4 boss Michael Jackson. In an episode full of sur- prises, Dance discovered that he had a half-sister who died young, that his father fought

discovers how Matthew Bell in the Boer War and had a

RTS London Who Do You Think You Are? family in before returning to England and found the truth about the lives meeting the actor’s mother of Charles Dance’s parents – who was a waitress at a Lyons Corner House – and Charles Dance

BBC that his older brother was, in fact, his half-brother with an unknown father. “My mother didn’t have two Digging up the past ha’pennies to rub together; she went into service when she was 13. Because of the ormer Goodie Bill year is also the 30th anniver- Actor Charles Dance way my face is put together, Oddie was the celeb- sary of me trying to sell it to explained why he had agreed in my work I’m often cast rity featured in the the BBC,” he said. to feature in an episode: “I aristocratically, but there’s very first episode of And, argued Graham, it’s knew so little about my fam- nothing aristocratic about me FWho Do You Think You Are? not really a genealogy show. ily. I’d like to be able to tell whatsoever – I’m as common – and more than 130 have “Who Do You Think You Are? my children a lot more about as muck,” said Dance. followed in his wake. That’s a uses genealogy as a tool to where they came from.” Not every celebrity who lot of telly tears because, as unlock social history. It’s Dance made his name in the signs up for the show has a Alex Graham told an RTS social history 1980s in ITV’s story to tell that works for London audience at Atos in in it’s widest drama about prime-time TV. “Michael Holborn in early March, sense – it’s ‘IT USES the last days of Parkinson wrote rather touch- “We’re famous for people about families, the British Raj, ingly about when he discov- crying on the show.” secrets and GENEALOGY The Jewel in the ered he was too boring for the Graham, who founded the lies, and skel- TO UNLOCK Crown, and he show,” said Graham. “We programme’s producer, Wall etons,” he told plays Lord don’t have limitless resources. to Wall, came up with the , SOCIAL Mountbatten in If we did, we’d probably find idea for a genealogy series in professor HISTORY’ the next series a story for everyone.” which famous faces discover emeritus at of Netflix’s Who Do You Think You Are? the truth about their ances- City Univer- The Crown. makes huge demands on its tors – but it took a decade sity’s Department of Journal- The actor’s mother had left researchers. “There’s a big and a half for a commis- ism and an RTS award- him in the dark about his engine room of research that sioner to bite. “This show is winning TV journalist, who father, who died when Dance goes on throughout the year,” 15 years old this year, but this chaired the event. was an infant. “She didn’t tell explained Rosie Schellenberg,

42 who directed the Charles Dance episode. “When it comes to production, the stories have already been fleshed out and [we know] the content of the film.” Schellenberg and her pro- duction team of an assistant producer and researcher come on board four weeks before filming starts. On loca- tion, a camera operator and sound person join the crew. “As a director, it’s a very creative programme. ITV tells a Because a lot of the story is mapped out,” said Schellen- berg, “it allows you to con- Tall Story centrate on the essence of directing and getting the most out of the people you are working with. “There’s a moment in [every film],” she continued, “when you see something The Bay that’s not a PR interview for a ITV film but that is actually them.” “The production team The female-led cop and, front and centre, is a recounted how he and Chris- needs to know everything show has been given a family liaison officer, which tie had had “a very important and the celebrity nothing,” new twist by Tall Story we haven’t seen before.” tender scene, scheduled to be explained Graham. “The rea- North West Centre Pictures, maker of Carville revealed that the shot outside the house”, in son we don’t tell people where ITV’s new thriller The Bay, idea had come from a news which they had ended up they’re going is to elicit, as far which premiered at an RTS report in which a “family shouting so loudly over the as possible, a spontaneous and North West event at the thanked their family liaison wind that the shoot was authentic reaction.” For Dance, Lowry, Salford, in March. officer, saying they’d never relocated to inside a car. “This wasn’t an acting job After the screening of have got through [their Oldfield, who has personal – my job was to react and episode 1, executive pro- ordeal] without her”. connections to Morecambe, not contrive anything.” ducer Catherine Oldfield, The Bay’s star, Christie, was chose to film in the Lan- Looking back to the first co-creator and writer Daragh drawn to the role of DS Lisa cashire town because of “the series of Who Do You Think You Carville, and actors Morven Armstrong because “she’s a huge epic landscapes”, with Are?, in 2004, Graham recalled Christie and Daniel Ryan woman who does morally the directors using drones to a fear “that it was going to be were on hand to discuss the ambiguous things”. She said shoot over Morecambe Bay an absolutely fantastic radio show with ITV it was a brave choice because and the sands. She com- series but not a good TV presenter Ann O’Connor. networks often fear that this mended the “look” that the series. I was concerned that Christie plays a detective female character type “won’t director and director of pho- a lot of it would unfold in sergeant and family liaison be liked by the audience”. tography had brought to the libraries, museums and officer, who is embedded to In fact, Oldfield praised show, which was inspired by draughty church halls. offer support to the family of ITV drama chief Polly Hill, the seaside pictures of pho- “I remember having a bit missing teenage twins, who “has been an amazing tographer Martin Parr. of a rant, saying, ‘I don’t want which allows her to investi- champion of the show” since Although, she added, “[I’d] lots of boring documents. gate their disappearance commissioning it “from a never shoot on a boat again.” This is television – it has to from within. two-sentence verbal pitch”. When Carville highlighted be visual.’ I could not have In a TV market currently Filming in Morecambe the “rich sense of community been more wrong, because it heavy on crime dramas, for brought challenges, forcing [in Morecambe]”, Oldfield is the documents that unlock Oldfield, who is also creative the director, cast and crew to agreed, considering The Bay the emotion in the show. director of Tall Story, the pitch adapt to the area’s change- to be “really heartland ITV. It “Probably nine times out was “a no-brainer. It’s set in able weather delivering “four feels like it reflects the world of 10, it is a document that Morecambe, where no one seasons in a day”. Ryan, who of the audience back to them.” triggers the tears.” n had ever made a show before; plays Armstrong’s boss, Carole Solazzo

Television www.rts.org.uk April 2019 43 RTS CENTRE STUDENT AWARDS Derby wins first Sir Lenny prize

Students from the The universities of Lincoln University of Derby and Derby led the way, with took home the inaugu- each taking home four

Midlands Centre ral Sir awards. and Award for Meatball, which City students was named the overall win- also won awards across ner at the RTS Midlands 12 categories. Student Television Awards. “This year, we had a stand- The Dudley-born come- alone event for our Student dian sent a message to the Television Awards, so stu- awards ceremony. dents had an opportunity to “Thank you for sending network with all the produc- me these films to peruse, ers from the region who Sir Lenny Henry

John Swannell enjoy and, in some cases, spit attended,” said Dorothy Hob- out my tea with laughter,” he son, chair of the judges. “We RTS Midlands Student Short Feature•The 38 to Hackney• said. “The hard work and were delighted that Sir Lenny Jordan Tonge, Seb Shackel, Edward perspiration that has gone Henry put his name to a Television Awards winners Walker and Alex De Jesus Egan, Staf- into these little gems is very special award and chose the Sir Lenny Henry Award•Meatball• fordshire University Jack Barrie, Cal Brown, Charlotte Craft Skills – Camera•The Block• easy to see. winning entry from the win- Glasgow, Céline Woodburn and Callum Mitchell, Gus Ayling, Joel “The makers care about ners of each overall category.” Ben Evans, University of Derby Bedworth, Lydia Nash, Robert Whittle Animation•Papier•Tabitha Lay, and Benjamin Ridley Porteous-Butley, their films and filled each Film Birmingham, BBC Emily Leaning, Katie Thomas, University of Lincoln frame with emotion, enthu- Three, North One TV and Natasha Ray and Charlie Bartlett, Craft Skills – Editing•For My Girls ’83• siasm and energy. I laughed Rural Media sponsored the University of Lincoln Sophie Webberley, Staffordshire Comedy and Entertainment• University a lot at the winning entry, Midlands Student Awards. Meatball•(as above), University Craft Skills – Production Design but I was also moved by the BBC Three, Second Home of Derby Sound•Flintlock•Michael Strachan other pieces.” Studios, 7 Wonder and Full Drama•Writer’s Block•Sabrina Bal, Brown, Jake Hatton, Stefanie Oswald, Kristen Jennings, Joshua Rout, Kate Nicola Cowley, Will Hounsell, Mark The comedy horror Meat- Fat TV will be offering men- Seeley, James Fuller, Natalie Afshin Kia Atkinson and Ed Sargisson, ball was written and directed toring and work experience and Gianni Basi, University of Derby University of Lincoln Factual•Swan’s Signature•Joshua Craft Skills – Sound•Twist Again• by Jack Barrie. to award winners. Timmins, University of Derby Carl Heffy, Staffordshire University BBC Asian Network DJ The BBC Drama Village News•Horse Racing’s Gender Divide: Craft Skills – Writing•A Voice Not Yasser hosted the ceremony also supported the event and The Final Hurdle•Elliott Hawkins, Mine•Amber Griffith, Birmingham University of Lincoln City University at the Library of Birmingham discussed opportunities in the in late February. TV industry with students.

Emo’s romantic drama, Speak RTS Republic of Ireland to Her. The other awards went Student Television Colleges draw in Dublin to Ballyfermot College stu- Awards winners dents. Michael Fitzgibbon, Animation•The Usual•Éabha The prizes at the “The composition and flow Potema Dunne and Tyler Bortolozza and Jack Kirwin, National Film School at IADT, Dún Laoghaire Republic of Ireland of the imagery demonstrates Lynch’s Robots Need Not Apply Comedy and Entertainment• Student Awards were a high standard of animation took the Comedy and Enter- Robots Need Not Apply•Michael Republic of Ireland shared between the direction,” said the judges. tainment prize. Patricia Mur- Fitzgibbon, Potema Dunne and Tyler Lynch, Ballyfermot National Film School at IADT, Brendan McCallion and phy won the Factual award College of Further Education Dún Laoghaire, and Ballyfer- Frank O’Malley’s farm-set with Indelible. Drama•Backwater•Brendan McCallion and Frank O’Malley, mot College of Further Edu- Backwater won the Drama RTÉ Director-General Dee National Film School at IADT, cation in front of an audience award and featured “strong Forbes, TG4 Director-General Dún Laoghaire of 140 at RTÉ in Dublin. acting”, with “good scripting, Alan Esslemont, Factual•Indelible•Patricia Murphy, Ballyfermot College of Further The National Film School’s detailed camera shots and set Television director of content Education Éabha Bortolozza and Jack design, [making] this a decid- Bill Malone and ShinAwiL Short Form•Speak to Her• Kirwin took home the Ani- edly powerful production”. CEO Larry Bass presented the Jack Desmond and Philip Emo, Keyed Alike National Film School at IADT, mation award for their film The Short Form award went awards. Egg Post Production Dún Laoghaire about alcoholism, The Usual. to Jack Desmond and Philip sponsored the ceremony.

44 students sweep up prizes

Belfast Metropolitan selecting our winners. I trust College and Queen’s these awards will assist the University Belfast students in their future

Northern Ireland enjoyed a successful careers,” said RTS Northern night at the RTS Northern Ireland Chair . Ireland Student Television “These awards are a great Awards at the end of March. way to nurture and encour- Belfast Metropolitan Col- age the fantastic creative lege students scooped the talent we have in Northern Comedy and Entertainment winners, including Spot the dog

Animation, Drama and Short Ireland,” added Northern Simon Graham Feature awards, while Ireland Screen head of edu- Queen’s University Belfast cation Bernard McCloskey. presenter Jo Scott. The RTS sponsored by , film-makers took home the UTV journalist Eden Wil- Northern Ireland Student Westway Films, Performance Comedy and Entertainment son gave the Joe McKinney Television Awards were held Film and Media Insurance, and Factual prizes. memorial keynote speech. in partnership with Northern and UTV. The Craft award went to “These awards are an amaz- Ireland Screen, and Matthew Bell Lucy Browne from Queen’s ing platform to showcase the University Belfast for the wealth of young talent from RTS Northern Ireland Drama•The Writer•Dylan Hagan, Nathan Gray, Aaron Jamison production design in Evelyn’s across Northern Ireland,” she Student Television and Klaudia Bulczak, Belfast Opus, which the judges said said. “The real winners are Awards winners Metropolitan College was “technically stunning those who made the most of Animation•Vito the Clown• Factual•Childhood•Peter Young, Gavin O’Connor Clarke, Sean Burns Caleb Roberts and Joshua Montgomery, and visually engaging”. the opportunity provided by and Conor McAllister, Belfast Queen’s University Belfast “The entries all dis- the RTS to network and meet Metropolitan College Short Feature•It’s a Small World After All•Andrew Shields, Nathan Long, played high standards of potential employers.” Comedy and Entertainment• SPOT•Hannah McEvoy, Patrick Emma Bonar and Peter Barr, Belfast creativity, storytelling and The ceremony was held Magennis, Conor Patterson, Jenny Metropolitan College Parkhill and Bethany Mackin, Craft Skills•Evelyn’s Opus•Lucy technical capability, and the at the Black Box in Belfast Queen’s University Belfast Browne, Queen’s University Belfast judges had a difficult task and hosted by BBC Newsline

Falmouth University now live in,” said awards dominated the RTS producer Neil Edwards. Devon and Cornwall Falmouth University stu-

Devon and Devon Cornwall Falmouth enjoys Student Television dents won the Animation, Awards, winning four of the Comedy and Entertainment, five main categories. night in Plymouth Drama and Factual awards, Love Island star, social media as well as the Camera, Edit- influencer and champion ing, Production Design and surfer Laura Crane hosted the Sound prizes. ceremony at the Jill Craigie RTS Devon and Cornwall Hirst-Bartlett, Falmouth University University of Plymouth Cinema, University of Plym- Student Television Short Form•Becoming the Medium• students Simon Cohen and Award winners Simon Cohen, University of Plymouth outh, in late March. Craft Skills – Camera•Alligated•Katy James Cox won the Short “People sometimes forget Animation•Towels•Prawta Annez, Greenwell, Falmouth University Form and Graphic Design Camilla Kjaernet, Sam Carson, Amid about us down here, but Ojubanire, Martin Hann, Eric Linn and Craft Skills – Editing•J•Joshua awards, respectively, and Burbridge, Falmouth University don’t! There are so many Rahkay Miller, Falmouth University Plymouth Marjon Univer- Comedy and Entertainment• Craft Skills – Graphic Design• incredible films. It’s mad to Mains Away•Jude Lilley, Lauren Carter, How To Be Funny•James Cox, Univer- sity’s Jessica Jones took the think that these people are Alex Styles, Ned Spear and Iiris Mäki, sity of Plymouth Writing prize. Falmouth University Craft Skills – Production Design• just starting out,” she said. Edwards said the judging Drama•Every Six Hours•Peter Bruteig Dagon•Oliver Thom, Falmouth “We were thrilled Laura Henriksen, Thomas Murphy, Daniel University panel was “impressed by the Simpkins, Angus Breton, Laurence Craft Skills – Sound•Towels•Sam joined us to host our awards Pearson, Lauren Hayes and Edward Carson, Amid Ojubanire and Martin overall quality of entries this ceremony and share her Hanlon, Falmouth University Hann, Falmouth University year – with the scripted experiences with the stu- Factual•Martyn•Christopher Cham- Craft Skills – Writing•Fishing for films and animations char- bers-Smith, Claire Sarsfield, Jordan Waves•Jessica Jones, Plymouth dents. Laura embodies the Hughes, Jake Wise and Christopher Marjon University acteristically strong”. multifaceted media world we Matthew Bell

Television www.rts.org.uk April 2019 45 RTS NEWS Long-service record set by Podcasting explained Irish Chair Gervais Show in 2006, which hit a record 260,000 down- loads per episode. Apple then n Charles Byrne has stepped got behind podcasting with down as Chair of RTS Repub- its iTunes service, and 2018 lic of Ireland (RoI) after two saw 50 billion downloads of decades in the role. He has podcasts worldwide. served on the centre’s com- Podcasting has become a mittee since its launch in 1996, tool for developing genres in and took over from founding other media, argued Adley: Chair Al Lennon in 2000. “It’s a quicker way to put an He is proud that the centre’s idea out there and build on it Student Television Awards – it’s a lot more affordable.” have grown over the past It can also kick-start ambi- decade: “For a small centre, tious projects such as US we have enjoyed great success thriller Homecoming. The talent Julia Roberts in Homecoming

at the RTS national awards.” Amazon like it, too, because it’s easier Byrne worked at RTÉ for for them to find time to record 40 years, becoming head of Podcasts are affordable phone – during your com- audio. Adley cited Homecoming television sound and, later, to make and often the mute, while driving, in the star David Schwimmer, who inspiration for more gym, while cooking. Podcasts recorded the first series in

London Centre ambitious TV program-­ are tailor-made for mobility just eight hours. Homecoming mes. This was the message at and multitasking, which went on to become an Ama- an RTS London masterclass make them really relevant to zon TV drama. on podcasting at Atos in how people live their lives “Everyone in TV under- late March. today,” he said. “The key stands that we have to be Josh Adley, head of busi- listening periods are the more than TV producers and ness development at audio commutes from 6am to 8am have to piece together other producer Wisebuddah, was and 5pm to 7pm, and the media to generate global Charles in conversation with The bedtime hour around 11pm.” propositions. Podcasts fit Byrne Media Podcast presenter Olly Podcasting – on-demand very well, especially at a 10th Mann, and explained the audio – began in 2004, with of the cost of an hour of TV head of planning and control. attraction of podcasts. BBC Radio an early adopter. drama,” added Wisebuddah His highlights include co- “You can listen to podcasts The first successful indepen- MD Tim Hammond. ordinating the audio coverage anywhere via your mobile dent podcast was the Ricky Nick Radlo of RTÉ’s seven Eurovision Song Contests. RTS Scotland Chair Jane initiative, a BBC Arts/Arts Muirhead and RTS East’s Council England talent Nikki O’Donnell have also Nottingham toons up development scheme that stepped down recently. will see 500 artists, aged 16 to “Our sterling work in the Following the success He discussed character 30, commissioned to make nations and regions is criti- of the first “Animorsels” development and the huge short films, audio and inter- cally dependent on the lead- last year, animation amount of planning required active works for BBC chan-

ership of our centre chairs – Midlands Centre enthusiasts learnt how to produce a series. nels and platforms. and the Society owes them a Olobob Top – a 52-part series The audience at Notting- Bottletop creative director big debt of thanks,” said RTS for CBeebies – was brought ham’s Antenna Media Centre Mark Pyper, who organised CEO Theresa Wise. “I am to the screen at a March also watched an eclectic mix the Animorsels event, said: delighted that Charles, Jane event run by Nottingham of animations from around “Everyone had a great time and Nikki will remain animators Bottletop, and the globe, including entries and we all learnt something involved with the RTS.” supported by RTS Midlands. for the “MicroMorsels” ani- about animation along the The three new centre Steve Smith, the founder mation challenge on the way – we are already work- chairs are Tony Campbell of London animation studio theme of “spring”. ing on the next event.” (RTS East), April Chamberlain Beakus and Olobob Top pro- Rosie Shewell, production The first Animorsels event (RTS Scotland) and Agnes ducer, described the work co-ordinator at Hereford last October featured Aardman Cogan (RTS RoI). and risk involved in getting producer Rural Media spoke model-maker Jim Parkyn. Matthew Bell TV to commission a cartoon. about the “New Creatives” Anne

46 Petrucco’s Italian grandfather, Sante, who was interned on the island during the Second World War. ONLINE Discussing his experience at the RTS of filming on the island, Petrucco said: “Wherever you work around the world, n The RTS Programme Awards there are always local crew are the highlight of the digital who help with the transition team’s year. As well as seeing to the area. But, here on the a very satisfying spike in our island, everyone was so wel- analytics, we also get to have coming and the quality was a lot of fun. From announcing excellent – the local crew the nominees on social media were at least half the team. I to interviewing the winners really couldn’t have com- backstage on the night, there’s pleted this without them.” a lot to keep us busy. You can Petrucco, who worked on watch the highlights from this ITV Encore/Hulu drama year’s awards, including inter- Harlots, added: “We wanted views with winners such as to tell this story because it’s Lennie James and Lorraine never been told before.” Kelly at ww.rts.org.uk/ Also at the event were the WatchRTSAwards19. Brothers of Italy producer, Samantha Seivwright­ (who n Ahead of the awards, Kate had worked on Game of Holman spoke to Jodie Comer, Thrones), and two of the who took home the Actor – actors. Niccolò Besio played Female trophy for her stunning Brothers of Italy

David Armstrong David Sante Petrucco, and appeared portrayal of the assassin in Sky Italia’s Borgia. Marc Villanelle in BBC One’s hit thriller Pickering played the military Killing Eve. She discussed what police sergeant, and appeared it was like working alongside so Centre launches in Boardwalk Empire. many successful women, from Earlier in the day, students co-star Sandra Oh to developer from the island met the and writer Phoebe Waller- with war drama Hoofprint production team. Bridge to executive producer “Education is at the heart of Sally Woodward Gentle. Comer the RTS and we were also hinted at what we can RTS Isle of Man’s Lieutenant Governor, Sir delighted to not only screen expect from season 2 later this launch event in March Richard Gozney, and the this locally made film but year after the dramatic first-­ featured the premiere film’s director and writer, also offer students a chance series finale (www.rts.org.uk/

Isle of Man Centre of the short drama Marco Petrucco. to question people who have JodieComer). Brothers of Italy. The Society’s Brothers of Italy, which was worked on such large-scale newest centre welcomed a shot on the Isle of Man last TV and film projects,” said n Sky Atlantic’s Save Me was capacity crowd of 160 to the year and made by London- RTS Isle of Man Vice-Chair another big winner Studio Theatre at Ballaker- based Hoofprint Productions, Steve Babb. month’s awards, securing the meen, including the island’s was inspired by the story of Louise Platt awards for Drama Series and Writer – Drama for Lennie James. Alongside the household names who starred in the show – including RTS revamps bursary scheme and – James’s series included lots of new n The Society has relaunched offered in 2019 will also There are two bursary talent. I spoke to Alice Feetham, its bursary scheme to cover increase, with STV funding programmes: one for those who starred as Bernie, the a wider range of courses 10 bursaries for students studying television produc- young wife of Melon (played by across the UK. Applications studying­ in Scotland. tion and journalism, and one Graham), and was nominated will be accepted from stu- Applicants have until for technology bursaries for the RTS Breakthrough Award, dents wishing to study a 30 June to join the 2019 bur- (which cover computer sci- about the drama and how she ScreenSkills-accredited sary scheme, which includes ence, engineering, electrical got into acting (www.rts.org.uk/ higher national diploma. courses starting in 2018 as and electronic engineering, AliceFeetham). The number of bursaries well as 2019. physics and maths courses). Pippa Shawley

Television www.rts.org.uk April 2019 47 RTS CENTRE AWARDS News awards shared in East

The BBC took home awards – Promotional Film five awards from the and Production Craft Skills RTS East Awards – hos­ – for its film made for local

East Centre ted by ITV News Anglia firm Humphries Weaving. presenter Becky Jago and Ember Films also took home Becky Jago

BBC Look East anchor Stewart two prizes: Digital Content ITV White – at Univer- for its Refugium trailer; and sity of the Arts in March. the Short Film award for University of the Arts won see the fantastic work on BBC East’s The Galaxy Brit- Andy Brandy Casagrande the Comedy and Entertain- show from students, estab- ain Built, which celebrated the IV’s People Who Inspire Change. ment award for Age of Strange, lished broadcasters, digital behind-the-camera contri- In the student categories, the Factual prize for Stop at 60 innovators and independent bution of UK film craft to the Anglia Ruskin University and the Short Form award producers,” said RTS East firstStar Wars movie, won the landed six awards, the for Awl Along. The University Chair Nikki O’Donnell. “We Factual Programme prize. Drama prize for Things Left of ’s Pine won should be very proud that the Three BBC East journalists Unsaid and all five of the the Animation award. East is brimming with talent.” won awards: Richard West- Craft Skills prizes. Norwich “It was such a pleasure to Matthew Bell cott took the News and Cur- rent Affairs Feature award; RTS East Television Promotional Film•Humphries Weaving• Student Short Form•Awl Along•Lucy Robby West was named Awards winners Eye Film Felce, Norwich University of the Arts Production Craft Skills•Humphries Student Craft Skills – Camera•Sons of On-screen Journalist; and Jo Digital Content•Refugium trailer• Weaving promo•Eye Film Mars•George Bullen and Mehdi Iromlou, Thewlis won the New Talent Ember Films Post-production Craft Skills• Anglia Ruskin University Factual Programme•The Galaxy Britain Matt Wildash•BBC East Student Craft Skills – Editing•Things On Screen award. Matt Wil- Built•BBC East Short Film•People Who Inspire Change, Left Unsaid•Andrea Bortolaso, Anglia Ruskin University dash took home the Post- News and Current Affairs Feature• Andy Brandy Casagrande IV•Ember Films production Craft Skills award. Richard Westcott, BBC Look East Student Animation•Pine• Crooke, Student Craft Skills – Production (West)/BBC Inside Out•BBC East Liam Richards and Dan Farley, University Design•Kos•Alessandro Piccato, Alice ITV Anglia scooped two of Hertfordshire Nhu Nguyen, Cao Quynh and Isis New Talent On Screen•Jo Thewlis, Madonna Basile, Anglia Ruskin University wins: correspondent Natalie Sunday Politics East•BBC East Student Comedy and Entertainment• The Age of Strange•Olivia Baldwin, Student Craft Skills – Sound•Woodley Gray was named On-screen New Talent Off Screen•Victoria Leggett, Norwich University of the Arts on the Run•Celine Rivera-Boucart, ITV News Anglia•ITV Anglia Personality and journalist Student Drama•Things Left Daria Hupov, Mariana Vaz, Anglia Ruskin On-screen Personality•Natalie Gray• Unsaid•Theo Douchand and Francesco University Victoria Leggett won the New ITV Anglia Merlini-Fiore, Anglia Ruskin University Student Craft Skills – Writing•Things Talent Off Screen award. On-screen Journalist•Robby West, Student Factual•Stop at 60•Joe Harring- Left Unsaid•Theo Douchand, Anglia BBC Look East•BBC East ton, Norwich University of the Arts Ruskin University Eye Film nabbed two BBC South enjoys night in Winchester

BBC South took home World War One programme, a clutch of awards from while reporter Nikki Mitchell the RTS Southern took the Regional TV Journal-

Southern Centre Regional Awards, held ist prize. The Inside Out team at the Winchester Guildhall in secured the Single Factual March. At a ceremony hosted Entertainment Programme by BBC presenter award for its hugely enjoyable Laura Trant and ITV News The Festival at 50. Meridian anchor Fred Din- Ben Moore was presented enage, 225 guests watched with the Regional Special BBC South win the Special Feature Journalist award, BBC South celebrates

Rob Dunning, SolentRob Studios Event Coverage award for its while Emily Ford received

48 Bristol honours Story Films

Story Films’ factual BBC Points West journalist drama The Interrogation Fiona Lamdin received the of Tony Martin enjoyed a Reporter prize for the second

West of England successful evening at year running. ITV News West the RTS West of England Country won in the News Story Pangolins: The World’s Most Wanted Animal

Awards, winning the Scripted category for its film about the BBC Content, Director and Editing 1973 Basle air disaster. prizes in front of an audience The Factual award went to programmes and helping podcast, Deborah Frances- of 400 at the Bristol Old Vic. Label1 Television for BBC with the judging process. White. Evolutions Bristol Story Films co-founder Two’s School, a series filmed The ceremony was hosted was the principal sponsor David Nath took the Director in three South Gloucester- by the writer, comedian and of the awards. award, while Joe Carey won shire secondary schools. host of The Guilty Feminist Matthew Bell the Editing prize. Nath’s BBC Studios took the Fac- script was taken verbatim tual Entertainment award for RTS West of England Reporter•Fiona Lamdin•BBC Points West from the police interviews of BBC One’s Antiques Roadshow: Television Awards winners Scripted Content•The Interrogation of Tony Martin•Story Films for Channel 4 Tony Martin, the World War One Special, while Animation•Mary Anning: The Girl Who Helped Discover Dinosaurs•Studio Short Form•Signs with Soul• farmer who shot a fleeing Testimony Films won the Panda for BBC Ideas Reuben + Jamie burglar dead in 1999. Documentary prize for the Children’s•My Life: Mumbai Street Craft – Cinematography•Lindsay The BBC’s Natural History BBC Four documentary Hull’s Strikers•Drummer TV for CBBC McCrae, Dynasties•NHU for BBC One Documentary•Hull’s Headscarf Craft – Director•David Nath, The Inter- Unit (NHU) won three awards. Headscarf Heroes. Heroes•Testimony Films for BBC Four rogation of Tony Martin•Story Films for Two were for its five-part “There was some extraordi- Factual•School•Label 1 TV for BBC Two Channel 4 BBC One series Dynasties nary talent on display – in Factual Entertainment•Antiques Road- Craft – Composer•Sam Foster and David show: World War One Special•BBC Johnston, God’s Kingdom•Echoic Audio – Cinematography for Lind- front and behind the camera Studios for BBC One Craft – Editing•Joe Carey, The Interro- say McCrae, and Grading – and ground-breaking pro- Flying Futures Talent Award•Charlotte gation of Tony Martin•Story Films for C4 (which was overseen by post- grammes with real impact and Gay•ITV News West Country Craft –Grading•Simon Bland, Natural History•Natural World – Dynasties•Films at 59 for BBC One production facility Films at emotion,” said RTS West of Pangolins: The World’s Most Wanted Craft –Sound•Will Norie and Owen 59) for Simon Bland. The NHU England Chair Lynn Barlow. Animal•NHU for BBC Two Hemming-Brown, God’s Kingdom• Evolutions Bristol and Echoic Audio also won the Natural History For the first time, RTS News Story•Basle Air Disaster, ITV News West Country Craft – VFX and Digital Creativity• award for the BBC Two Natu- Devon and Cornwall took On-screen Talent•Dr Yasmin Khan, Howard Jones, Grant Hewlett, Ella A Passage to Britain•Wall to Wall West Askew and Pat Andrew, Early Man• ral World film Pangolins: The part in the West of England for BBC Two Axis VFX for Aardman Animations World’s Most Wanted Animal. Awards, entering the Video Journalist prize. Four film about the death of “extremely high” standard. immense pleasure and pride BBC South’s Joe Cooper took a British world champion “The awards are the highlight at the talent in our region,” the Camerawork award. boxer, Murder in Soho: Who of our year and we all look said RTS Southern Chair ITV enjoyed some success killed Freddie Mills?. LoveLove forward to them with Stephanie Farmer. at the awards. ITV News Merid- Films won the Online award ian reporter Ashna Hurynag for Chin Up and Joe Simpson RTS Ben Moore•BBC South was named On-screen New- took the Graphics award. Regional TV Journalist•Nikki Mitchell• Awards winners BBC South comer and the ITV regional The Factual Series prize Camerawork•Joe Cooper•BBC South Single Doc or Factual•Murder in Soho: broadcaster won the Strand went to Southampton’s Topi- Factual•The £1 Houses: Britain’s Cheap- Who Killed Freddie Mills?•Phoenix Tele- est Streets•Topical TV for Channel 4 vision for BBC Four within a News or Magazine cal Television for Channel 4’s Factual Entertainment•The Isle of Special Event Coverage – News Programme award for a doc- The £1 Houses: Britain’s Cheapest Wight Festival at 50•BBC South or Magazine•WWI, BBC South Today umentary on the country’s Streets. Feature/Strand – News or Magazine• VJ (Broadcast)•Emily Ford•BBC South Where’s Home?•ITV Meridian Student Animation•Anna•Arts Univer- housing crisis, Where’s Home?. In the final craft category, Graphics•Joe Simpson•LoveLove Films sity Bournemouth ITV Meridian East received the Paddywack Productions’ News Magazine Programme•ITV Student Comedy and Entertainment• Meridian East•ITV News Meridian The Second Coming• College/ Regional News Magazine Nick Elborough took the Bournemouth University On-screen newcomer•Ashna programme award. Post-production award. ITV News Meridian Student Drama•Zebra•Arts University Hurynag• Bournemouth LoveLove Films Independent producers The student awards, which Online•Chin Up• Student Factual•Nick Reynolds, The also did well: Phoenix Televi- were shared by universities Post-production•Nick Elborough• Final Portrait•Solent University Paddywack Productions Student Short Feature•The Shovellers• sion won the Single Doc/ around the region, were Regional Special Feature Journalist• Bournemouth University Factual award for the BBC praised by the judges for their

Television www.rts.org.uk April 2019 49 OFF M E SSAGE

record number of that can make Shakespeare acces- Award. This achievement followed guests – 930 in all sible to a pre-school audience – Channel 5 being voted Channel of – 29 awards and CBeebies’ enchanting version of The the Year at the 2018 Edinburgh Inter- stars galore. Yes, Tempest was widely praised – is an national Television Festival. Off Message is exemplary prizewinner. Ben reminded everyone that his start talking about last in TV was less than grand. His first job month’s glittering ■ The great pop satirist Randy New- was as a dresser on ITV’s then daytime and celebrity-studded RTS Pro- man once memorably sang in his flagship,This Morning. There, he regu- Agramme Awards. Jodie Comer, star of song skewering prejudice, Short larly rinsed ’s tights. Killing Eve, Lorraine Kelly, recipient of People, “short people got no reason to In his characteristically emotional the Outstanding Contribution to Brit- live… short people are just the same and candid acceptance speech, Ben ish Television award, and Lennie as you and I”. admitted that he’s not always the James were among those taking the The Programme Awards’ brilliant most emollient man to have around stage to accept their prizes. host, Shappi Khorsandi, more than the office. “I’m not an easy person to Not, of course, forgetting the ele- rose to the occasion – despite barely employ. I’m hard work,” he confessed. gant Lesley Manville, who won an topping five feet. In a fine tradition of Off Message’s spies are not avail- award for her leading role in Mum, the awards – when Sandi Toksvig able for comment. How colleagues presenter of the year Romesh Ranga- hosted the event, she, too, had to are reacting to him having his office nathan, and rap star Tyrone Lindo, stand on a box – Shappi turned her at Viacom’s Camden HQ painted aka Big Narstie, co-winner of the stature into a gag. black is anyone’s guess. Entertainment Performance award. As a result, for most of the evening True to his image, Tyrone appeared to she no longer looked diminutive. But ■ Finally, one of the evening’s win- be smoking what looked remarkably besides the towering figure of Ameri- ners was Sky Art’s The Art of Drum- like a spliff as he collected his gong. can football star Osi Umenyiora (win- ming, Wall to Wall’s four-part series So taken was the MC with the RTS ner of the Sports Presenter, Commen- ­ which, frankly, had escaped Off “head” trophy that he’s got his jewel- tator or Pundit award), Shappi’s box Message’s radar. ler to add a miniature version to his proved of only limited assistance. Until now, that is. What an extraor- necklace. How cool is that? That’s dinarily brilliant series, quite possibly what Off Message calls bling! ■ Even those attendees who didn’t a candidate for the best film on the win an award looked to be having a subject of drumming ever made. ■ It was heartening to see the rather good time. Nominee Michael Palin, The access is nothing short of more sober and studious-looking seated on the Channel 5 table, failed incredible: Ginger Baker, Steve Gadd, BBC Chair, David Clementi, in the to win the Presenter prize for his Ian Paice and Bernard Purdie audience, clearly enjoying himself revealing North Korean odyssey. (respectively of Cream, Eric Clapton’s and taking notes on all the winners. The script by the matchless Russell bands, Deep Purple and a regular He was obviously thrilled to see T Davies for A Very English Scandal was with the late, great Aretha Franklin), so many BBC victors, not least the beaten in the Writer – Drama cat- are among the interviewees. The Breakthrough award for Nabhaan egory by Lennie James’s Save Me. editing and filming are stunning. So, Rizwan, star of the BBC One thriller Both men were seen graciously too, are the performances of all the Informer, and CBeebies scooping applauding the winners. featured drummers. Channel of the Year against competi- If you haven’t seen the programme tion from Channel 5 and BBC One. ■ Congratulations to Channel 5’s and love either jazz, rock or soul Frankly, the recognition for CBee- maverick director of programmes, music, The Art of Drumming is essen- bies is long overdue. Any network Ben Frow, winner of the Judges’ tial viewing.

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

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

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

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

Television www.rts.org.uk April 2019 51 SPONSORED BY

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