Background papers submitted by FremantleMedia Group Ltd

Private and Confidential

We refer to the Request for documents dated 11 June 2019 in connection with the DCMS

Committee’s Inquiry into Reality TV.

We hereby attach the following template documents: 1. Main Contributor Release 2. Template Welfare Protocol 3. Filming with Children protocol 4. Template Publicity Guidelines 5. Summary of Screening Process 6. Medical Questionnaire

These templates are continually updated and adapted as necessary to meet the particular production needs of our different programmes.

The request for documents asks for the job titles and professional qualifications of associated staff. As explained in our submission to the Committee, we may have a Programme Doctor, a Programme Psychologist and/or a Programme Psychotherapist on our programmes. These are each professionally qualified. In general, we use:

Dr Sophia Khalique MBCHB MRCGP DA DRCOG. Dr Khalique has overseen contestant welfare and medical screening across our programmes for ten years. She is a partner in the 48 Wimpole Street Medical Practice, a leading private medical practice. A general practitioner, she has particular interests in mental and occupational health. She also has a wide network of specialists supporting her role on our UK programming as required, including consultant psychiatrists and ENT specialists.

Marcie McLeod-Ferros Dip COT MSC (Mental Health Studies) HCPC. Ms McLeod-Ferros has been involved with our shows as our lead programme psychologist since 2009. She qualified as an occupational therapist in 1987 and a psychotherapist in 1991. She was awarded an MSc in Mental Health Studies from Kings College London in 1997 and has worked as a psychotherapist in the NHS and private practice, having also been a clinical psychologist for the Priory Group.

Lynn Greenwood UKCP registered psychotherapist. Ms Greenwood has been a consultant psychotherapist to over 50 television production companies on more than 150 series since 2003 providing training and consultation to production teams, contributor assessment, support and advice during filming and after transmission. She has worked on Fremantle shows for over 10 years.

In response to the questions posed in your 11 June request:

• All contestants on a particular show will sign the same contract. The contracts for different shows may vary depending on the format and other production needs of the particular show. Our template agreement contains the following liability clause: o The Company shall not be liable to the Contributor for any loss or damage or injury to them, their reputation or property caused by or suffered during or in connection with their participation in the Programme or the exploitation of the Programme unless caused by the negligence of the Company and recoverable on that ground following judgment of a competent court of final judgment. Nothing in this Agreement shall seek to limit or restrict the Company’s liability for death or personal injury caused by the Company’s negligence or for fraudulent misrepresentation.

• We do not transcribe footage before scene selection on our current shows.

We sent a submission to the Committee on 13 June providing detailed information on our approach to “duty of care” issues and the support that we provide. We hope that that the attached documentation, along with our submission, will prove helpful to the Committee in its consideration of this important topic.

With kind regards,

Jacqueline Moreton

Jacqueline Moreton | General Counsel

A: FremantleMedia Group Ltd , 1 Stephen St , London , W1T 1AL T:

W: www.fremantle.com

FremantleMedia Group Limited, Company No: 00353341, Registered Office Address: 1 Stephen Street, London W1T 1AL, Registered in England & Wales

Please consider the environment before printing this email message.

1 Stephen Street London W1T 1AL Tel: +44 (0)20 769 6000 Fax: +44 (0)20 7691 600 www.fremantlemediauk.com

DATE OF AGREEMENT:

NAME: (the “Contributor”)

ON SCREEN NAME: HOME ADDRESS:

EMAIL:

DATE OF All dates are subject to change and the needs of the production but the Company CONTRIBUTION: shall make reasonable endeavours to notify the Contributor in advance of any such changes.

PROGRAMME DESCRIPTION:

“[PROGRAMME TITLE]”

We write to confirm the agreement (“Agreement”) between us, FremantleMedia Limited t/a [ ] (the “Company”) and you (“you/your” or the “Contributor”) whereby, in consideration for the Company making arrangements to record the Programme, you consent to the filming and recording of your Contribution on the terms set out below:

Key Terms

1. Programme: The programme or series of programmes with the above provisional title which we propose but do not undertake to produce, the format, style and nature of which have been fully explained to you, together with all associated programming including but not limited to material for the Programme website (the “Programme”)

2. Contribution: Recorded interviews, meetings, performances and/or such other filming and recording at the Location as we might require for production of the Programme, including but not limited to any materials you supply to us such as photos or videos.

3. How We Use By signing below, you are indicating that you understand, acknowledge and Your Data: (where relevant) consent to the Company collecting and using your personal information in the ways explained to you in the Company’s Privacy Notice for Programme Participants, which you understand is available on [ ] or by emailing [email protected]. For the purposes of paragraph 5 the broadcaster is [ ] (the “Broadcaster”).

3. Location: [INSERT DETAILS]

4. Rights: All copyright and other rights in and to the Contribution.

5. Special 5.1 The Company shall arrange and pay for your reasonable travel to and from Conditions: the Location.

5.2 You understand that you will be dining during the filming of the Contribution and will be provided with food and drink. You have informed us of any dietary regimes or requirements of which we ought to be aware to ensure

your safety and welfare during the filming of the Contribution, including (without limitation) allergies or intolerances to food or drinks, any religious requirements, and/or any medication you are taking which may be affected by food or drink consumed.

5.3 You understand and agree that the Company is committed to treating all individuals fairly, regardless of their or anyone else’s actual or perceived gender, sexual orientation, marital or registered civil partnership status, colour, race, religion or belief, nationality, national or ethnic origin, disability, gender reassignment, age, differing working patterns, pregnancy and maternity, and expects the same from all those involved in our productions.

5.4 You shall not commit any act or omission which at any time: (a) violates any Company policy; (b) constitutes a violation of criminal law (excluding minor traffic violations) or civil code, (c) constitutes, in the Company’s sole good faith judgement, reckless conduct, gross negligence or other malfeasance; (d) in the Company’s sole good faith judgment, brings you into public disrepute, scandal, contempt or that shocks, insults or offends or reflects unfavourably on or degrades you, the Programme, the Company, or the Broadcaster and/or their respective affiliated or related entities (such as corporate affiliates, co-producers, licensees, distributors, sponsors or advertising agencies). For the avoidance of doubt the above shall include, without limitation, conduct that may be construed as sexual or other forms of harassment, discrimination or retaliation, whether before or during the effective period of this Agreement. For any violation of this Key Term 5.4, in addition to any other remedy the Company may have, including, without limitation the indemnity provisions in clause 3.7 of the Terms and Conditions the Company may terminate this Agreement and may remove you from the Programme without liability to you.

5.5 You hereby agree and undertake not to disclose or permit the disclosure to any persons of any information relating to the Company, its business or that of the Broadcaster, the Programme or this Agreement all of which shall be kept strictly confidential.

5.6 Without limiting the foregoing, you agree not to post any information (including, without limitation, sharing, retweeting or “liking” posts or other information on social media), pictures or videos, that may bring (at the Company’s sole discretion) you, the Company, the Broadcaster or any other person connected with the Programme, into disrepute or that may undermine the integrity of the Company and/or Broadcaster.

5.7 You are over 18 years of age.

5.8 You hereby grant to the Company the right to include any materials provided by you to the Company (the “Materials”) in the Programme and to exploit the Programme with the Materials in it throughout the World in perpetuity in all media now known or hereafter invented. You warrant that you are fully authorised and entitled to grant to the Company such rights and that the Company’s exercise of those rights shall not infringe the copyright or any other rights of any third party. You irrevocably release the Company from all liability of whatsoever nature arising as a result of the portrayal of the Materials in the Programme.

5.9 UK broadcasters are researching diversity on their productions. This covers diversity characteristics you choose to tell the broadcasters. If you provide us with your e-mail address we will enter this in a system called Silvermouse. You will be invited to provide, and may do so at your option, your diversity characteristics – gender, ethnicity, disability, age, gender identity and sexual orientation. The Broadcaster, as data controller, is responsible for this data and will have access to reports compiled from it for purposes of the research. If you would prefer not to be involved in Diamond please let your production contact know within 7 days of the issue date of this contract. Further information can be found here: http://creativediversitynetwork.com/diamond-Contributors/.

5.10 In the event that the Company films at your Home (such address as set out above) (“Home Location”), the Company shall be entitled to enter the Home Location for the purpose described above and shall exclusively own the results and proceeds of its filming and recording at the Home Location and shall be entitled to freely exploit the Programme containing images of and/or references to the Home Location and all allied and ancillary rights in the Programme, by all means and in all media, whether now known or hereafter invented, throughout the world for the full period of copyright and all renewals, revivals, reversions and extensions, and thereafter in perpetuity to the extent permitted by law without the need for any further payment to you.

The General Terms and Conditions appended to this letter shall be deemed part of this Agreement. To the extent that they are inconsistent with these Key Terms, the latter shall apply. Capitalised terms given a meaning in one part of the Agreement shall bear the same meaning throughout the Agreement.

Yours sincerely Agreed and accepted

……………………………………….. ……………………………………………………… For and on behalf of FREMANTLEMEDIA LIMITED Print Name: ………………………………………. trading as [ ]

GENERAL TERMS AND CONDITIONS

1. RIGHTS

1.1. The Contributor hereby agrees that all rights including but not limited to the copyright (if any) and all other rights, title and interest of whatsoever nature in the Contribution and the Programme shall vest in and are hereby assigned to the Company and the Contributor grants all necessary consents that may be required under any legislation or regulation in any jurisdiction to permit the Contribution or any part or product of it (whether as part of the Programme or otherwise) to be exhibited or otherwise exploited by all means and in all media and formats throughout the universe for the full period of copyright and all renewals, revivals, re- versions and extensions thereof and thereafter so far as may be possible in perpetuity. The Contributor fur- ther confirms that she shall not seek to enforce any rights to equitable remuneration in respect of any rental and lending and cable re-transmission rights in the Contribution.

1.2. Without limiting the foregoing in any way, the Company shall be entitled to (a) alter, adapt or make addi- tions to or deletions from the Programme (and the Contributor’s appearance therein) at its discretion, (b) make and exploit and to authorise the making and exploitation of any recording or fixation of the Contribu- tor’s appearance separately from or in conjunction with the Programme throughout the Universe in perpetu- ity by all means and in all media whether now known or hereafter invented including without limitation by way of any interactive, online telephony or new media application, (c) dub the Contributor’s voice in any language and (d) include the Contributor’s name, likeness, voice, biographical details, photographs of the Contributor and recordings of interviews with the Contributor separately from or in conjunction with the Pro- gramme by all means and in all media and formats throughout the Universe.

1.3. The Contributor acknowledges that no repeat fees or any other fees shall be payable to the Contributor in respect of any subsequent rebroadcast or retransmission or any other use by the Company (or any assign- ees or licensees) of the Programme or any part thereof.

1.4. The Contributor hereby waives any so-called “moral rights” in the Programme and such rights under sec- tion 77 and section 80 of the Copyright Designs and Patents Act 1988 (the “Act”) as the Contributor now has or may hereafter acquire in relation to the Programme. Accordingly, the Company shall have the unfet- tered right to modify the Contribution or any part of it in any way that it thinks fit.

1.5. The Contributor shall do all reasonable further acts and execute all reasonable further documents as may be required to vest in or further assure to the Company the rights expressed to be granted to the Company by the Contributor in this Agreement.

2. PROMOTION AND PUBLICITY

2.1. The Company may use the Contributor’s name, photograph, likeness or any biographical material in con- nection with the publicity, advertising and exploitation of the Programme and all allied and ancillary rights in the Programme by all means and in all media throughout the world in perpetuity and the Contributor grants to the Company all consents under the Act to make the fullest use of this right and the fullest exploitation of the Contribution and the products of the Contributor’s services provided in this Agreement.

2.2. The Company may make films and sound recordings of the Contributor’s physical likeness and voice for “behind the scenes” promotional films, documentaries, DVD “extras” and the like and reproduce the Con- tributor’s physical likeness and voice and exploit the same by all means and in all media throughout the world in perpetuity.

2.3. The Company and/or Broadcaster may publicise, promote or support the Programme in any and all media including without limitation by way of a website and/or other online/internet/mobile/interactive activity asso- ciated with the Programme and/or the Company and/or Broadcaster (the “Digital Media”) and the Contribu- tor agrees that the Programme, the Contribution and the products thereof may be incorporated in the Digi- tal Media and in the publicity therefor.

3. WARRANTIES

The Contributor hereby covenants warrants and undertakes to and with the Company that:

3.1. the Contributor has the right to enter into this Agreement and to assign and grant the rights herein ex- pressed to be assigned and granted and the Contributor is a “qualifying person” within the meaning of Part 1 of the Act;

3.2. the Contributor is aged over 18 and has the right to live and work in the UK and will if requested present proof thereof to the Company by way of supporting documentation (including without limitation an original birth certificate, valid passport and/or visa). The Company reserves the right to require at any time proof of the Contributor’s identity and/or eligibility;

3.3. the Contributor has not entered into any commercial, sponsorship or other agreement or arrangement with any person, firm or company in respect of their appearance in the Programme, nor will they enter into any such agreement;

3.4. the Contributor shall not prior to first transmission of the last episode of the Programme appear in any simi- lar television programme without the prior written consent of the Company;

3.5. any material written or contributed by the Contributor to the Programme will be original to them and will not to the best of their knowledge and belief (having made all due and diligent enquiry) infringe the copyright or other rights of any third party or be defamatory;

3.6. the Contributor warrants that they have been truthful, accurate and in no way fraudulent or misleading and they have given a full and honest disclosure of all information requested by the Company concerning their Contribution to the Programme and any information which may affect the Contribution, the Programme, the Company and/or the Broadcaster; and

3.7. the Contributor will indemnify and keep the Company fully and effectively indemnified against all actions, costs, losses, claims and expenses of whatsoever kind or nature arising from any breach or non- performance or threatened breach or non-performance of any of the warranties, representations, undertak- ings or obligations on the Contributor’s part contained in this Agreement.

4. MISCELLANEOUS

4.1. The Company gives no guarantee that the production of the Programme will proceed to completion and the Company is not obliged to include the Contributor or their Contribution in the Programme.

4.2. In the event of any breach of this Agreement by the Company, the Contributor’s remedy shall be an action at law for damages, if any are actually suffered, and the Contributor shall not have the right to rescind this Agreement or terminate the rights granted in this Agreement or to enjoin or injunct the Programme or the exploitation of the Programme or any allied and ancillary rights in the Programme.

4.3. The Company shall not be liable to the Contributor for any loss or damage or injury to them, their reputation or property caused by or suffered during or in connection with their participation in the Programme or the exploitation of the Programme unless caused by the negligence of the Company and recoverable on that ground following judgment of a competent court of final judgment. Nothing in this Agreement shall seek to limit or restrict the Company’s liability for death or personal injury caused by the Company’s negligence or for fraudulent misrepresentation.

4.4. The Contributor agrees that their Contribution and appearance in the Programme is not a professional per- formance and does not entitle them to wages, salary or other compensation save as provided herein.

4.5. The Company shall be entitled to assign the benefit of this agreement either in whole or in part to any to any of their subsidiary or associated companies or successors in title and/or any third party.

4.6. If any clause or any part of this Agreement or its application to any party shall for any reason be adjudged by a court or other legal authority of competent jurisdiction to be invalid, this judgment shall not affect the remainder of this Agreement, the terms of which shall remain in full force and effect.

4.7. This Agreement represents the entire agreement between the parties in respect of its subject matter and replaces any previous agreement(s) relating to the subject matter and may be varied only in writing signed by the parties.

4.8. The laws of England shall govern this Agreement and the English courts shall have exclusive jurisdiction.

4.9. The provisions of the Contracts (Rights of Third Parties) Act 1999 shall not apply to this Agreement and no term or condition of this Agreement shall confer or be construed as conferring any right on any third party.

END

Welfare Protocol for Contestants

Fremantle take the responsibility of the welfare of their contributors (‘Contestants’) very seriously – and as such, have developed a thorough and robust support system for Contestants over the past 15 years.

AUDITION STAGE

Psychotherapist Interview

- Prior to Contestants being selected and offered a place on the series, shortlisted Contestants are invited to London for a one hour interview with our consulting Psychotherapist.

- Following this meeting, our Psychotherapist provides the Executive Producer and senior management with a psychological assessment for each Contestant, recommending their suitability, if appropriate, to take part in the series.

Executive Producer Meeting

- Contestants also undertake a 1 hour meeting with the Executive Producer and the Senior Producer, to talk through the filming and production process in detail. The meeting addresses the impact of taking time away from their jobs (or resigning from their jobs), the impact of being away from their children, families and support network at home (and how we will support them during pre-production, production and post- production), as well as discussing the potential media attention they will receive during broadcast of the series, both on social media and within the press / TV – and the wider impact it could have on both them and their family and friends.

- During these meetings, each Contestant is given several opportunities to reveal anything from their past which may become a concern to the Contestant, Fremantle or the Broadcaster. We fully stress the importance of them being honest with us, regarding their past, to allow us to manage and support any potential undue media attention they may attract. This includes criminal convictions, legal disputes etc.

- We also offer Contestants the opportunity to ask questions about the process and the impact it may have on them and their family / friends.

- We remind the Contestants from the very beginning that we will support them through and after the process.

PRE-PRODUCTION

Dedicated Member of Production

- Once Contestants have been ‘offered’ a place on the series, the Senior Producer assigns a member of the production team to individually manage and support each Contestant during the pre-production process of approximately 5 weeks. Each member of the production team is briefed on their assigned Contestant – and they regularly feedback to the Senior Producer on their Contestant, who in turn discusses any welfare concerns with the Executive Producer and the Production Executive.

- Each member of the production team provides almost daily support to the Contestants, in terms of assisting them during their preparations for filming – and helping with any welfare questions they may have.

GP Letter

- As an additional duty of care and in addition to considering the report of our Psychotherapist, we also write to each Contestant’s GP (with their consent) to ask them if in their professional opinion, whether there are any mental or physical health issues in the Contestant’s patient history which they consider the documentary inappropriate for their patient and/or that may require their patient to receive an increased level of support during the filming of the documentary so that we can consider any adjustments to accommodate their needs as may be reasonably necessary.

Welfare Meeting With Senior Producer

- Approximately 2 weeks prior to principal photography commencing for the series, the Senior Producer meets each Contestant individually to discuss their preparations and welfare ahead of filming. Any concerns about the Contestant are relayed to the Executive Producer and Production Executive, to discuss how we can further support them during the process.

Family Reference

- Prior to the filming commencing, we inform each Contestant that a member of the production team will be contacting 2 or 3 family members within their ‘circle of trust’ (people who know they will be taking part in the show). This is a duty of care to ensure the family member/s feel that the Contestant has fully understood what they are about to embark on and if that family member or friend feels they are able to cope with it. Any concerns are flagged to the Senior Producer and Executive Producer

- The phone calls are informal to avoid unduly worrying or unsettling the family member, but as part of the telephone chat, we also ask the family members to flag any concerns or worries that we should be aware of (past or present).

Individual Briefings Prior to Filming

- The day before filming commences, the Contestants are individually briefed by an Executive Producers or the Senior Producer, within their hotel rooms. This is for their welfare and to remind the Contestants of the filming process and rules, as well as giving them another opportunity to discuss any worries or concerns they may have. DURING PRODUCTION

Welfare Support

- The Contestants live in the contestant house with 5 members of the production team, during their time in the process. This includes a Senior Producer, Producer/Director, Assistant Producer, Researcher and Runner. The Contestants are informed that the House team are there to support them during their time in the process and that they are always on hand for a private conversation, if they would like some additional support during the process. The House team check in with each Contestant regularly during their time in the process.

- On location, the Contestants are supported by the wider production team. Any concerns are reported back to the Senior Management and the Senior Producer.

Welfare Reports

- The House team monitor the welfare of the Contestants on a daily basis. A daily welfare report is compiled by a senior member of the House team and this is shared with the senior management, including the Executive Producer, Series Editors, Series Producers, Production Manager, Line Producer and Production Executive.

- Any welfare concerns are discussed between the Executive Producers and the Senior Producer and further support systems are implemented if necessary for the Contestant concerned.

Weekly Letters / Phone Calls Home

- To provide extra support, we allow their family and friends to send letters to the Contestants, which they can read on their ‘down days’.

- We also allow the Contestants to phone a family member or friend on a weekly basis, to allow them to feel supported by their external support system.

- For Contestants with children, we allow those Contestants to have an extra phone call or video call each week, as a duty of care to the children, who may need extra support as they cope with their parent being away.

On Elimination

- We acknowledge that being eliminated can be very stressful – and support is immediately offered. Once a Contestant has been eliminated from the programme, the Contestant is met by the Senior Producer and taken off site to be debriefed by the Senior Producer. The Senior Producer stays with the Contestant, to support them.

- The eliminated Contestant is also given a mobile phone and they are provided with a contact number for our Psychotherapist who will be on standby for the Contestants to call them, if they would like to speak to them. We encourage the Contestants to call the Psychotherapist.

- They can also use the mobile phone to call their family / friends, for extra support.

- The following day, the Contestant is visited by the Executive Producer, who debriefs them and reminds them of the support that we will offer them during post-production.

- Contestants are also given the contact details of the Production Executive, who they are able to contact at any point during post-production.

Post Elimination – Weekly Phone Calls

- Once an eliminate Contestant has exited the process and returned home, a member of the production team contacts the Contestant on a weekly basis, to check in with them and provide support, as they adjust to returning to normal life. It can sometimes be a shock for the Contestant to leave the process and return home, so we support them by contacting them on a regular basis. Any concerns about the Contestant’s welfare are flagged to the Senior Management team.

POST-PRODUCTION

Once filming of the series has ended, the Contestants are managed by a Senior member of the Production Team, who keep in touch with each Contestant.

Dealing With Press / Media

- To prepare the Contestants for media attention they may receive, we introduce them to our external press team.

- Several weeks prior to transmission we invite each Contestant to a ‘Press Day’, where they meet with both our Executive Producer and our external press team, where any questions / concerns about the programme going out is discussed. We also discuss any potential negative stories that may come out about them or their family – and how best we can support them with that. They also experience a ‘mock interview’ with a journalist, as part of their media training - and we remind the Contestants that they can contact ourselves or our external press team at any time.

- When the names of the Contestants are released to the media, our external press team will be on standby for Contestants to contact to discuss any concerns they have.

Social Media

During pre-production, the production team will have conducted a thorough review of all their Social Media accounts. A document is created, which contains any Social Media posts that could be of interest to the media. The Contestant is encouraged during pre and post-production to review their Social Media and remove anything which they would not want highlighted by the press/media.

DURING BROADCAST

Regular Contact

- During broadcast of the series, a member of the production team is on standby to deal with enquiries, concerns or questions from each Contestant.

- A member of the production team also contacts the Contestant regularly to discuss their social media output and also to discuss if they have any concerns with their experience of press stories or social media comments.

Big Storylines

- If a Contestant has a particularly big storyline within an upcoming episode, a member of the production team contacts the relevant Contestant to flag that they will be appearing more prominently within that particular episode, as a duty of care to the Contestant.

Press / Media

- Each Contestant is encouraged to contact us and our external press team if they have any concerns about unwanted media attention about themselves or their family / friends.

POST BROADCAST

-The Contestants are contracted until 28 days after the first transmission of the last episode of the programme. During this period, we continue to monitor their social media.

-A Senior member of production will contact each Contestant towards the end of their contracted period, as a duty of care, to see how they’re feeling after the broadcast of the series - and if necessary, arrange to provide any additional support.

-We will also send each Contestant an email to remind them, that as far as we are concerned, they are always a part of the programme family, and to re-iterate if they need further support, to get in touch. They will have both an email address and a mobile phone number.

Filming with Children Protocol

The idea of this guide is to help programme makers who are planning to work and film with children in studio and on location.

Following the protocol will:

(i) help to identify when a child performance licence is required and how to obtain one; and (ii) help to safeguard the welfare of children and that of the filming teams at all times by following some good practice guidelines, found at the end of this protocol.

If you have any queries about anything in this protocol, please refer to the Legal & Business Affairs team.

Child Performance Licences

When is a Licence required?

You may need to obtain a child performance licence prior to working with children in television.

A Licence is required where the child is:

- Taking part in a performance intended for broadcast (including internet streaming); o Performance can mean any of the following: Acting, singing, dancing, playing in an orchestra, stand-up comedy, magic act and any production where the activity is contrived or constructed for dramatic effect. - Being paid to take part in a performance; - The child is absent from school; - Of compulsory school age: o England : Children can leave school on the last Friday in June as long as they are 16 by the end of that year’s summer holidays o Scotland : Children can leave school on 31 May if they turn 16 between March 1 and September 30 of that year. o Wales : Children can leave school on the last Friday of June, as long as they will be 16 by the end of that school year’s summer holidays o Northern Ireland : Children who turn 16 during the school year (between 1 September and 1 July) can leave school after 30 June. Children who turn 16 between 2 July and 31 August are not able to leave school until 30 June the following school year.

All children of compulsory school age require a licence when performing overseas (see below).

When is a Licence not required?

- Observational documentaries (child is filmed carrying out normal day to day activities); - Elements of a programme where the child is not being directed but is being observed doing normal activities;

- Daily news reporting; - Being interviewed as a member of the public; - Castings and auditions that are not recorded for public exhibition; - Being part of an audience; - Photo-shoots and modelling where no payment is made in respect of the child’s participation; - Performance is given under the arrangements made by a school.

Children not resident in the UK (e.g. Republic of Ireland )

- If a child is not resident in the UK you must apply the law of the licensing authority where the performances/filming are taking place in the UK; or - If filming is taking place in multiple locations you must apply the law of the licensing authority of the business address of the production company or the filming base.

The “Four Day Rule” – only use when you have spoken with a member of the Legal team.

An exemption from licensing can only be granted if:

- The child is not being paid to take part, and no other person is being paid for the child to take part other than out of pocket expenses; - The child will not be absent from school; and - The child has not performed on more than 3 days in the last 6 months prior to your performance.

Once a child has performed on 4 days in a six month period (in any performance, regardless of whether a licence was in place on any of those days) then a licence is required for any further performances.

Best practice: obtain written confirmation from the parent or legal guardian of the child that their child has not performed on more the 3 days in the last 6 months.

Where the four day rule exemption is relied upon, the restrictions applicable to all performances will apply.

Please always speak with the Legal team if you are thinking of relying upon the four day rule.

The Application Process

Who applies? Production company will apply for all licences required. An application form can be obtained from the relevant Local Education Authority (LEA).

Where are applications sent? Applications are made to the LEA for the area where the child lives (regardless of where filming takes place, unless the child does not live in the UK as above).

When are applications made? An application for a licence must be received by the relevant LEA at least 21 days (30 days in Northern Ireland) before the day on which the first performance takes place.

What is an open licence? An open licence does not specify the dates of the performance or activity. It will contain the location, together with the specified number of days that the child will be performing within a 6 month period. The Producer must however give advance written notice to the LEA and the host authority of the dates and times when a child performs.

Where the performance is taking place in a different LEA area from that who supplied the licence, the original licensing LEA will pass over information and administrative responsibility to the LEA in which the performance is taking place.

Child performance licences must be available (either in hard copy or electronically) at the venue where the performance is taking place.

Best Practice: Forward plan, and submit applications as soon as possible – there is no guarantee that a licence will be issued.

Hours of Work, Rest Breaks and Meal Breaks

Please see the tables at the end of this protocol for details. Please note that:

1. Restrictions differ: a. In England, Scotland, Northern Ireland, and Wales; and b. Depending on the age of the child. 2. Exceptionally, the Chaperone may allow the child to take part in a performance for a period not exceeding one hour (England and Wales)/30 minutes (Scotland and Northern Ireland) following the latest time specified, provided that the total number of performing hours does not exceed the maximum number of hours permitted for that day. By doing so, the welfare of the child must not be prejudiced and the conditions requiring the extension must have arisen in unforeseen circumstances, outside of the control of the licence holder. 3. Chaperone may allow the meal break to be reduced when the child is taking part in a performance or rehearsal on location provided that it is not less than 30 minutes and the maximum number of hours that the child can perform is not exceeded. 4. Travelling time required to/from the child’s home to the place of performance must be taken into account when calculating the length of the child’s working day. 5. A child must not take part in performances or rehearsals on more than 6 consecutive days save for Northern Ireland which is 5 consecutive days. 6. Following 8 weeks of 5/6 consecutive day weeks, the child must be given a 14 day break.

Chaperones

A chaperone is responsible for supervising children during performances and whilst staying in accommodation provided by production.

The maximum number of children a chaperone may supervise is: 12 in England and Wales; 11 in Northern Ireland; and 10 in Scotland, save where the chaperone is a teacher in which case the number is decreased as detailed in the tables above. However the LEA and/or the production company may consider that the chaperone can only effectively look after a smaller number after the age and gender of the children has been considered.

Who can be a Chaperone? The child must be under the supervision of either his/her parent, or one of his/her teachers or a chaperone licensed by the LEA. These are the only category of persons allowed.

Education

A child’s education must not suffer when a child takes part in performances or activities. Where arrangements are made for the education of the child during the term of the licence (i.e. because the child will be absent from school) these arrangements must be approved by the LEA.

The decision on whether to arrange education for a child must be based on whether the child’s education will suffer by taking part in the performance. This must be taken based on the particular performance in question and the needs of the individual child. What is suitable for one child may not be suitable for another.

When making arrangements for education, it is imperative that the school is included as they will know what course of study is best for the child.

The standard number of hours of tuition that a child must have per day is set out in the tables above.

Health and Safety No child may take part in a performance where life or limb are endangered. A ‘performance of a dangerous nature’ includes all acrobatic performances and all performances as a contortionist. Acrobatic performances are a grey area given the content of some dance routines that children are involved with together with acrobatic troupes appearing on television programmes, therefore the LEA will look at each situation on a case by case basis. Only those aged at least 16 and who are also over compulsory school age may take part in performances of a dangerous nature. Children over 12 may be trained to take part in a performance of a dangerous nature under a licence granted by a Magistrates Court.

Medical Examinations

A medical examination is usually required before a licence will be granted, and a medical declaration will be completed by the child’s parent. Check with the licensing authority if an examination will be necessary.

Inspections

An authorised officer of the host LEA or the LEA where the performance is taking place can carry out inspections of any location: - Where rehearsals during the performance period are taking place; - Where performance activities are taking place (e.g. TV Studios); or - Where the child is receiving their education, to make enquiries about a child for whom a licence has been granted and to check that the licensing conditions are being met. LEAs have the authority to amend or revoke existing licences and can take further action through the courts and bring a civil action. A breach of a licence can also be a criminal offence. Records for Inspection At the place of performance you are required to make the following records available to a visiting officer of the LEA:

- Child performance licence (either in hard copy or electronically); - Times that a child arrives at/departs from the place of performance; - Times that the child performs and/or rehearses; - The time that the child has breaks and meals; - The time that a child is waiting between performances (e.g. rescheduling); - The time of any night work authorised by the LEA; - Dates and times of any education provided and the subject taught; - Details of any illness, injuries or accidents (including dates on which the injuries occurred and whether such injury/illness prevented the child from being present at the place of performance); - Dates of breaks between performances; - Financial records of money earned and paid (and the names and addresses and description of the persons to whom the fees are paid); - The dates of medical examinations (if any) of the child; - The details of chaperone(s) who were involved in the performance (as part of your licensing requirements); - Compliance with any conditions imposed by the LEA.

These records must also be kept for 6 months after the last performance.

Filming Children Abroad

If you are taking children abroad (save for to Ireland where no licence is required) for the purposes of taking part in a performance, a licence from the local court is required. This is different from the licence that is obtained from an LEA, which only covers performances taking place in the UK.

The Producer will need to make an application to the applicable local court (below) in order for a licence to be obtained.

- England and Wales: Local Magistrates Court - Scotland: Local Justice of the Peace Court - Northern Ireland: Local Court of Summary Jurisdiction

Contact the court office in advance to find out how such applications are dealt with as procedures may vary slightly from each court.

If the District Judge is satisfied that the child/ children will be well cared for whilst abroad, the Licence will be signed and you will be informed of the address of the British Consulate that should be telephoned on arrival at your destination.

You will also need to send the following documents to the Chief Officer of Police for the District at least 7 days prior to the Court hearing:

- Application for Licence; - Notice to the Police; and - A copy of the contract signed by both parties detailing the type and extent of the work that the child will be expected to undertake.

It can take 14 days for a licence to be granted, however you should contact the local court who will be able to advise how long your particular process can take.

When the child returns to the UK you will need to inform the Court that issued the licence in writing that the child has returned safe and well and provide brief details of the work undertaken, breaks given and tuition provided whilst the child was away. You may also wish to contact the child’s LEA so that they have accurate records of the number of performances the child has undertaken.

Best Practice: Contact the local court in addition to the LEA where the child resides as soon as possible. You should also check the consulate in the country you are going to film in to ensure that there are no other legal requirements that you need to comply with.

Filming with Children Under 18s Good Practice Guidelines

The following good practice guidelines, together with the FremantleMedia UK Child Protection Policy (a copy of which is attached at the end of this protocol), will help to safeguard the welfare of children and that of the filming teams at all times.

Please make sure that all members of staff that are working with or chaperoning the children have read and understood both these guidelines and the FremantleMedia UK Child Protection Policy. If you feel anyone is behaving inappropriately around children report it to your line manager, who will report it to the most senior member of the production team.

Although the licensing system does not provide for children who are over the school leaving age, you should be mindful that these young people are still subject to OFCOM regulations which protect those under 18.

Under 18s wellbeing and dignity

- The child’s safety, physical and mental wellbeing and dignity should be the priority of the filming team at all times. Do not allow or cause anything to happen which puts these at risk. - Children should not be caused unnecessary distress or anxiety by their involvement in and broadcast of the programme. - Children taking part in a programme should do so in a safe, reassuring and welcoming environment, with appropriate supervision at all times. - The senior Producer Director on the shoot is responsible for ensuring the health and safety of the children on location. - A thorough risk assessment will consider the needs of the children and any additional risks created by filming with them. - Do not criticize, bully, patronise or mislead the child (and don’t make promises we do not keep). - If we suspect any child is at risk or a child welfare issue has arisen notify your line manager who will escalate to the most senior member of production. - Don’t disclose any information which might put child at risk, such as their address or school details. - Don’t obtain any personal information about a child other than as strictly necessary for the purposes of production of the programme. Any information obtained from children (personal or otherwise) should be held securely. - Ensure children are treated with respect as individuals, and offered equality of opportunity- remember they are children first, contributors second - Ensure that children are given the necessary rest and meal breaks required (as set out in the tables attached) and that a suitable area for rest breaks is provided.

Contact with children

- Have a single consistent point of contact for the child and their parent whom they can liaise with throughout the production. - No crew member should ever be alone with a child/children. - No member of the filming team should take responsibility for a child on their own. If a child needs care ask a parent or chaperone to help. - Only take on practical caring responsibilities (such as taking a child to the toilet) in an emergency (there must be a separate toilet available for use by children aged 16 and under). Ideally this should be done by a parent or chaperone. In such an event follow the general rule and make sure you are never alone with the child. - Never pass on your personal details to children and do not accept personal details. - Do not “friend” or “follow” on social networking sites.

- Children should be accompanied by a registered LEA chaperone (or their parent if pre-agreed in advance by us) when travelling to/from filming or if required to stay overnight on production.

Appropriate Behaviour

- Be a good role model: Ensure your conduct, behaviour and language is responsible and appropriate at all times. - Avoid favouritism and treat all the children without prejudice or discrimination. - Always act within professional boundaries; all contact with the children should be essential to the filming you are doing. - If you feel anyone is behaving inappropriately around the children report it to your line manager, who will report it to the most senior member of the production team. - If you feel any of the children are behaving inappropriately please report it to your line manager, who will report it to the most senior member of the production team who will consult with the parent or chaperone. - Never make promises that you can’t keep.

Informed Consent

- We must obtain the child’s and both parents’/guardians’ permission to participate in any filming. This should be sought in advance and be supplied in writing. Where only one parent has parental responsibility, then we only need that parent’s consent. - Be clear with parents and guardians as to any expectations we have of them e.g. that we wish parents to attend behind camera. - Please ensure that the children are still happy to participate in the audition/live show prior to going on stage. We should not force or blackmail a child to perform or do anything that makes them upset, nervous or uncomfortable. - In addition to obtaining parental consent, we must also make our own assessment of any potential risks to the welfare of the child, both during filming and after transmission. o In competitions, care should be taken to ensure that children are not placed under undue pressure either by parents or others to succeed.

Expert Advice

- Many programmes involve physical and emotional challenges to child participants, so consider taking appropriate expert advice (e.g. from counsellors, child psychologists, doctors etc.) prior to, during, and following filming. o Seeking expert advice will help to minimise the risk of potential distress to a child.

Child Performance Hours of Works, Rest Breaks and Meal Breaks

Northern Ireland

Child Protection Policy - FremantleMedia UK

1. Introduction

FremantleMedia UK (or the “Producer”) is committed to safeguarding the welfare of children and young people. This policy establishes the responsibilities of everyone who works for FremantleMedia UK with regard to the protection of children and young people when working with or when brought into contact with children and young people. In the context of child protection, children and young persons refers to anyone under 18 years of age.

This policy reflects the principles of both UK legislation and guidance and seeks to be consistent with 'Best Practice' within the field of child protection. This policy is also designed to adhere to the child protection standards established by UK broadcasters.

The key principles are:

• The welfare of the child or young person is the paramount consideration (above any editorial decision) and should be at the heart of the production; • All children and young people, regardless of age, disability, gender, nationality, colour, race, racial or ethnic origin, religious belief, sexual identity and sexual orientation have a right to protection from harm or abuse; • It is the responsibility of all staff of FremantleMedia UK to promote the protection of children and young people and to comply with this policy.

Staff are always expected to maintain a sense of proportion, apply common sense to situations and protect the child's welfare as priority. This policy is approved, supported and established by senior management of FremantleMedia UK

2. Principles of Good Practice

FremantleMedia UK undertakes to:

• Treat children and young people with care, respect and dignity; • Recognise that those working for FremantleMedia UK will be perceived by children and young people as trusted persons and therefore all staff must comply will this policy; • Ensure communication with children and young people is open and clear, ensuring that work is always carried out in an open environment e.g. avoiding private or unobserved situations; • Assess the risks posed to children when undertaking activities; • Ensure staff avoid physical contact with children and young people except for reasons of health and safety, or under supervision; • Promote fairness and confront and deal with bullying whilst children are under the Producer’s supervision; • Encourage staff to set a good example – to be good role models and act in a professional, responsible and trustworthy manner at all times; • Respond to any allegations appropriately and implement a disciplinary process as appropriate; • Inform each child who the appropriate person or people are to speak to if they have any questions, problems or concerns; • Review this policy on a regular basis.

Complaints:

In the event of a complaint against a member of staff/ contractor and/or anybody else connected with the production of a programme for whom the Producer is responsible, the person to whom the complaint is made should:

• Remain sensitive and stay calm so as not to frighten the young person; • Reassure them that they are safe, they are not to blame and that it was right to tell; • Always stop and listen straight away, showing that you are taking them seriously.; • Encourage the child to speak, but do not ask leading questions, interrupt or ask the child to repeat him/herself. Keep questions to a minimum so that there is a clear and accurate understanding of

what has been said. The child shall not be interviewed. The law is very strict and child abuse cases have been dismissed where it is felt that the child has been led or words and ideas have been suggested during questioning. Only questions which clarify shall be asked; • Inform the child that they need to inform other people about what they have been told however they will maintain confidentiality; • Not make promises which cannot be kept e.g. that the alleged abuser will go to jail; • Ensure that the safety of the young person is the priority. If the child needs urgent medical attention an ambulance shall be called, doctors shall be informed of the concern and made aware that this is a child safeguarding issue; • Produce a record of all information as soon as possible; and • Report the incident to a line manager or if they are not available to the Head of Production for the relevant programme immediately who will liaise directly with the appropriate authorities. • Do not confront the alleged abuser.

3. Principles of Poor Practice

The following are regarded as poor practice and should be avoided by all staff:

• Unnecessarily spending excessive amounts of time alone with young people away from others; • Divulging personal details of any children including home address, personal telephone number, e- mail address and membership of any social networking sites such as Twitter or Facebook; • Taking young people alone in a car on journeys, however short that journey might be; • Engaging in rough, physical or sexually provocative games, including horseplay; • Allowing or engaging in inappropriate touching of any form; • Making arrangements to meet a child or young person socially outside of work; • Using inappropriate language in the presence of children or allow young people to use inappropriate language unchallenged; • Allowing access to inappropriate literature or images via books, magazines, television, videos, DVD or computer; • Making sexually suggestive comments to a young person, even in jest; • Taking photographs of children or young people without first obtaining parental consent; • Divulging confidential or other information about a child or young person to an unauthorised person; • Reducing a young person to tears as a form of control or using physical punishment under any circumstances; • Allowing allegations made by a young person to go unchallenged, unrecorded or not acted upon; and • Doing things of a personal nature that the young person can do for themselves.

4. Recruitment and disclosure

New appointments:

Where a position entails regularly caring for, training, supervising or being in sole charge of children, all offers of employment or engagement of professional LEA-registered chaperones will be subject to the Producer’s receipt of a DBS disclosure and satisfactory references.

Current staff:

Current staff, whose roles do not entail working with children, may on occasion work on projects that involve supervised contact with children. No member of a programme production team will be left in sole charge of a child/ children without a supervising parent/ legal guardian and/or an appropriately qualified, LEA-registered chaperone. Any member of staff who discloses that they have been convicted of any offence relating to children and young people and/or disciplinary action or sanction relating to children will not be permitted to work on any production/project which involves children. In cases where a role entails regularly caring for, training, supervising or being in sole charge of children a DBS disclosure will be required before the role is undertaken. Such staff may require renewed DBS disclosures in certain circumstances and as at regular intervals as reasonably required by the Producer.

Disclosure Service:

The Disclosure Service is provided by the DBS and provides a regulated checking process against official data sources. The Disclosure Service is aimed at helping organisations make more informed recruitment decisions by reducing the risk of appointing someone with an unsuitable background to particular types of work. Disclosure applications are checked against records of people banned from working with children held on the Police National Computer and by local police forces as well as other statutory lists. There are two levels of Disclosure, each representing a different level of checking.

• Standard Disclosures are primarily for posts that involve working with children and vulnerable adults. • Enhanced Disclosures are for posts requiring a far greater degree of contact with children or vulnerable adults. In general the type of work would involve caring for, supervising, training or being in sole charge of such people.

Enhanced Disclosures should be sought for those engaged by the Producer (including third party chaperones) whose role entails unsupervised contact with children.

5. Child Protection - Complaints Procedure:

The relevant Head of Production for the programme in question should be contacted if staff believe that a child may be at risk of harm and/ or staff are told by a child or young person of a child welfare issue. The Procedures for concerns regarding children and young persons under the Producer’s control are set out in Appendix A.

6. Health and Safety

FremantleMedia UK’s Health and Safety policy gives guidance to those whose roles involve working with children and young persons. A full health and safety risk assessment will be completed before bringing any child onto a location or set. Where a child or young person is involved, the risk assessment must take account of their particular vulnerabilities, which will include child protection. The risk assessment should also set out what arrangements are in place for their care and supervision, e.g. by a school, parent, guardian or chaperone and how these arrangements will be communicated to the appropriate parties. We recommend that during a production either the child’s parent/ legal guardian or an appropriately qualified, LEA-registered chaperone is given responsibility to oversee and check the child’s welfare throughout. If an LEA-registered chaperone assumes such responsibility, it is prudent that the child’s parent or legal guardian has access to this person throughout the production.

Where applicable tutoring will be provided in line with current legislation as required. Particular attention will be given to scheduling in regular rest breaks and ensuring that refreshments are provided. Appropriate clothing and facilities will always be provided according to the conditions involved for filming, i.e. warm, dry shelter if filming in cold weather, including water/sunscreen/shaded shelter from sun if filming in hot weather.

7. Transport

When children are being transported on behalf of FremantleMedia UK they should be accompanied by a parent, guardian, chaperone or teacher. All children for whom a licence is required during engagement with the Producer must be accompanied by their registered chaperone or parent whilst travelling. The registered chaperone is the name that appears on the LEA licence. In the very exceptional cases where a child who does not require a licence is to be transported unaccompanied by their parent, guardian, chaperone or teacher, this must be with taxi companies that provide drivers with suitable background checks and satisfactory DBS disclosures (approved taxi companies), or by a member of staff who has a satisfactory DBS disclosure and in either case only with the specific prior consent of their parent or guardian. Young Persons (“Young Person” being someone who is over school leaving age and does not require a licence or chaperone, but is under 18) may travel unaccompanied, on behalf of FremantleMedia UK but should be transported by approved taxi companies or a member of staff who has a satisfactory DBS check. Written parental/ guardian consent should be sought for this.

8. Accommodation

Any child will be accompanied by a registered LEA chaperone if required to stay overnight on any production. Should a parent prefer to accompany and stay overnight with their child then this wish

should be respected. Written parental/ guardian consent will be sought before a Young Person is asked to stay unaccompanied overnight in accommodation.

9. Other general welfare considerations set out under the Ofcom Broadcasting Code

In addition to having in place appropriate essential Child Protection procedures, FremantleMedia UK shall seek to comply with the general welfare obligations for children set out for broadcasters under the Ofcom Broadcasting Code. The Broadcasting Code sets out the following duties of care for broadcasters:

• Due care must be taken over the physical and emotional welfare and the dignity of people under eighteen who take part or are otherwise involved in programmes. This is irrespective of any consent given by the participant or by a parent, guardian or other person over the age of eighteen in loco parentis; • Children under eighteen must not be caused unnecessary distress or anxiety by their involvement in programmes or by the broadcast of those programmes; and • Prizes aimed at children must be appropriate to the age range of both the target audience and the participants.

In order to ensure compliance with the Code FremantleMedia UK shall also seek to adhere to any guidance issued by Ofcom from time to time that underpins these broadcaster duties. (See www.ofcom.org.uk). In addition, the Producer should also liaise closely with those editorially responsible for the programme and with the broadcaster’s compliance and legal officers, as appropriate.

Appendix A

Concerns regarding children and Young Persons under the Producer’s control:

Any person working on behalf of FremantleMedia UK who is concerned about a child or young person involved with the Producer should refer the matter to the relevant Head of Production on the relevant programme production team. Based on the circumstances allegations of harm will be dealt with in the following way:

Where it is believed that a child or young person may have been abused, harmed or may be at imminent risk of harm:

• Contact the police and/or social services.

Where it is believed the child or young person is not at imminent risk of harm, but there are concerns:

• The nominated Child Protection Officer will clarify the concerns, record information and alert line management and decide a course of action.

• A course of action may include:

- Contacting the police; - Seeking guidance from social services and/or child protection agencies; - Investigation, followed by course of action agreed and implemented; - If concerns remain, agree to monitor and review the situation; - Record concerns, but further action not taken.

Allegations made against staff:

Allegations made against staff would trigger an investigation and formal disciplinary process (as appropriate).

Definitions of Child Abuse and Neglect

A child is abused or neglected when someone inflicts harm, or fails to act to prevent harm. A child or young person up to the age of 18 years can suffer abuse or neglect and require protection.

- Physical Abuse – May involve hitting, shaking throwing, poisoning, burning or scalding, drowning or suffocating or otherwise causing physical harm to a child.

Physical harm may also be caused when a parent or carer fabricates or induces illness in a child whom they are looking after.

- Sexual Absuse – Forcing or enticing a child/young person to take part in sexual activities, whether or not they are aware of what is happening, may involve: physical contact, including penetrative or non-penetrative acts; non-contact activities, such as involving children in or looking at, or in the production of pornographic material, or watching sexual activities; or encouraging children to behave in sexually inappropriate ways.

- Neglect – Neglect is the persistent failure to meet a child’s basic physical and/or psychological needs, likely to result in the serious impairment of the child’s health or development. It may involve a parent or carer failing to provide adequate food, shelter and clothing, failing to protect a child from physical harm or danger, or the failure to ensure access to appropriate care or treatment. It may also include neglect of, or unresponsiveness to, a child’s basic emotional needs.

- Emotional Abuse – The persistent emotional ill-treatment of a child such as to cause severe and persistent adverse effects on the child’s emotional and behavioural development. It may involve conveying to the child that they are worthless or unloved, inadequate, or valued only in so far as they meet the needs of another person. It may feature age and develop mentally inappropriate expectations being imposed on children. It may involve causing children to feel frightened or in danger, for example witnessing domestic abuse within the home or being bullied, or the exploitation or corruption of children.

Some lebel of emotional abuse is involved in all types of ill treatment of a child, though it may occur alone.

[ ] (the “Programme”) - Publicity Guidelines

The Programme is one of the most popular shows on TV and as such it attracts a great deal of media interest from newspapers, magazines, online sites and other TV and radio shows. While this can be incredibly positive and help in increasing your fan base, there can also be downsides with journalists potentially looking at all aspects of your life and that of your family for stories.

The series has a dedicated publicity team who work as part of the production team and will manage all communication with the press and support you throughout the show. The details of the publicity team are below. As well as publicising the show, we are here to support you through the series and manage the press interest surrounding you and your act.

All press activity for acts on the series needs to be cleared and co-ordinated through the publicity team for the show.

What to say if asked about your involvement in the series: We do not want any information about your status within the show revealed before it is aired – this includes not talking about judges’ comments, if you’ve got through to the live shows and any backstage stories. This also includes posting any information or images on social media ahead of your audition being aired.

An acceptable comment to make to anyone contacting you about your involvement in the show is; “Yes, I did audition for the Programme but you’ll have to watch the show to see how I performed.” Do not feel that you need to give press or anyone asking more information than this.

Dealing with any direct approaches from the press: It is likely that reporters will try and contact you directly especially once your audition has aired. You should never speak to press without us knowing; we will always contact you in advance if we want to set up an interview with you and we would never give your details out to press directly.

If you are contacted directly by the press don’t say anything and ask them to contact the publicity team on the below email address.

It is possible that a reporter may turn up on the doorstep at your home or at a family member or friend’s house or workplace. If that should happen please ask for their mobile telephone number, ask them to leave, tell them that someone from the Programme will call them and then let us know. Don’t be tempted to say anything further as whatever you do say could end up in print and it may not come across as you intended. Journalists are prohibited by their own code of conduct to repeatedly request an interview or comment after you have refused.

Specific concerns: You can tell us confidentially, at any time, about anything that you are worried about which you think might appear in the papers. It is always best to be upfront with any concerns you may have as we can advise you on the best way to help stop negative stories from running or manage any negative stories which do come out.

Social Media: While social media (Facebook, Twitter, Instagram etc) can be a great tool to engage with the Programme’s audience and increase your fan base, you should also be aware of the potential downsides. Journalists will look at your social media profiles to try and obtain your pictures, use what you have written and/or find out who your friends/family are and try and contact them.

Be aware of social media sites and how you are portrayed (photos, comments, video clips). Please put your social media settings to ‘private’ and be aware of what you are saying to people. Be careful with what friend requests you are accepting on Facebook, and make sure you know those who you accept. Journalists will look at your Facebook profile to try and obtain your pictures and videos, use what you have written and/or find out who your friends/family are and try to contact them.

Journalists will take the time to go back through many years of your social media profiles in order to find anything that might make a story.

We strongly advise you to review all of your social media accounts to ensure that there are no past pictures, posts, video clips or tweets which could reflect badly on you and which could lead to negative stories about you.

In previous series contestants’ past tweets and pictures have led to negative stories in the papers. Please bear in mind that posts and photos which you may have put online in the past can be taken in a different context to what you meant and will now attract wider public attention.

Below are some bullet point questions to consider within your social activity:

• Language – Do not use language which, whether fairly or otherwise, could be seen as inappropriate, offensive or obscene (such as comments that may be viewed as racist, sexist, or homophobic) • Libel - Do not make any statements about other people (friends, acts or celebrities) that you cannot prove • Nudity – Are there pictures of you naked or with limited clothing anywhere? • Copyrighted material – Do not use photos or videos that you don't own • Dormant accounts – Remember old accounts such as My Space, Bebo, WAYN etc. Is there anything here that could offend people? • Spoilers – Do not give away information about your performance or progression in the competition • Be careful about communicating with other contestants on the Programme publicly. Unless you know for sure that the account is official do not interact with them especially publicly. Some members of the public have impersonated acts in the past trying to gain followers so be aware of this

Please contact us on the email address below below if you have any queries, we are here to help, so don’t be afraid to let us know of any questions you may have.

The best way to contact us is on our team email – [ ]

Summary of screening process

* Producer to give GHQ to contestant

Contestant to complete and return GHQ to Company doctor

Company doctor to paper screen the GHQ

The Company doctor will write to the general practitioner for a report

A screening interview with a psychiatrist may be made for the contestant.

If a screening interview has taken place, the psychiatrist will provide a confidential summary of the assessment to the company doctor

The company doctor will compile the results of the GHQ, GP report and any report from the psychiatrist and provide the relevant information to the Human Resources department and/or senior members of the Producer’s production team

* The General Health Questionnaire (GHQ) will have attached a consent form, which needs to be completed and returned to the company doctors namely [ ].

MEDICAL QUESTIONNAIRE

STRICTLY PRIVATE AND CONFIDENTIAL

FOR THE ATTENTION OF THE COMPANY DOCTOR ONLY

Please answer the questions below and return this form in the accompanying envelope to the Company’s Doctor. The Company’s Doctor will treat the information confidentially. The Human Resources Department and/or senior members of the Production team at FremantleMedia UK will be sent a brief feedback of any support you require during the process of the competition BUT details of the medical information will NOT be sent to FremantleMedia UK

Personal Details

Surname ...... Dr/Mrs/Mr/Ms/Miss

First Names: ...... Male/Female

Date of Birth:...... ………………………………………………..

Home Address:...... ……………..

...... ………….

...... ………….

Mobile No:...... …………………………………………………..

Daytime Telephone No:...... …………………………………………………

Email Address: ------

General Practitioner (Full Name and Address): ………………………………………………………

...... ………..

Are you currently employed? Yes  No 

If so what is your job title?

   Please give a brief account of your duties:

STRICTLY PRIVATE & CONFIDENTIAL

THIS INFORMATION IS CONSIDERED BY THE DOCTOR ONLY AND IS NOT PASSED TO THE HUMAN RESOURCES DEPARTMENT

Please answer EVERY question. If you answer yes please give further detail, continuing on a separate piece of paper if necessary

HAVE YOU EVER HAD: YES NO BRIEF DETAILS with dates 1. Severe headaches or migraine

2. Fits, convulsions or epilepsy

3. Mental Health issues:

3a. Depression, anxiety or stress-related illnesses 3b. Any attempts at self-harm

3c. An eating disorder (e.g. anorexia, bulimia)

Counselling, psychotherapy or psychiatric 3d treatment

3e. A problem with alcohol consumption or other substance misuse 4. Eye conditions, injuries or serious defects of vision not corrected by lenses/glasses 5. Any hearing problems?

6. Asthma, hayfever, bronchitis or chest problems 7. Bronchitis, pneumonia or chronic lung condition 9. Heart disease, angina, raised blood pressure or circulation disorders 10. Frequent/severe indigestion or gastric/duodenal ulcers 11. Excessive weight gain or loss

12. Diabetes

13. Severe back, neck pain or disc trouble

14. Difficulties in standing, bending or lifting Or with any other movements? 15. Varicose veins or foot problems

16. Eczema, dermatitis or other skin conditions/problems 19. Do you have a medical condition affecting your sleep 20. Have you seen a doctor in the last year for any kind of health problem? If so please give reason 21. Any operations or are you on a hospital waiting list (please specify) 22. Are you taking any medication or drugs?

23. Are you allergic to anything? If so what?

24. Any accident resulting in severe injury?

25. Have you had any work related illnesses

26. Have you ever been medically retired from any job or left or changed any job because of ill health? 27. Do you have a disability?

28. Any other conditions or health problems

29. Have you ever had any illness, medical problem or disability that may currently affect your ability to work safely

30. Do you feel well at present?

DO YOU CURRENTLY FEEL: YES NO BRIEF DETAILS 1. Unhappy?

2. That you have someone to turn to for support when needed?

3. Able to cope when things go wrong?

4 Despairing or hopeless?

5 That you have unwanted images or memories that are distressing you?

Do you drink alcohol? Yes/No If “yes” how much per week:………………………………………………….

Current Weight…………………………….. Height………………………………………

It may be that, following the receipt of this questionnaire we may need to contact you by telephone or require you to attend a medical examination.

If you have any difficulty completing this form please contact the Production Department who will advise you further.

Declaration

I declare that to the best of my knowledge and belief the information given above is correct. I understand that if the information is subsequently found to be inaccurate or to have been omitted, FremantleMedia UK will be informed and will not be responsible for the consequences.

SIGNED:...... DATE:......

I give consent for the Company Doctor (or nominated deputy) to provide information about any health/medical requirements which they believe to be relevant to the Production Department at FremantleMedia UK.

SIGNED:...... DATE:......

Please return this form, marked PRIVATE AND CONFIDENTIAL to the Company Doctor, [ ] at:

[ADDRESS]