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February 2019

Deborah Turness: News pioneer Digital Purchase Order

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www.sargent-disc.com www.digitalproductionoffice.com @SargentDisc @DigiProdOffice /SargentDisc /digitalproductionoffice Journal of The Royal Society February 2019 l Volume 56/2

From the CEO It may only be Febru- am very grateful to Alex Wootten, Day with a special all-female episode. ary but 2019 has got Chair of RTS Futures, our exhibitors, I am thrilled that the screenwriter off to a lively start for session producers and panellists for responsible for the programme, Max- the RTS. At the Soci- making the TV Careers Fair such a ine Alderton, found time to write this ety’s HQ we vibrant success. month’s TV Diary. have been busy host- Our latest screening was held at Elsewhere in this edition, we look at ing the juries for the Soho’s Curzon cinema last month, what are bound to be two of the year’s 2019 RTS Television Journalism and when a large crowd had the opportu- biggest issues for our sector – the RTS Programme Awards. nity to see two episodes of 4 Blocks, a impact of Brexit and the debate over Elsewhere, our events programme brilliant TNT Serie crime series, fol- BBC financing of free TV licences for is very much up and running. In Janu- lowed by a Q&A with one of the stars the over-75s. ary, I was so thrilled to attend our and members of the production team. As we all know, these are complex busiest RTS Futures TV Careers Fair Thanks to all who made this happen. matters that are concentrating the to date. More than 1,350 people came With International Women’s Day minds of politicians and policy-­ to the event, which was so bustling coming up on 8 March, it’s especially makers. I am grateful to John McVay that exhibitors didn’t have the chance fitting that our cover story is Andrew and Torin Douglas for their clear- to draw breath. Billen’s interview with Deborah Tur- headed analysis. There was a very enthusiastic ness, one of the great innovators ­take-up of the CV clinic, and the working in TV news. After spells at panel sessions were particularly pop- ITN and NBC, Deborah is blazing ular this year. One panel was devoted a trail at . to the question of how to make it as a ITV’s super soap Emmerdale will be / brand. celebrating International Women’s Theresa Wise Contents Maxine Alderton’s TV Diary BBC faces free-fee quandary Maxine Alderton is thrilled to know that her home The vexed question of free TV licences for the 5 is steeped in the history of Coronation Street 20 over-75s is concentrating minds at the BBC and beyond. Torin Douglas unpicks the arguments Reinventing TV news Andrew Billen asks Deborah Turness, the first female ‘I’m paid to wiggle my finger in the air’ 6 editor of a British TV news show, about her latest canvas Channel 5’s director of programmes, Ben Frow, tells for modernisation, Euronews 22 Caroline Frost where he wants to spend the money freed up by axing Big Brother The Brexit conundrum John McVay provides a user’s guide to how leaving the Freeview shifts up a gear 10 EU is likely to affect Britain’s production community As Freeview rolls out its new mobile app, Clarke 24 talks to the man behind the initiative, Jonathan Thompson, Our Friend in the Midlands CEO of Digital UK Guz Khan wants TV to try harder to reflect the 13 uniqueness of in all its glorious authenticity The gangs of Berlin Matthew Bell hears the makers of the acclaimed The ultimate professional 26 TNT Serie drama 4 Blocks explain how they broke Lisa Campbell profiles Fiona Bruce, whose new role as the mould of the TV crime show 14 presenter of Question Time is already proving controversial Getting social with Patrick Walker, the platform’s EMEA director of media 16 partnerships, tells Steve Clarke what he’s looking for Cover: Monica Schipper/FilmMagic

Editor Production, design, advertising Subscription rates Printing Legal notice Steve Clarke Gordon Jamieson 3 Dorset Rise UK £115 ISSN 0308-454X © Royal Television Society 2019. [email protected] [email protected] London EC4Y 8EN Overseas (surface) £146.11 Printer: FE Burman The views expressed in Television 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 February 2019 3 Your guide to upcoming events. Book online at RTS NEWS www.rts.org.uk

STEVE HEWLETT MEMORIAL NORTH WEST Venue: Winchester Guildhall, The National events LECTURE 2019 Tuesday 26 February Broadway, Winchester SO23 9GH Tuesday 24 September RTS North West Student RTS AND Speaker TBC Television Awards 2019 April 2019, date TBC PRESENT Venue: TBC 6:30pm-9:30pm Meet the Professionals Monday 18 February Venue: The Lowry, Pier 8, A chance for students from In conversation with RTS MASTERCLASSES The Quays, Salford M50 3AZ production-based courses Tuesday 5 November and ■ Rachel Pinkney 07966 230639 across the south to meet Interviewed by Save Me co-star Wednesday 6 November ■ [email protected] informally with a wide range of Alice Feetham. 6:30pm for 6:45pm RTS Student Masterclasses media production professionals Venue: Kings Place, 90 York Way, Venue: IET, 2 Savoy Place, NORTHERN IRELAND to discuss current TV issues, London N1 9AG London WC2R 0BL Tuesday 26 March opportunities and professional RTS Northern Ireland Student and career development RTS FUTURES RTS AWARDS Television Awards 2019 Venue: Bournemouth University, Tuesday 19 February Monday 25 November Venue: TBC precise venue TBC Screening of Flack and RTS Craft & Design Awards 2019 ■ John Mitchell ■ Stephanie Farmer scriptwriting Q&A London Hilton on Park Lane ■ mitch.mvbroadcast@ ■ [email protected] Meet the writer, producer and 22 Park Lane, London W1K 1BE btinternet.com commissioner behind UKTV’s THAMES VALLEY first scripted drama series, Flack. REPUBLIC OF IRELAND ■ Tony Orme Panellists: Oliver Lansley, writer Local events ■ Charles Byrne (353) 87251 3092 ■ [email protected] of Flack; Mark Talbot, producer ■ [email protected] at Hat Trick Productions; and DEVON AND CORNWALL WALES Pete Thornton, head of scripted ■ Jane Hudson SCOTLAND Wednesday 27 February at UKTV. 18:45-9:30pm ■ RTSDevonandCornwall@rts. Tuesday 16 April RTS Cymru Annual Lecture Venue: London Transport org.uk RTS Scotland Student 2019: , Bad Wolf Museum, Covent Garden Piazza, Television Awards 2019 Productions London WC2E 7BB EAST The awards are supported by 6:00pm Thursday 14 March STV, which will film the awards Venue: Lecture Theatre 0.06, RTS AWARDS RTS East Awards 2019 ceremony and show the event School of Journalism, Media and Wednesday 27 February Venue: TBC and the winning films on its Culture, Cardiff University, RTS Television Journalism ■ Nikki O’Donnell digital platform. 6:00pm 2 Central Square, Cardiff CF10 1EP Awards 2019 ■ nikki.odonnell@.co.uk Venue: Argyle Street Arches, ■ Hywel Wiliam 07980 007841 Sponsored by Guestbooker.com 253 Argyle Street, Glasgow G2 8DL ■ [email protected] Venue: London Hilton on Park LONDON Lane, London W1K 1BE ■ Daniel Cherowbrier Wednesday 12 June WEST OF ENGLAND ■ [email protected] RTS Scotland Television Sunday 24 March RTS AWARDS Awards 2019 RTS West of England Tuesday 19 March MIDLANDS Venue: The Old Fruitmarket, Awards 2019 RTS Programme Awards 2019 Monday 7 October Candleriggs, Glasgow G1 1NQ Venue: Bristol Old Vic, King In partnership with Audio Network RTS Midlands Careers Fair ■ April Chamberlain Street, Bristol BS1 4ED Venue: Grosvenor House Hotel, Venue: TBC ■ [email protected] ■ Belinda Biggam 86-90 Park Lane, London W1K 7TN ■ [email protected] Friday 29 November SOUTHERN RTS AWARDS RTS Midlands Awards 2019 Wednesday 6 March Friday 28 June Venue: TBC In conversation with Chris Wednesday 27 February RTS Student Television ■ Jayne Greene 07792 776585 Packham RTS Yorkshire Student Awards 2019 ■ [email protected] With Chris Packham, wildlife TV Awards 2019 Sponsored by Motion presenter, photographer, writer, The awards are sponsored by Content Group NORTH EAST AND THE BORDER film-maker and campaigner Daisybeck Studios and pre- Venue: BFI Southbank, Belvedere Saturday 23 February Venue: Bournemouth University, sented by Calendar’s Christine Road, London SE1 8XT RTS North East & the Border Fern Barrow, Poole BH12 5BB Talbot. 6:30pm-10:30pm Awards 2019 Venue: Leeds College of Music, RTS CONFERENCE 6:00pm onwards Friday 8 March 3 Quarry Hill, Leeds LS2 7PD 18-20 September Venue: Hilton Newcastle RTS Southern Centre Awards ■ Lisa Holdsworth 07790 145280 RTS Cambridge Gateshead Hotel NE8 2AR Hosted by ITV Meridian’s Fred ■ lisa@allonewordproductions. Convention 2019 ■ Jill Graham Dineage and BBC South pre- co.uk Venue: King’s College CB2 1ST ■ [email protected] senter Laura Trant

4 TV diary

Maxine Alderton is thrilled to know that her home is steeped in the history of Coronation Street

he week begins with a huge win for Emmerdale, but of my episodes (Charity’s Flashback) an epic clear-out of because it shows that our viewers has been nominated. I don’t feel that my extremely messy have taken both James and his char- I can take any credit, though. It was home office in time acter, Ryan, to their hearts. beautifully shot by director Mickey for a makeover. And what a resounding vote from Jones. Emma Atkins’s performance Marie Kondo I am the public for diversity and represen- as Charity was astonishing. It’ll be not. What does spark tation on screen. I’m so proud of our lovely to toast their achievements, joy, though, is a small brass plaque producers for always striving to - no matter what the result. insideT one of the fitted cupboards. It ter reflect the world we live in. reads: “Specially installed for Lynne Our format lends itself to this. It’s ■ Flurries of snow outside make me Perrie.” This is a reminder that soap vital that we use it to make a positive sympathise with the crew currently history is literally in the walls here. difference. Hopefully, in the future a shooting one of my episodes across Due to its proximity to the original win of this kind won’t be such a big the Pennines. Coronation Street set in Manchester, deal. It’ll simply be a win. It’s supposed to take place in spring, my flat used to be home to Lynne but this time of year always throws Perrie (Ivy Tilsley, later Brennan), then ■ Thursday brings a very fun edit on us weather-shaped curveballs. The Johnny Briggs (Mike Baldwin), fol- two first drafts with my script editor episode itself is an all-female special lowed by David Neilson (Roy Cropper), Liam. With these episodes, we’re again for broadcast on International who sold it to my director husband. playing with the traditional soap Women’s­ Day. I sometimes procrastinate, thinking format.­ They were a high-octane­ It’s a wonderful opportunity to about the iconic dialogue that must joy to write. celebrate our extraordinary female have been learnt here. It’s strangely I can’t wait to see how they turn cast and crew. The show was a comforting to be carrying the baton out on screen when they are shown uniquely female effort across all the on, writing episodes of Emmerdale in early May. other departments involved in the next to the vanity unit where Lynne production. once applied her make-up. ■ A fascinating evening is spent The episode explores female In a couple of days, her circa-1985 listening to American lawyer David friendship and support through all fitted furniture will be removed to Rudolf speak at Manchester’s Stoller stages of life. It packs quite an emo- allow me more space to work. If Hall. I’m addicted to criminal justice tional punch. The gender balance is she’s up there watching, I hope she documentaries, and ’s The relatively good in soap, especially for understands. Staircase had me hooked. writing, but there’s much work to be I’m proud to report that I’m now an done beyond that. ■ An even bigger hit of joy comes expert on the owl theory. If an avian I will be proudly supporting the with the National Television Awards serial killer crops up on Emmerdale, #BalanceForBetter campaign on and watching Emmerdale win Serial you’ll know who to blame. 8 March. Drama. Our incredible James Moore picks up the Newcomer prize. ■ I’m excited to receive an invita- Maxine Alderton is a writer on ITV’s It’s emotional, not just because it’s tion to the Broadcast Awards. One Emmerdale.

Television www.rts.org.uk February 2019 5 The Billen profile Andrew Billen asks Deborah Turness, the first female editor of a British TV news show, about her latest canvas for modernisation, Euronews Euronews Reinventing TV news

eborah Turness, the newscaster deskless for 5 News, push- A few years ago, its investors decided former editor of ITV ing anchors in front of a vast news wall to create instead 12 separate video and News, ex-President of at ITV, restoring scandal-prone NBC audio channels, each with its own NBC News and now News to its primacy in the US, and now, content. Comcast-owned NBC in the boss of Euronews, as she puts it, making a start-up out of US, looking to expand east, suddenly admits that there are the Euronews heritage brand. took an interest and, in 2017, acquired a parallelsD in her working and domestic “What I love is taking things that 25% stake. lives. She is, she says, a serial renova- have real legacy, heritage and magical Turness, ending a successful but tor. She bought a place in Shepherd’s qualities, keeping the best of what they tumultuous spell at NBC News in New Bush and turned it into a family home are, but modernising them,” she says York, became president of NBC News just before her first daughter was born, over coffee at the Electric House club International and presided over a and then did the same thing in in Notting Hill. “Yes, there are parallels.” relaunch. Chiswick, just before her second. Euronews was no wreck but, from Naturally, one of the first things she When she moved to New York, she Britain, spoilt for news channels, it oversaw was a spanking new studio at bought a 19th-century “wreck” around looked like an oddity. Formed by a its Lyons HQ, from where anchors are the corner from where the family was collective effort of state broadcasters now, at last, seen on screen. A “cube” renting, took out many walls and the alarmed that CNN had cornered the contains a shirt-hanging-from-trou- staircase, redid the bathrooms, and Gulf war, it was a continent-wide sers young journalist who not only made the opened-up spaces “magical”. newsreel,­ identical in each of its mar- shows us the latest social media but And then there is her life as a rein- kets, save for the dubbed-on calls out its lies – Turness has on her ventor in television news, making the commentary. phone an impressive skewering of a

6 ‘MAINSTREAM NEWS IS FIGHTING FOR ITS LIFE, [NOW] WE HAVE TO FIGHT FOR TRUST’ political ad mispresenting the liberal Euronews is, undoubtedly, an excit- Williams, who, caught exaggerating his Belgian MEP Guy Verhofstadt. ing place to work. A recent survey heroics in Iraq, was extracted from the In Brussels and, due to the vagaries showed that its new format is winning anchor’s chair of NBC Nightly News. of European politics, one week out of mass approval from its viewers. Yet, it “To be honest, you can ask anybody four in Strasbourg – an additional set seems small beer for a woman who who worked with me, I don’t engage in provides a cockpit for MEPs to debate may be Britain’s most successful TV it [office politics]. I tell everybody who matters such as, well, Brexit. news executive ever and has run works with me I’m here to do a job. Yet, it is not the vivid-green HQ that mighty NBC News herself. I ask if the Let’s work out what the goals are, the make Euronews unlike anything else rumours in the trade press that she was priorities. on television – though now, as was not “sidelined” are right. “I’m here to define a strategy, to necessarily the case previously, it is in a “No, not at all. I’d gone to NBC News work in collaboration with people, I’m good way. Rather, it is the fact that its reporters are not accompanied by cam- era operators but by iPhones acces- sorised with selfie sticks, Osmo image stabilisers and arsenals of chargers. “For journalists coming into the business now, it’s liberating,” says Tur- ness. “They have a different style of journalism and they’re trying to do something different. It gets you closer to the people that you’re interviewing. It gives a more visceral representation of what is happening in those places.” She points to two instances. One is Euronews’s coverage of the December Strasbourg market attack. Admittedly, Euronews’s it was “lucky” that its Raw Politics team Anelise Borges was in town with the European Parlia- reporting the gilets jaunes ment, but the courage of its reporters protests in Paris reporting live from the streets cannot Euronews be disputed. The other is the enterprise of its to do a job. When I got there, things very, very focused and I don’t have youthful “star reporter” Anelise Borges, weren’t great. It was post quite a diffi- time for any of that.” who took her iPhone (and drone) aboard cult time for the organisation. The But removing star presenters cannot the Aquarius, the migrant rescue vessel Today show was number two, Meet the have been fun? “I always think that, turned away by Italy last summer. Press was going to number three, NBC whatever you have to do, do it with “She was able to win the trust of the Nightly News was starting to be unstable. kindness and compassion and you can refugees and the crew on board. They “I was brought in as someone to look look at yourself in the mirror.” let her in. She filmed their children. and see what needed to be done to put On the alleged culture of sexual “There’s the story of one woman with things right. And everything was num- intimidation at NBC, Turness turns her three little girls: they crossed seven ber one before I left. I was extremely rather corporate. It is not just, I point countries in Africa – all these incredi- happy and proud of what I had out, Matt Lauer, the “nice guy” who bly intense stories from people who are achieved. I’d always seen it as a project.” was forced out of Today after horrifying very shy and normally wouldn’t open There were also personal reasons, stories about his treatment of women. up, and would not have opened up regarding her husband’s first family, for Even the legendary ex-anchor Tom with a great big camera crew. returning. Even so, life in Bronxville NY Brokaw was accused of a (compara- “Anelise was live every day for 10 days and commuting to NBC’s Manhattan tively minor) impropriety. “He is a on the ship and then, when she came off, studios at Thirty Rock, sounds pretty hero and that’s it. It’s gone away. It I brought in a couple of guys who nor- entrancing. The downside, I guess, was didn’t stick.” mally make Panorama for the BBC. They the filthy office politics as, first, she But did she see abuse of power dur- and she made a one-hour documentary removed David Gregory as moderator ing her tenure? “Absolutely not. And, that has already won two awards.” of Meet the Press, and then Brian indeed, the NBC News investigation �

Television www.rts.org.uk February 2019 7 A life of twists and Turness

Deborah Turness, President, NBC News International

Born 4 March 1967; brought up in Father Andrew Turness, self-made businessman, died three years ago Mother Caroline, helped launch her husband’s business Married to John Toker, Cabinet Office comms director and former ITN producer (her first husband was journalist and ex-Clash roadie Damien Steward); two children: Fleur and Belle Education St Francis’s College and Knights Templar School, Baldock; University of Surrey (French and English), University of Bordeaux (journalism) Euronews staffer using a stabilised iPhone for a piece to camera

1988 Freelance producer for ITN in Euronews Paris 1991 Producer, ITN north of England � into it found that none of that had “But I felt that if you were a young 1993 ITN Washington bureau been reported into HR or management.” woman and you demonstrated that 2000 Deputy editor, then editor, of But that’s the problem: a culture of you could actually deliver, you could 5 News silence. “Indeed, and there’s a whole survive and thrive in the environment. 2002 Editor, ’s RI:SE cultural review going on and a very I felt, actually, that you were even more 2002 Deputy editor, ITV News productive and inclusive movement in noticed because you were a woman.” 2004 First female editor of ITV terms of encouraging people to speak. On the road, was she ever proposi- News (which wins three consec- “Look,” she says, “NBC News was the tioned by a colleague? “No one has utive Baftas and an International first news organisation to put a woman ever asked me this before. I think in Emmy during her tenure) as president of news. That was me. I any environment at that time, any 2013 President, NBC News had a female boss at the time. Way young woman, particularly in a role 2017 Moves back to to more than half of my direct reportees where you’re travelling with teams of relaunch Euronews, based in Lon- were female. men, there were advances made, yes. don and Lyons “So, it was, and it continues to be, a Were they rebuffed if I wasn’t inter- very, very good place for women to ested? Yes, absolutely. And was that Awards Women in Film and Tele­ work, as is Euronews. Euronews has respected? Yes, always.” vision News and Factual Award got a woman head of ad sales, me, and Brought up in Hertfordshire and 2009; RTS Television Journalism a woman as chief content officer.” expelled by nuns from St Francis’s Awards 2014 Judges’ Award Things were a different when she College for smuggling boys into a barn Hours of sleep needed ‘I’m not began at ITN in the late 1980s. She dance, Turness was never a pushover. Margaret Thatcher, but I can get by recalls “minding the desk” when the She now thinks that relocating, aged 12, on five or six.’ men went to the pub after the 5:45pm to the local comprehensive further bulletin. Although there were instances toughened her up. Watching The Affair, , of powerful women at ITN – such as Journalism soon called her. She The Crown Diana Edwards-Jones – most were at started a schools page in the local the programme assistant level. paper and, at 15, was a music reviewer.

8 Euronews Raw Politics studio Euronews

At the University of Surrey, she studied John Toker. I like to think that I played invest in it, really own it, really believe French and English. Her postgraduate a small part in this decision. in it. And we did. And I am very, very studies took her to Bordeaux’s school In an interview that she gave in proud of it. Did we autocorrect after- of journalism. 2006, she said that, while her job was wards a little bit and come back to the Speaking French is a huge asset in her “probably” not compatible with family middle somewhere? Yes, but you still current job, but it was her flair that most life, she had been encouraged by an see ripples of that everywhere.” impressed , then ITN’s diplo- interview with the actor Geena Davis, Nevertheless, her new Euronews matic editor, back in 1988, when she who had twins at 48. I had written the may prove even more influential. was his freelance producer in Paris. She piece. She smiles when I remind her. “We are in an era where mainstream quickly concluded that, while she might In any case, in 2009, aged 42, she had news is fighting for its life, where we make an average correspondent herself, the first of two daughters. have to fight for trust. I think these she could be an exceptional producer. Her tenure as head of ITV News was issues of how we tell our stories and After spells as deputy editor and marked by scoops, including footage of how we present our stories are now then editor of 5 News (the first time that the arrest of the 2005 London bombers, fundamental and existential.” ITN removed a newscaster from their but also by a complete overhaul of its So news must show its workings, as desk), and an unhappier few months studio presentation in favour of a vast maths teachers say? “Yes, because, editing Channel 4’s breakfast show news wall. This was the “theatre of otherwise, why would you just trust it? RI:SE, she rejoined ITV News as deputy news” era, and it did not last for ever. I think we’re in a post-trust world.” editor. In 2004, she was promoted to “Theatre of news was about bringing “Our goal is to make NBC News editor there, becoming the first female the power and the drama of video into a very impactful, influential, global editor within British network news. the news presentation environment. news brand.” It was a remarkable achievement, The previous set had been a teak We may not quite get this in Britain, made the greater by her decision, not wooden desk. but Euronews is a vast theatre of news. long after, to have children, having met “If you’re going to make changes, Deborah Turness, television news’s the man who would become her sec- there is a very American concept of ‘go greatest renovator, not to say greatest ond husband, the former ITN producer big or go home’. Really do this, really show-woman, is transforming it. n

Television www.rts.org.uk February 2019 9 The Brexit conundrum

merging from the Christ- Member states and others outside of mas fug of too many late Production economics the European Economic Area that are nights, too much mulled party to the Council of Europe’s Con- wine and – at least for me vention on Transfrontier Television – a strictly non-vegan John McVay provides (ECTT) are included within the Euro- feasting period, we all a user’s guide to how pean works content quota. haveE to stare 2019 squarely in the eye, Leaving the EU will not affect the pull our socks up (a nice present that leaving the EU is likely UK’s position in the ECTT, as the Coun- you appreciate with the passing years) cil of Europe is separate from the EU. and utter the dreaded word that so far to affect Britain’s So, our high-value programming will has not made it into my festive games production community continue to qualify as European for the of Scrabble – Brexit. majority of the territories we sell into. If, like me, you were suffering from But we should anticipate that Santa’s Brexit overload before the Christmas continue to have a relationship with the little French helpers may try to spoil break, then the Westminster news EU on digital policy. This will cover future Christmases. blackout over the holiday period was a digital trade and e-commerce, telecom- At least for now, this gives medium-­ welcome respite. But, with Brexit once munications and digital infrastructure, term clarity for UK sales and financing, again dominating the news agenda, it digital technology and broadcasting. but it will probably also be raised by EU would be wrong to ignore what it may The Government’s promise of a future buyers seeking a discount on longer- mean for the UK’s broadcasting, pro- “digital relationship” on broadcasting term deals. duction and distribution sectors. with the EU, and its recognition of the On the other hand, it makes no com- Of course, all of this is subject to the cultural and economic importance of mercial sense to me that EU broadcast- following health warning. We may the industry is, on paper, encouraging. At ers, happy with quality UK programmes have one or more of: no deal, remain this stage, however, it is a bit like a letter that are popular with their audiences, in the EU, have a new PM, a general to Santa – quite a lot of asks but no idea would decide to stop buying them. election or another referendum. what we will actually end up with. After all, US shows have been a con- stant feature of European schedules for Digital Single Market European works many years. On this, we have to make The Government has said that the UK The Government has confirmed that sure that the UK Government (which will not be a part of the Digital Single content originating in the UK will still will still be a member of the Council of Market. However, the UK does want to be classed as “European works”. Europe) remains vigilant.

10 Visas and immigration Cultural test Continued access to talent and skills is The law on this contains references to key to maintaining a thriving UK crea- the EEA; the Government has recently tive industry, and free movement of published an amendment to this legis- (very talented) people has been part of lation. This action was taken in order why the UK has developed such an to “avoid the situation that, unless the important audio-visual sector, particu- references to EEA state are amended, larly in VFX and distribution. then British directors, actors and other The Government has stated that production personnel would not be freedom of movement will end when eligible to score points under various the UK withdraws from the EU. How- sections of the test, whereas nationals ever, EU rules on immigration will or residents of any EEA state would”. continue to apply in the UK until The cultural test will not be changing December 2020, the agreed imple- post-Brexit. Companies will still be able mentation period. to qualify for tax relief under this test. This is, of course, contingent on the Government being able to continue Intellectual property and copyright with its current plans and the UK not The Government’s IP enforcement leaving the EU without a deal. strategy shows commitment to protect- After 2020, there is, to put it mildly, a ing IP and ensuring that the UK degree of uncertainty. remains a world leader in this area. Although the Government has stated Although the strategy was released the importance that it attaches to the before the referendum, the Government continued mobility of “talented indi- has said that this has not changed. viduals and groups to support cultural, Although the UK will be leaving the creative and sporting co-operation”, it Single Market, the Government recog- has also recognised there are some nised the importance of IP last year in areas within the creative industries with its white paper on the future relation- skill shortages. These require non-UK ship between the UK and the EU. workers to fill the gap. The UK is a signatory to numerous This will be affected by how the international treaties and agreements Government responds to and imple- protecting copyright. This means that ments the recommendations of the the majority of UK copyrighted works Migration Advisory Committee (MAC) are protected around the world. for European Economic Area (EEA) The UK’s future relationship with ‘THE RISK TO migration post-Brexit. the EU will not be affected by this. INTERNATIONAL The recommendations included: no However, there may be some uncer- preferential treatment for EEA citizens, tainty until a deal is negotiated with BROADCASTERS a requirement that workers meet a the EU. In the short term, there seems BASED IN THE UK minimum £30,000 salary threshold to be no major cause for concern pro- and abolition of the Tier 2 cap. This is a vided a deal is agreed. In any case, IS IN THE REGION limit on the number of the Rest of the copyright law varies across EU states. OF £1BN-WORTH World visas that can be granted. Pact called for a flexible post-Brexit Creative Europe funding OF INVESTMENT’ migration system in its submission to The UK will remain in the EU budget the MAC’s consultation. The MAC has until December 2020, with funds still acknowledged this with the recom- available to our creative sector until mendation of abolishing the Tier 2 cap, that date. This has particularly benefit- which allows for some flexibility. ted companies in animation, docu- It is not clear if the Government will mentaries and film distribution. This fully accept all of the MAC recommen- was set out in a financial settlement dations without further consultation between EU negotiators and the UK and lobbying from business. For many, Government. It stated that UK organi- the minimum salary threshold is the sations can continue to apply for funds key issue. from Creative Europe’s forthcoming The MAC instigated an employer media and culture sub-programmes. consultation for the “shortage occupa- UK organisations will have exactly tions” list (the key list for all industries) the same rights and obligations as a few days before the Christmas holi- other countries participating in the day. The deadline for responses was Creative Europe programme until the 6 January. There’s nothing like under- current programme ends in 2020. taking a major review of our future Successful Creative Europe appli- employment and business needs over cants from the UK can receive funding a holiday period. until the end of their projects (even if �

Television www.rts.org.uk February 2019 11 ‘UK HIGH-VALUE PROGRAMMING WILL CONTINUE TO QUALIFY AS EUROPEAN FOR TERRITORIES WE SELL INTO’

The European Parliament European UnionEuropean

� they run beyond 2020). Looking contained in the AVMS Directive will relocating its European HQ to beyond 2020, the Government has no longer apply to the UK. Amsterdam from London, it remains stated that it is “open to exploring The country-of-origin principle, set to be seen how many other compa- continued involvement in Creative out in the AVMS Directive, is of par- nies may be contemplating moving Europe to support the cultural, crea- ticular importance to broadcasters their complete UK operations to other tive and audio-visual sectors”. and producers. The Commercial EU cities, such as Dublin, Paris, Berlin Broadcasters Association has calcu- or Hamburg. Audiovisual Media Services Directive lated that the risk to international At various times, I’ve been accused The Government has not fully clarified broadcasters based in the UK is in the of putting a positive spin on Brexit’s its intentions regarding any transi- region of £1bn-worth of investment. impact on our sector. I do have seri- tional arrangements on the Audiovis- The Government has stated that, ous concerns, especially on migration ual Media Services (AVMS) Directive. because we are leaving the Single and the ease of movement issues that But it has made it clear that the UK Market, the country-of-origin princi- could affect UK production costs and will still have a close relationship with ple will no longer apply. It has, how- damage our competitiveness. the EU. This could mean that the UK ever, assured the industry that it is But the UK is and will remain one will remain a part of the AVMS Direc- “seeking the best possible arrange- of the world’s most important, tive, depending on negotiations with ments for the sector”. dynamic and creative audiovisual the EU. This has spurred some EU member economies regardless of what hap- In 2018, the European Commission states to try to attract UK-based pens with Brexit. The reason is simple published a notice to stakeholders broadcasters who require access to – we happen to be very, very good at making it clear that, subject to any the EU to relocate their operations to entertaining the UK and the world. n transitional arrangements relevant to their own territories. While Discovery the withdrawal date, EU rules has announced that it will be John McVay is CEO of Pact.

12 OUR FRIEND IN THE MIDLANDS

Guz Khan wants he is TV to try harder I kept my own show as genuine and my home and I authentic as possible. And I mean bloody love it. So to reflect the that in the small and the big aspects why do I barely see it uniqueness of of the show. on the big old telly? Slowly but surely, as things started to Don’t get me wrong, I Birmingham in come together, I could see how having know everyone from that in my mind made a difference. All the Spaghetti Junction to Bolivia loves all its glorious I could think about before the show PeakyT Blinders – it’s a great show – but dropped was, “Man, all I care about is authenticity it hardly feels like it’s created here. that the West Mids crew appreciate the I enjoy some gangster shizz set in ting, I made it for them....” my neck of the woods as much as the It did drop, they did love it and I next former criminal but, as soon as was ecstatic. People from all demo- some of the characters open their graphics were tweeting about the mouths, I’m hearing accents that sound terms they use and the streets they’d like a Welsh guy who has spent consid- walked on, and how the relationships erable time in Berlin, not Small Heath. in the show were proper Brummie. It was the fundamental thing that Your dude was vindicated, it was threw me while I watched the domi- mission complete. I’d made a show nant performances from brilliant that made our lot proud. actors. They’re dope these lot, but Man Like Mobeen has now become they aren’t Brummies, mate! more widely known as a show drip- This led me to question whether an ping in authenticity, but it’s just one actual West Midlander had been con- small cog in the machine of the West

sulted over this issue. It’s something Guz Khan Midlands. we are very proud of. I want to see Maude tear it up at a Our vernacular, our mannerisms sent how genuinely diverse the West laundrette in West Bromwich while and our interests are a tapestry that Midlands is. she’s battling a heroin addiction and make us so unique – “Is that under- I’m an absolute newbie to the running a day care centre at the stood, bab?” entertainment industry. I never same time. As a comedian, I obviously gravitate dreamt of being in it. I never thought These are real stories that should be toward the comedy that’s on television. I’d be standing on stages or writing told by our people, not Cuthbert the But it’s few and far between, really, scripts for television. It’s just not Oxford graduate and his scriptwriter when it comes to us. something that a working-class kid from Monmouth. had a very successful does around here. The West Midlands is my home and run, and is definitely a So when this came snowballing I bloody love it. So, hopefully, when Brummie, but it never quite satisfied down on me like a bad day in the we do see it on the big old telly more the palates of the people it was sup- Swiss alps – I’ve never been skiing, often, it’ll come with proper accents posed to represent. by the way, that’s what posh white and some proper West Midlands Television from our region is so folks do, innit (I’ve been down a hill flavour as well. sporadic that, when it is done, it in a Tesco trolley blindfolded, though, “Is that understood, bab?” n has to be amazing. This can only same shit) – the first thing I asked happen when we offer more people myself is, what would I like to see Series two of Man Like Mobeen was from diverse backgrounds a chance on TV? released as a box set on BBC Three on to tell their stories, people who repre- It led me on a path of ensuring that 7 February.

Television www.rts.org.uk February 2019 13 The ultimate professional

hoever political prowess and journalistic rig- replaced Presenting our, and highlighted the fact that the national treas- shortlist was almost entirely female: ure David , Kirsty Wark, Victoria Dimbleby as Lisa Campbell profiles Derbyshire, Samira Ahmed plus what host of BBC Fiona Bruce, whose was described as one “token” male, flagshipWQuestion Time faced a daunting Nick Robinson. prospect. Having fronted the show for new role as presenter All of which only added to the pres- an age-defying 25 years, he cast a long sure. “It was as though, for some, a gen- shadow, and there was intense pressure of Question Time is der-themed sword of Damocles had on the corporation to pick someone who already proving been hovering over Bruce’s debut – wouldn’t be overpowered by the role. with her not just representing herself, Fiona Bruce was regarded in some controversial but all females who have the audacity to quarters as an unlikely choice to suc- take a man’s place,” wrote Barbara Ellen ceed such an iconic broadcasting epitome of calm during her debut in . heavyweight. Viewers didn’t have to appearance on 10 January. Bruce describes herself as a feminist wait long for her baptism of fire. To those who know her well, however, from her university days at Oxford, It came during her second week in Bruce’s initial fears were clear. “Having which she attended 1982-86. Arriving charge of the high-profile politics show worked with Fiona for years. I could see there from a comprehensive in south- and spoke volumes about how, in the she was nervous to begin with but, being east London, she was aware of class age of social media, presenting Question the ultimate professional, she soon hit and how “chippy” she was about it. Time requires very special skills. her stride,” said one news executive. This feeling of not fitting in was fun- The BBC received more than Bruce’s trademark composure was nelled into feminist activism, which 100 complains after Bruce had queried not the only quality that set her apart, included her successfully making the panellist Diane Abbot’s assertion that according to a BBC insider who was case for a female tutor to whom female Labour was “level pegging” with the part of the process. In what was students could turn for support. The Conservatives in the opinion polls by affectionately described as Question initiative was subsequently rolled out saying “you’re behind, Diana”. Her Time Idol, shortlisted hosts were put to at every Oxford college. mistake lit up . the test with a panel of politicians and Since then, she has demonstrated The presenter subsequently put the pundits before a 120-strong . her feminist viewpoint personally and record straight in the following week’s “It was a formidable shortlist and it’s professionally – most of the time, at programme. “There was some discus- very hard to separate people in terms least. She famously challenged Sir Alan sion about opinion polls.… I was talking of CV, but the pilots allowed us to Sugar on an episode of The Money Pro- about a poll which came out on the compare. The tricky thing is, it’s a gramme about his view that women day of the programme, which sug- programme about the audience, it’s not should declare childcare commitments gested the Conservatives were ahead. an interview programme,” says a Ques- to a potential employer. “The Shadow Home Secretary men- tion Time insider. “So you have to keep In 2017, she joined other BBC pre- tioned some other, earlier polls which letting people in, without letting the senters in signing the letter to Direc- showed Labour in the lead and we panel evade the question. It was a tor-General Tony Hall calling for equal should have made that context clear, balance David struck brilliantly and pay. However, she did not come out in and I’m really happy to do that now.” Fiona instinctively got that. support of presenter Miriam O’Reilly’s When news of her appointment “The pilot was an enlightening, enter- ageism claim against the BBC in 2009, emerged, the BBC News at Ten presenter taining, watchable hour, everything you with O’Reilly going on to win her case and host confessed could want from Question Time.” against former BBC One controller Jay that she had “not felt this nervous in a Despite this, as the first female host Hunt in 2011. long time”. She added that the job felt in the show’s 40-year-history, there As an aside, one former colleague “massively exposing”, but she would was the inevitable Twitter backlash, as recalls Bruce’s “gleeful acceptance” try not to let her nerves show. well as criticism from certain sections of her Rear of the Year title in 2010, To the outside world, Bruce was the of the press. They questioned Bruce’s something which, the following year,

14 ‘HER DISTANCE FROM WESTMINSTER IS SEEN AS A STRENGTH’

Fiona Bruce in the Question Time chair BBC she admitted was “the most hypocriti- Amanda Platell, writing in the Daily programme. In 2008, she took on the cal, ridiculous, ludicrous thing” she had Mail: “Question Time is the toughest of role that she’s most famous for, hosting ever done. gigs for the presenter. It doesn’t require Antiques Roadshow, now in its 41st series. This time, however, Bruce has been poise but cunning, political nous and a The BBC executive who appointed entirely robust. In a recent interview in ferocity and command I suspect Fiona Bruce as Dimbleby’s successor, direc- , she shot down Andrew Bil- does not possess. tor of news and current affairs Fran len’s line of questioning with this “It is, and should be, forensic, fierce, Unsworth, speaking before Bruce’s retort: “I assumed that when I got formidable. That’s not Fiona Bruce. Question Time debut, said: “We chose interviewed about this that at least one She’ll be a butterfly broken on the her because she combines the author- person would say to me, ‘Do you think unrelenting wheel of politics.” ity of a newsreader with the warmth you got the job because you’re a As one colleague states: “Perhaps and personality which comes with woman?’ And a) I don’t; b) I’m insulted because of Antiques Roadshow, people interacting with Antiques Roadshow by the suggestion; and c) men have seemed to have forgotten that she’s a audiences over the years. been getting jobs because they’re men journalist and has worked on “I would also nail any perception for centuries. And I don’t recall a) that and Panorama. Either that or the talk of that she is a bit of a lightweight. The question ever being asked of them, or the ‘soft touch’ was just sexism.” papers reported that the BBC ‘wanted b) hearing a peep out of them about it.” Bruce has been employed as a a softer feel’, which is rubbish. She is Questions concerning gender are reporter on a range of news and cur- a proper journalist. It is just that she not the only negative thing Bruce has rent affairs programmes. She began hasn’t been immersed in the Westmin- faced since winning the prestigious her BBC career at Panorama as a ster scene.” Question Time role. Many assumed that researcher after meeting then-editor Her distance from Westminster is the BBC would appoint a journalist Tim Gardam at a wedding. seen as a strength by another BBC with a more traditional political back- Her other reporting roles include journalist, who said: “David refused ground. At 4-1, the bookies’ favourite working on and BBC South to hang out with politicians and kept was Kirsty Wark. East plus current-affairs series such as himself away from that world. He was Indeed, following Bruce’s appoint- First Sight, Public Eye and Real Story. never a political correspondent. ment, there were raised eyebrows In 1999, she became a presenter on “He saw it as his job to be on the among some news and current affairs the BBC Six O’Clock News, then the Ten, audience’s side. You need to know producers in the TV industry. as well as co-presenting . enough to not be bamboozled, and Some press commentators suggested Famously, in 2001, Bruce became the Fiona is as sharp as a tack. You don’t that she would be a soft touch. Few, first female presenter to work on the need to be in Westminster to know however, have been as harsh as BBC television general election results what politics is about.” n

Television www.rts.org.uk February 2019 15 Patrick Walker Getting social with Facebook Watch

n a short time Facebook Watch At Google, he led the team that has come a long way. Rarely a Facebook launched YouTube in Europe. Years week goes by without its par- earlier, he had worked as a BBC News ent, Facebook, attracting nega- producer based in South-east Asia. tive publicity for allegations Patrick Walker, the There, his colleagues included such that someone, somewhere is platform’s EMEA distinguished reporters as Kate Adie, usingI the social media behemoth for John Simpson and . nefarious purposes, with or without director of media “The news experience became very the possible involvement of the Rus- helpful when I joined Facebook in 2016. sian state. partnerships, tells All the questions around our place in By contrast, the video-on-demand Steve Clarke what democracy and false news became a service Facebook Watch appears to be very important part of my role, working immune to such criticism. One of its he’s looking for with the industry to help it understand first scripted shows, the 10-part Sorry our perspective,” he says. “I am not a for Your Loss, starring , Huda Boss, and fairy-tale-inspired digital native but I have worked in the won the kind of reviews that most anthology series . digital industry since it began.” commissioners would die for. Facebook Watch made its debut in Walker is an American by birth; two The series was described as a gor- the US in August 2017. The service years ago, he finally became a British geous, poignant drama about bereave- rolled out worldwide just over a year national but continues to hold a US ment. It was one of four Watch shows later. Spearheading the European passport. He speaks as fast as Jay Hunt to be renewed for a second season in arm of the outfit is Patrick Walker, a and almost pauses before smiling to December. The others were Kerry 51-year-old, highly experienced media add: “I’m the digital godfather.” Washington’s drama Five Points, social practitioner, whose past includes peri- His first media job was with Japanese influencer Huda Kattan’s reality show ods working for Google and the BBC. public service broadcaster NHK.

16 ‘FACEBOOK ORIGINALS NEED TO LEVERAGE FACEBOOK GROUPS AND IGNITE LIVE CHAT’

Sorry for Your Loss Facebook Facebook

­Japanese culture has always fascinated was commissioned because we knew him. He was the company’s first non-­ bereavement was an important topic. Japanese full-time employee. Walker “The series sparked discussion. Even Working for lived in the company’s dormitories, when we ran the first trailer, Facebook taking communal baths with his Japa- lit up: people said that they were so Zuckerberg nese colleagues. He made documenta- pleased to share their thoughts on the ries and children’s shows, subsequently issue. We’re looking for meaningful Patrick Walker: ‘The question launching NHK’s first HD channel. social interaction around program- people always ask me is, “Have Today, from one of Facebook’s two ming. If we’re not achieving that, then you met Mark Zuckerberg?” We London offices, Walker runs a global we’re not achieving our mission, travelled together to Nigeria to do team of more than 30 people. “We which is to help people build commu- some projects with the content work with broadcasters, production nity and bring people closer together. community. companies, digital publishers, public “That is something we think about ‘Every week, he does a Q&A with figures, creators, influencers, artists every day in our programming conver- the entire company. He’s done it for and celebrities,” he explains. sations and the dialogues we’re having a decade, and Sheryl [COO Sheryl But, to be clear, Walker isn’t the per- around people joining the platform.” Sandberg] participates. son to contact if you’re a producer He continues: “I like to think of it in ‘That’s one of the reasons that a pitching a high-end scripted show. That terms of a campfire storytelling expe- lot of the people working with us side of the business is run from the US. rience, where you are present with remain highly motivated, because Indeed, in terms of traditional commis- others, present with the storyteller and we see how deeply concerned and sions across all programme genres, the your reactions can affect the nature of committed our leaders are by being opportunities appear to be limited. the dialogue around the storytelling. physically present and taking open, What is essential is that anyone “It can be geographically distributed and often very raw, questions. considering a pitch must ensure that but it can still be intimate digitally. You ‘It gives us confidence that they the idea fulfils Facebook’s social mis- can even tell your own story. That is aren’t sitting in some glass box, not sion. Walker has zero interest in shows the ambition of a co-watching video listening to the big topics. that are watched “passively”. Watch social experience.” ‘He is approachable, accessible, Parties, a collective experience around A good recent example is Confetti, a every week taking open questions a theme, and Watch Premieres have daily, live, interactive game show pro- from any of his employees, as well been introduced to encourage social duced by Fremantle in the UK and as participating in workplace chat engagement. launched in late November; different dialogue around certain key topics, “It’s the experience of watching the versions of the show are available in personally commenting and being content that differentiates Watch from the US, where it made its debut, and in open to responses and feedback. other platforms,” Walker emphasises. Thailand and Mexico. I’ve not seen that in any other “Even if it is the same content, the expe- “Facebook Originals need to leverage company, of any size.’ rience can be different. Facebook groups and ignite live chat �

Television www.rts.org.uk September 2013 17 ‘WHEN WE RAN THE FIRST TRAILER, FACEBOOK LIT UP’

Where he gets his news from

Patrick Walker: ‘The way I con- sume my news is like a diversified investment portfolio. I look across a diversity of sources, from the New York Times to to CNN, and I consume them in bits. ‘For diversity [of opinion], I also consume sources such as and others. There’s a mosaic of Sacred Lies news that comes from these differ- ent sources that I like to draw my own opinion from. � and all the things that are specific to Says Walker: “Since we launched ad ‘One of the interesting things the platform,” he says. “The thing to breaks in all these markets, the con- about primarily consuming news keep in mind is that Watch is essentially versations we’re having with content through social is that you can have an open platform for video. Within it, owners are, ‘What catalogue of pro- the diversity that is particularly there is a combination of programming. gramming do you have? What shows important in today’s world, where “Only a minority are original shows. do you have in your libraries or that there’s a lot more polarisation than A large part is from partners uploading you’re producing currently that might we may like. videos from their archives. Things such already have an inherent social follow- ‘The BBC is one that I have a as Endemol’s Mr Bean and Fremantle’s ing?’ It could be zombies, beauty, com- heavy amount of trust for. But, Got Talent and original shows from the edy or whatever. How might we work again, even if the news organisa- likes of the Lad Bible Group.” together to bring those clips back to tions themselves are trustworthy, Mr Bean was first broadcast on ITV life in a social environment?” for me, personally, having a diver- in 1990. Over the years, the show was Facebook says that more than sity of sources allows me to draw repeated on linear-TV, subsequently 75 million people visit Watch each day; conclusions that might take in becoming available on DVD and on average, they spend more than different points of view. catch-up. Extraordinarily, it’s a Face- 20 minutes on the service. ‘I have a very strong and book Watch sensation. The Mr Bean “We’re even seeing examples of personal commitment to the page on Facebook has 82 million fol- people consuming full-length epi- importance of public service lowers, says Walker. sodes,” says Walker. So, it seems that broadcasters, in whichever country, In August, Facebook introduced an short-­attention-span teens and mil- and the role that they play. I think ad-revenue-sharing model that splits lennials are prepared to be less fidgety every country has a good selection revenue 55/45 in favour of the content with their Facebook feeds. of very solid news sources. companies, provided that the videos are But there is evidence that young ‘The internet allows people to at least three minutes long, have gener- people are less likely to be Facebook have access to a range of news ated more than 30,000 one-­minute users than they once were. Research sources that isn’t dictated by one views in the past two months, have a by Pew, published in May in the US, particular point of view.’ minimum of 10,000 followers and meet suggests that YouTube, Instagram and Facebook’s eligibility criteria. are all more popular among

18 Skam Austin All pictures: Facebook teens than Facebook. Arguably, this data-breech scandal, Walker sounds makes Facebook Watch increasingly philosophical. important to the platform, as it seeks “I’m no spring chicken when it What he’s to retain users via sticky content. comes to working for companies that “The numbers we do see can vary,” get a lot of scrutiny. Remember, I used watching says Walker. “Also, we’re talking about to work for the BBC and Google,” he relative numbers. We have about 2 bil- says. “It’s the tall trees that catch the Patrick Walker: ‘’s lion people who use Facebook regu- wind. No way, however, is it an excuse Bandersnatch, where you choose larly. Within that, there is a large not to take those criticisms seriously your own adventure. My wife and proportion of people who are older. If or not to adjust our policies so that we I binged on Tidying up with Marie you look at individual shows, such as take responsibility and rid ourselves Kondo on Netflix. Huda Boss, the highest engaged demo- and the community of these concerns ‘On Facebook Watch, Sorry for graphics are women aged 18-24. legitimately.” Your Loss and , “If you look at a show such as Skam When he joined Facebook there presented by Mike Rowe. He’s Austin, a scripted reality-type show that were 2,000 or so people working on ex-Discovery. originated in Norway, the highest the content operations side, keeping ‘Also, I like a lot of the creators engagement and the longest view people safe. That figure is now in on our platform, such as Jay Shetty. times are coming from women under excess of 30,000, and it provides the There’s been a big shift from influ- the age of 25. context to his attitude to the regulators encers on platforms such as Face- “Ditto [a reality trying to come to terms with platforms book and Instagram: they’re starting show], where 72% of people who watch such as Facebook. to use their influence for things that that show are under 34. The numbers “It’s an ongoing dialogue, an ongoing are quite meaningful socially, such tell a different story for different shows. engagement globally, that we’re as the environment, social welfare, “We’re quite happy with the growth involved in,” he says. “There may be diversity and inclusion. of audiences in general on Watch. They areas where we need to improve our ‘They used to be seen as vapid include a lot of young people.” internal systems. We’re open to a dia- but now they’re taking on big As for the criticism that Facebook has logue where people think we should ­topics head on.’ faced since the Cambridge Analytica take more responsibility.” n

Television www.rts.org.uk February 2019 19 BBC drama The Long Song

wenty years ago, as Chan- cellor of the Exchequer, Gordon Brown set a time bomb ticking. This sum- mer, it looks likely to blow up in the BBC’s face. In November 1999, the Guardian reported:T “Chancellor Gordon Brown swept away the burden of the BBC licence fee for the over-75s yesterday, in a move that delighted the broadcaster but left the rest of the television indus- try alarmed that the move might pres- age a rise in the licence fee for others.” It quoted the BBC as welcoming “this imaginative and innovative approach to a long-standing issue”. An unnamed TV executive suggested that there would be “less political flak” to a rise in the fee if pensioners were pro- tected in this way. That’s not how it looks today. Instead of the government picking up the tab, as Brown intended, the BBC now faces paying the entire cost itself – estimated at £745m in 2020-21, a fifth of its budget. The corporation says that it cannot afford to do so without making huge cuts to its output. In a consultation document on the subject published last November, the BBC floated the idea that the scheme should be The vexed question of free TV licences scrapped or substantially cut back. The threat triggered outrage from for the over-75s is concentrating minds the likes of and Gloria at the BBC and beyond. Torin Douglas Hunniford, as well as a “Switched Off” campaign (and petition) from Age UK. unpicks the arguments Predictably, there was a wave of angry headlines. “Save free TV licences for BBC licence fee over-75s while BBC gives fat cats huge pay rises” blared the . The howled that “scrapping free TV licences for over-75s is an ‘act of cruelty’”. So how did the BBC find itself in this mess? BBC faces When Brown brought licence-fee payments for pensioners into the state welfare system, he blurred the line separating the BBC’s UK income from the government’s policy commitments. free-fee Until then, its home services had been funded solely by licence-fee payers, to insulate the corporation from argu- ments over government spending – and cuts. quandary At the time, the Economist called the move a “populist gimmick”. Brown was under pressure because the

20 inflation-linked state pension was due for drama, sport, comedy and natural cost of free licences for all households to rise by just 75p. history. The BBC’s claim that the cost with one person aged 75-plus, this will Crucially, he opened the way for a of taking on the over-75s licences amount to 20% of its budget by 2021 later Chancellor, the Conservatives’ would be about the same as BBC Two, – on top of the 20% real reduction austerity-focused George Osborne, to BBC Three and those other channels is over the past 10 years – and the cost shift the burden from the Department attributed to the BBC Annual Report will keep growing.” for Work and Pensions to the BBC and Accounts 2018 (page 194). The BBC’s public consultation is due itself, as part of the 2015 licence-fee But that is not all it says. Pensioners to end on 12 February. It has laid out settlement. are now better off than they were when four main options: scrap the free This move was “outrageous” in the the original concession came in, accord- licence fees altogether; replace them view of Colin Browne, Chair of the ing to a report the BBC commissioned with a 50% concession for all over-75 Voice of the Listener & Viewer (VLV), households; raise the age threshold to and many others. 77 or 80; or link the free TV licence to But former BBC editorial director ‘THE [LICENCE] those who receive pension credit , now master of Selwyn (either for over-75s or anyone on pen- College, Cambridge, says the corpora- CONCESSION sion credit, regardless of age). tion must take a share of the responsi- SHOULD BE The BBC Board will consider the bility. “When the Conservatives findings and is expected to publish its attempted the same move in 2010, the LIMITED TO response in June. Director-General, Mark Thompson, THOSE WHO It is not short of advice. refused to accept it,” wrote Mosey last NEED IT’ Cat Lewis, CEO of Nine Lives Media, November in the . “Five says: “It’s totally inappropriate that the years later, Lord Hall and his team BBC is now expected to fund this from gave in. Perplexingly, they also denied from Frontier Economics. “Far fewer money that should be spent on pro- the extent of the financial problem they people over 75 are poor,” it says. “Simi- grammes, so it is vital that the BBC were taking on — arguing that the over- larly, there are many younger people Board takes a strong stand. all deal, including retail price index who are poor, who would not benefit “It needs to design a system so that increases and the closing of loopholes from any age-related concession, but those over-75s who live alone and are on digital use, was cash-positive.” would still be paying a full licence fee.” in genuine poverty are not forced to That is not the BBC’s view now. In Lord Hall has highlighted this point: pay, but those who can afford the rela- the public consultation, Lord Hall “That raises important issues of fairness tively small weekly contribution, pay wrote that, if the concession remained, between the generations, fairness for their fair share – especially as older the cost to the corporation would be everyone, regardless of age. If we cop- people watch a disproportionate “about the same amount as we spend ied the current concession, 82% of UK amount of telly.” today on all of BBC Two, BBC Three, households would be paying for BBC VLV Chair Colin Browne says that BBC Four, the BBC News Channel, services provided free to the others.” early results from his charity’s own CBBC and CBeebies”. That prompted Esther Rantzen to consultation suggest that most of its Some view this claim with scepti- accuse the BBC of “setting generations members oppose the BBC continuing cism, asking why it wasn’t foreseen against each other”. Caroline Abrahams, with the current concession, believing three years ago; they suggest that the charity director at Age UK, said: that it should really be funded by gov- BBC may be over-egging the pudding. “Despite recent progress, there are still ernment. “However, recognising that Mosey said that many in the media significant numbers of old people living the BBC accepted this responsibility were unconvinced, and that the term on very low incomes who would genu- – which we believe was a mistake “shroud-waving” had been heard more inely struggle to pay the licence fee. We – VLV is likely to recommend that the than once. will continue to hold both the BBC and BBC follows an approach that mini- Not so, say corporation insiders. the government to account on the mises the reduction in its revenues They insist that the 2015 settlement future of the TV licence concession.” while targeting those people who are was a good deal at the time – and not The BBC is in a quandary. Patrick most in need.” just because it linked the licence fee to Barwise, emeritus professor of man- Professor Barwise agrees: “The con- the RPI and extended it from TV sets agement and marketing at London cession should be limited to those who to digital devices, but because it guar- Business School, has no doubt regard- need it – over-75s living in receipt of anteed the licence fee for 11 years, ing the seriousness of its position. “I pension credit. This will ensure that no while giving the corporation control of think the over-75s licence issue is an pensioners are pushed into poverty by the “over-75s issue” from 2020. existential threat to the BBC,” he says. having to pay the licence fee, while This is why the BBC Board – not the “It’s bigger than the threats from Net­ greatly reducing the damage to the government – must decide what hap- flix et al and the changing behaviour of BBC’s TV and radio services for every- pens when the current policy ends. young viewers, because it will have a one – including the over-75s.” What has changed, they say, is that large and growing direct impact on the But persuading Age UK and others Netflix, Amazon and other huge global BBC’s income. that this is the right approach will not

BBC companies are rapidly driving up costs “If the BBC ends up fully funding the be easy. n

Television www.rts.org.uk February 2019 21 Channel 5 Director of programmes Ben Frow tells Caroline Frost where he wants to spend the money freed up by axing Big Brother I am paid to wiggle ‘my finger in the air

t’s a good time to sit down “You’re chucking stuff with Ben Frow, Channel 5’s at the wall, nothing’s ‘THE WORLD director of programmes. A working and then some- IS IN A DARK purple patch that started with thing hits. Ah, Our York- the station winning Channel shire Farm, why do they PLACE RIGHT of the Year at the Edinburgh like it? Who cares?’ It’s NOW… ALL TVI Awards last August has just been tapped into the nation. MY BIGGEST topped with the station’s best Christ- Let’s build. I hate to sound mas since 2005 – and all this after like Donald Trump, but I do SHOWS Frow’s “carnage” assessment of the rely on my gut. I am paid to first half of the year. wiggle my finger in the air.” ARE LIFE- From his now much more comforta- He cites the recent ­success AFFIRMING’ ble perch, the executive is happy to of Kate v Meghan: Princesses at reel off a catalogue of titles that, in War?: “The turnaround­ was those first months of 2018, passed most three weeks. It went out. On of the nation by. Monday morning the ratings “We had a weak Big Brother in Janu- came in. Ten minutes later, we ary,” he says. “Then, with Love Island were wondering… Princes at War? (ITV2) and the World Cup coming at No, probably not. How about you, you couldn’t get a grip. It did get Windsors at War?” to the point where, during the weekly He claps his hands. “Suddenly, meeting where we generally look at we have a series. I got on the the ratings, I said, ‘Let’s just not look, phone to ITN, two more shows, nothing lasts for ever, we’ll keep doing and I want them on the air in four what we’re doing and something will weeks. Bish bash bosh. I hate to use stick.’” He chuckles. “For us, it was the phrase no-brainer, but it was a Britain’s Parking Hell.” simple-brainer.” For Frow, the benefit of having such Away from this kind of tabloid a small team around him – he now has offering, there’s no doubt that Chan- a total of nine commissioners for the nel 5 has gone upmarket. So, does it UK’s third biggest broadcaster – is that still suffer from an image problem? they are able to respond quickly to any “With some people, yes, prejudiced such ratings dips and spikes. people who’ve never watched, but

22 smart people, no,” he says. “In five This will include more drama after After six years in the chair, the years, we’ve gone from an almost the success of Blood – a five-parter 57-year-old shows zero sign of an all-acquisitions channel to one with stripped across one week – and a abating hunger. Following such an lots of original, diverse content. I am a recent one-off Agatha Christie piece impressive transformation with rela- viewer and I know my audience, so I Agatha and the Truth of Murder. “We’ve tively meagre resources, he’d be for- keep them – female, northern, slightly had a 100% hit rate with drama,” says given for being tempted away by rival older – while encouraging a whole Frow. “OK, we’ve only done two, but broadcasters to a bigger role. There is load of other viewers. still.… We’ll be scheduling more upmar- no sign that this is of any interest at the “Secrets of the National Trust could ket programming, looking at the 7pm moment, however. have been a BBC Two show, but we slot, more returning hits, more ambi- “It’s my channel, I can do anything I put Alan Titchmarsh in there, it all tious projects, more reputational pieces, like and nobody is going to stop me. changes. So you’re taking a subject more stuff at the weekend – that That’s nothing to do with money,” he that isn’t a Channel 5 show, and you money will go all over the place. insists. “One of the benefits of having make it one.” “No one show will be the replace- less money is that you have to really He’s not fibbing. Michael Portillo is ment, but I’d like, at the end of this think about how you’re going to spend on his way to the network while Jeremy year, [to have had] a number of suc- it. Too much money and you can get Paxman is returning. This follows cesses with the volume that Big Brother really self-indulgent. Frow’s extraordinary scoop in getting had. If I can get five shows on top of “At TV3, it was all about, ‘I’m going Michael Palin into North Korea last year. our existing ones, I start to have a very to kick RTÉ’s arse.’ Here, it’s about “I’m a really competitive person,” he says gleefully. “I want people to look at us, and ask, ‘How do they get Michael Palin?’” How did they get Michael Palin? The answer, it seems, lay in the strength of the project. “It doesn’t really matter where he goes, he’s Michael Palin,” says Frow. Appar- ently, he will be going elsewhere for Channel 5 soon, to what the programme chief can only call “equally interesting spots”. Frow explains that he needs the likes of Paxman, Jeremy Vine and his Bafta-­winning totem Jane McDonald to do the heavy lifting for the channel. McDonald certainly gave it some welly over Cruising with Jane McDonald

Christmas and New Year holiday Channel 5 period, with six shows on New Year’s Eve alone. robust schedule commercially. And, proving to my rivals that, while we’re “In return,” he says, “I can offer with that, comes creative freedom.” small, we can punch above our weight. freedom, giving people such as Alan Creative freedom, for Frow, means When we get Michael Palin, or another Titchmarsh a new creative space. more socially responsible projects we show over 1 million, or beat Channel 4 Jeremy Vine had a connection to the wouldn’t usually expect from 5. He for the day, or we get the number-one audience [replacing Matthew Wright mentions a social housing series, a show at 10pm, here we are, still doing for weekday mornings]. This year, it show about Henry VIII through the what we do, still punching above will be more of his show and where prism of Donald Trump, and an our weight.” he’d like to take it.” increased regional quota from the cur- Outside of this behind-the-scenes The roster for 2019 will be funded rent figure of 10%. “Personally speak- competition, Frow is convinced that in no small part by the £40m freed ing, I’d like to double that number,” audiences are in no mood right now up by Big Brother’s departure. When says the Channel 5 boss, citing the for proper conflict: “The world is in a I ask him what he’s going to do with success of The Yorkshire Vet – “a ratings dark place right now, and we just want the profits from the departure of his hit, a small independent company that to hunker down and be reassured. most expensive football player, a now employs 40 freelancers, tourism in “All my biggest shows are life-­ delighted Frow waxes lyrical with the that area on the rise, a Northern region affirming. In a worst-case scenario, it metaphor. transformed. That makes me happy.” could just be me and my nine children “I’ve kicked my biggest player into Frow knows that he can only pull on a Yorkshire farm, and life is good. the long grass, they weren’t perform- any of this off if he keeps his Viacom People want reassurance, warmth, ing any more, they had to go,” he bosses happy. “We’re very different compassion.” laughs. “As for the money, I intend to from the Viacom brands,” he says. “I What about his Princesses at War? He spread it as widely as possible. You’re have to deliver numbers and revenue. giggles delightedly. “Oh yes, but they’re going to see 10 new players across all Then, I can give myself permission to not really. We just like to think that

Channel 5 different genres.” do the other stuff.” they are.” n

Television www.rts.org.uk February 2019 23 Freeview As Freeview rolls out its new mobile app, Steve Clarke talks to the man behind the initiative, Jonathan Thompson, CEO of Digital UK Freeview Freeview shifts up a gear

he UK’s most successful “Everywhere I went, Google was ubiq- programme-sharing agreement. But digital television plat- uitous,” he says. “But, frankly, I didn’t Freeview, present in around 17 million form, Freeview, passed see many technological innovations at UK homes, embodies the value of another milestone last the event.” broadcaster partnerships from a time month, when it debuted This may be just as well at a time when Netflix was still delivering DVDs its mobile app. Users when Freeview, which launched back in the post. canT now stream live shows from the in 2002 and not long after ITV Digital “It gave people an easy, simple and BBC, ITV and Channel 4 plus on-­ imploded, is considering how best to affordable path to digital TV. Freeview demand content from BBC iPlayer, ITV meet the challenges that lie ahead. played an important role in making Hub, , , and UKTV Play. Thompson, a former Channel 4 and switchover as painless as possible,” As the nation’s public service broad- executive who joined Freeview recalls Thompson. “People forget that casters dwell on the growing impact of as CEO five and a half years ago, it is the biggest TV platform in this Netflix, Amazon and YouTube, the move appreciates the competitive pressures country.” could be pivotal in ensuring that British on traditional broadcasters. He is, Not only that. Remarkably, Freeview PSBs don’t become stranded as young however, convinced that Freeview is is growing, helped by people turning people’s video consumption moves part of the solution, provided that its away from so-called full-fat pay-TV more and more online. shareholders – all the UK PSBs (bar subscriptions. “If anything, we’ve It is a threat that Jonathan Thompson, Channel 5), Sky and – continue gained from the growth of the stream- the CEO of Digital UK, the organisation to leverage the platform’s considerable ing services,” he says. “We see the that runs Freeview, needs no remind- strengths. growth of the SVoD players as an ing of. When we meet, he is just back Lately, it has become fashionable to opportunity. They allow people to buy from CES , the consumer technology talk of collaboration between the PSBs a more personalised content package trade show, in Las Vegas, where he tells and other incumbents: last year, for at a more attractive price point. me that Google reigned supreme. example, Channel 4 and Sky signed a “It’s the British version of cord

24 cutting: Freeview plus Netflix or Ama- “We have to speed up the process of Their strategy is a global one. It’s built zon. That’s one of the upsides and innovation so that we’ve got more to and distributed across multiple territo- opportunities of Freeview, the ability talk about each year.… That is critical ries. Their approach to monetisation, to combine free, good-quality public because the pace of change in the distribution and to content investment service TV with the opportunity to dip marketplace is accelerating. It’s a banal is to approach them globally. This has into whichever VoD service you want.” thing to say, but you can’t stand still as never happened before in television. Thompson claims that, over the past a platform or have innovations every “It’s a more profound change than three years, the number of people who going from analogue to digital or going use Freeview-enabled TV sets as their from broadcast to connected. The main set has increased by 1 million. challenge for Freeview, as a national And in Freeview homes, of course, the operator, is how do you respond to that.” PSB channels are more popular than One way is to “recognise our core they are in Sky or Virgin homes. strengths” and “to leverage the From his perspective, there are other strengths we have”. He says this means advantages, too: “Freeview’s universal- that “we have to be better at what ity has helped the competitive we’re good at. Freeview is about sim- dynamic of the marketplace. It’s pro- plicity, ease of use, brand resonance vided a natural competitive constraint and aggregation of content in a way to Sky and Virgin and, to a certain that people are familiar with.” extent, Netflix and Amazon.” Ofcom has already given its backing But Freeview needs to move with the to greater collaboration between the times. Its catch-up service, Freeview PSBs. Thompson agrees that this Play, launched in 2015. The new mobile approach is key if the PSBs are to app made its debut on Apple devices on retain their pre-eminent position in 22 January. An Android version will the UK: “Freeview is a really good Jonathan Thompson follow in the spring. Digital UK example of collaboration. We are not The aim is to “provide a seamless, an exclusive vehicle of collaboration aggregated, easy-to-navigate experi- ‘THE MOST but we have been a successful model ence that feels like normal TV,” of collaboration. explains Thompson, adding: “I see it as SIGNIFICANT “We’ve demonstrated how that a natural complement to the broadcast THING THAT’S ­collaboration can move forward in experience. To a certain extent, the connected world. We are one part Freeview has always been a fast fol- HAPPENED… of [the PSBs’] strategic response to lower as a platform. We don’t seek to IN DECADES these changes.” be the leading-edge innovator. Whether ITV and the BBC should “The nature of the Freeview proposi- IS THAT TV IS become partners in a UK SVoD service tion appeals to a mass market who TURNING INTO A is open to question. Thompson thinks wants TV to be easy. I am not pretend- that working together on a SVoD prop- ing that this is a first, but I think it makes GLOBAL MARKET’ osition of some type makes sense a lot of sense for Freeview to have it. – “whether all parties need to be Viewers increasingly expect platforms four or five years and remain relevant.” investors in it or one party takes a to have a mobile complement in the Only time will tell if the app is criti- lead.… It doesn’t necessarily require way that Sky and Virgin do. It gives cal in persuading young people to view them all to do it as a joint venture but, viewers more flexibility and choice. It more public service broadcasting con- as a consumer proposition, consumers holds true to the values of Freeview.” tent. As a former strategy director at can see the benefits of aggregation.” The app includes curated on-demand­ Channel 4 (where he represented the He is in no doubt that, in the era of recommendations, search capability, a broadcaster on the Freeview board) social media, universally delivered 15-day TV guide (with access to the and Ofcom, Thompson has long held a public service broadcasting is more previous week’s schedule plus the front-row seat in assessing how PSBs important than ever. The ability of the week ahead), the ability to set remind- respond to the activities of rivals. BBC, ITV and Channels 4 and 5 to ers, and the ability to set channels as What is happening in today’s online deliver impartial news is vital. So, too, favourites. Over time, the aim is to space represents competition of a is the need for these broadcasters to expand the range of content available different order to how Channel 4 invest in other national and regional from non-PSB broadcasters. responded to BSkyB and the growth of content, including children’s shows. But is it, perhaps, a little late to be other multichannel operators. Thompson concludes: “The delivery launching a Freeview app? “It’s proba- Thompson puts it like this: “The of those objectives is more challenging bly later from a consumer perspective obvious big trend we are seeing at the because there is more choice. It’s than we’d ideally like,” concedes moment, and it’s probably the most harder because you can no longer rely Thompson. “We needed to establish significant thing that’s happened to the on the distribution advantage that Freeview Play first. This is the natural TV sector in decades, is that TV is turn- PSBs had in the past. You’re fighting for next step. It’s not like it’s too late to ing into a global market. every eyeball.” market. The opportunity is still there to “That’s what Amazon and Netflix are With the Freeview app up and run- grow and develop the Freeview brand doing. Yes, they are US players but they ning, the hope is that the fight might and experience. see themselves as global platforms. get a little easier. n

Television www.rts.org.uk February 2019 25 The gangs of Berlin

ince its debut in 2017, Ber- episodes of season 2, some of the key lin gangster series 4 Blocks Production creative team were interviewed on has been pocketing awards stage by CNN International reporter and thrilling audiences. Anna Stewart. The TNT Serie drama has Matthew Bell hears Anke Greifeneder, who is in charge also shaken up the some- the makers of the of original production at TNT Serie, times cosy world of German television. explained that German indie Wiede- S4 Blocks tells the story of the Hamady acclaimed TNT Serie mann & Berg Filmproduktion had crime family, which is engaged in a pitched her an idea for a drama about a bloody fight with the rival al-Saafi clan drama 4 Blocks explain Lebanese-German drug gang in Berlin. for control of the drug trade in the how they broke the Three writers – Hanno Hackfort, Neukölln district of the city. Bob Konrad and Richard Kropf – “had At an early-evening screening in mould of the TV done a lot of research with police, central London at the end of January, crime show judges and journalists, but I wanted to the RTS – in partnership with TNT [tell the story] from the angle of the Serie and Turner – celebrated the clans. I wanted to know about their release of the show’s second season. universe – it was a story that had not The first series launched on TNT yet been told,” she said. Serie, a German pay-TV channel that The drama reflects the reality of life primarily airs drama and comedy in Berlin’s Neukölln district, which series and is owned by Turner Broad- contains the eponymous “four blocks” casting System Europe. Internationally, – a no-go area for police, claimed the drama is available on Amazon ‘FEAR IS THE Greifeneder. Prime Video; season 2 was released on WORST ENEMY Drug dealing and violence is only Amazon in December. part – a significant part, admittedly After the screening of the first two OF CREATIVITY’ – of 4 Blocks. “It is also a family story,

26 and the women have an important audience. Unlike many European she added, “we want to end on a high role,” said Greifeneder. “To me, it was audiences, Brits remain wedded note. It will be the third and last series.” really important – and sometimes I to subtitles. Yıldırım declined to give the audi- had to push a little, I have to say – Turner has ordered a third and final ence any clues about the denouement because the main plot is about drugs season of 4 Blocks, which starts shoot- of 4 Blocks, other than promising to “be and the daily life on the street, and so ing in the spring and will be directed very honest” and “realistic”. Greif- the focus is on the men.” by Özgür Yıldırım. eneder said: “It’s not , She noted that she is the only “It was very tempting to do it for but some people are going to die.” n woman creative working on the series ever,” conceded Greifeneder. “That – the other executive producers, writ- would be a very German thing to do. 4 Blocks was screened by the RTS and ers and directors are all male. We like security – we’re the most TNT Serie/Turner at the Soho Curzon “I thought it was really important to over-insured people in the world.” But, ­cinema in central London on 23 January. see their family side and how they relate to their wives. Family is such an important thing to these clans,” she said. Hannes Heyelmann, who is Manag- ing Director of Turner in central and eastern Europe and also an executive producer on 4 Blocks, suggested that the depiction of an unknown Berlin was instrumental in the show’s success. “A lot of international audiences are tired of the same LA beach, the streets of New York and the Eiffel Tower in Paris – they want to explore new cities and cultures,” he said. “To couple this with a suspense-driven drama is a great mix. It’s a very authentic drama, which hasn’t been done in this way before. “Some of the lead cast don’t have traditional [acting backgrounds],” he added. Two of the main characters, From left: Oliver Hirschbiegel and Özgür Yıldırım

Latif and Abbas Hamady, are played by Hampartsoumian Paul actors – who are better known as rap- pers in – Wasiem Taha, aka

Amazon Prime Video Massiv, and Veysel Gelin, aka Veysel. 4 Blocks: The directors’ take The gangster story has received acclaim from German critics, winning Oliver Hirschbiegel shared directing He had another, rather more per- Kida Khodr Ramadan, who plays clan duties with Özgür Yıldırım: the former sonal, reason. Hirschbiegel had been head Ali “Toni” Hamady, the prestig- directed the first three episodes and something of a mentor – ‘I had him ious Grimme-Preis and Deutscher the latter the final four episodes of the under my wings’ – to the director of Fernsehpreis acting prizes. The show seven-part second season. the first series, Marvin Kren. ‘I gave him itself has won a clutch of awards, too. Although the leading characters are some advice and he proved very soon “In Germany, it is phenomenal – last played by trained actors, many small that he was a talent,’ said Hirschbiegel. year, it was the number-one bought parts are filled by people with no acting ‘It was a sweet idea to take over from series on iTunes in Germany, beating all experience. ‘Half the people that you my former pupil.’ the American series,” said Heyelmann. see on screen are not actors – they Yıldırım, who has helmed the The executive producer revealed that grew up there and pretty much are long-running German cop show Tatort, he has learnt a number of important what they are on screen in real life. was drawn to the subject matter of lessons from the success of 4 Blocks: “Be That’s your research right there, every 4 Blocks, which he described as ‘about daring and keep pushing the bounda- day of shooting,’ said Hirschbiegel, who [Lebanese-German] family, religion and ries, because there are so many series took an apartment in Neukölln while he traditions – things about which a Ger- being produced in the US, and in Great was prepping the series. man audience has no idea. [With the] Britain as well, that to stand out from Hirschbiegel, who directed the violence, it’s a very interesting cocktail.’ the crowd you need to be different.” Oscar-nominated historical drama Hirschbiegel enjoys working with other Greifeneder praised TNT Serie’s Downfall, about the last days of Adolf directors: “We worked very well together. owner, Turner, for the “creative free- Hitler in his Berlin bunker, was attracted I enjoy exchanging opinions and secrets dom” it allows the channel. “Fear is the to 4 Blocks by its ‘rawness and authen- with co-­directors. It’s always the mate- worst enemy of creativity,” she argued. ticity’. And, he added, it offered ‘the rial and the characters that pretty much Heyelmann also revealed that a opportunity to do, finally, something tell us, the directors, what to do with “fully lip-synched dubbed version in that I also wanted to do – dealing [a series].… ‘Directors then add their English” would be available in Febru- with gangsters’. personal style to the raw material.’ ary – to good-natured tutting from the

Television www.rts.org.uk February 2019 27 RTS AND SKY ATLANTIC PRESENT

In conversation with Stephen Graham Interviewed by Save Me co-star Alice Feetham

18 February | 6:30pm | Kings Place N1 9AG Booking: www.rts.org.uk RTS NEWS Strictly comes to Birmingham

A capacity crowd filled The Mailbox in Bir­ mingham as RTS Mid­

Midlands Centre lands celebrated the runaway success of with a master­ class in late January, held in partnership with BBC Birmingham. Head judge Shirley Ballas, dancer and his celebrity partner from the 2018 series, Faye Tozer, joined the new executive producer, Sarah James, and her predecessor, Louise Rainbow, to discuss the work that goes into producing the hit BBC One show. Rainbow, who has been Strictly’s executive producer for the past six years, exp­ Faye Tozer and Giovanni Pernice

lained that pre-production BBC begins in January, when discussions start on securing increase in viewing by chil­ Ballas, who replaced Len latest series and were taking celebrities before the show’s dren and an 8% increase in Goodman as head judge in time out from Come launch in September. 16- to 34-year-olds,” said 2017, praised the production Dancing Live! tour to speak at BBC Studios, which makes Rainbow. team for their support, add­ the Midlands event. “She is Strictly, is constantly tweak­ The 2019 edition – the 17th ing that she felt “ecstatic” to just a friend – I am teaching ing the show. “This year, we series – will be overseen by be working on the show. her to dance,” said Pernice, an made a choice to target the experienced James, a Tozer – once a member of Italian choreographer who has young people and were very former Strictly series editor pop group Steps – and Per­ been on the show since 2015. proud that we achieved a 6% and producer. nice were runners-up in the Dorothy Hobson

‘People have realised that they many devices. Two years ago, Google to the fore at can assemble systems from dif- it was Amazon’s Alexa on all ferent technologies and progress the stands – this year it was to new solutions,’ he added. Google Assistant making a Las Vegas tech show Harrison noted that the huge push, Harrison argued. ‘internet of things’ has been ‘It’s unbelievable what n London’s review of January’s of media consultancy Decipher. slow to take off in the home, Google did at this year’s CES,’ Consumer Electronic Show in Blakeslee discussed products although it is growing. But he said Walley. ‘There were Google Las Vegas featured a panel featured in his online review of thought the huge number of stickers on almost every stand with years of experience ana- the show, Whatcaught­myeye. constrained public spaces, such promoting Google Assistant, lysing technology trends. Digital com. ‘I’ve chosen enabling as hotels, offered a huge mar- while 500 stands had Google producer Muki Kulhan chaired technology that offers con- ket for the audiovisual industry. people pitching compatibility the event, which featured sumers new ways of doing ‘New screen technologies – not to mention the fact that three managing directors: Ken things,’ he said, pointing to the mean media will be every- Google’s Android is becoming Blakeslee of WebMobility; Mark companies mixing established where,’ he said. Voice recogni- the default operating system Harrison of the Digital Production technologies and assembling tion continued to grow – and for smart TVs.’ Partnership; and Nigel Walley new tech for different sectors. was being fully integrated in Nick Radlo

Television www.rts.org.uk February 2019 29 RTS NEWS

At an event that asked, “Can films make a difference?”, documen­

East Centre Trust raises docs’ impact tary film-maker Brian Woods convinced an audi­ ence in Cambridge that the answer is “yes”. Woods showed clips from some of the award-winning programmes that he has made through his indie, True Vision, over the past 20 years.. The Orphans of Nkandla (BBC Four, 2004) revealed the plight of South African chil­ dren left alone by the Aids epidemic that killed their parents, and led to an inter­ national fundraising cam­ paign to support them. Woods told the audience of RTS members plus staff and students from Anglia Ruskin University’s film and TV department how he won the trust of the children at the of the multi- award-winning film. Stacey Dooley: The Young and Homeless

Access to remarkable and BBC untold stories, as well as an intimate and highly personal made initially before a broad­ to Stacey Dooley. A relatively trust of young people, such film-making style, has been cast commission, combining low-profile reporter for BBC as in last year’s True Vision the formula for True Vision’s intimate and – at the time Three when he first worked doc for BBC One, Stacey success. Woods explained – shocking interviews, with with her, Dooley is now a Dooley: The Young and Home- that such films did not nec­ enhanced stills photography. household name as the win­ less, which impressed him. essarily need a big budget. A question from the audi­ ner of the last series of Strictly The RTS East event was Chosen, a 2008 Channel 4 ence about the use of celeb­ Come Dancing. supported by the Cambridge documentary on child sexual rities to front documentaries Woods explained that it research institute StoryLab. abuse at a private school, was allowed Woods to pay tribute was her ability to gain the Fiona Chesterton

n Alex Rühl discussed her jour- art galleries worldwide, and is Cambridge gives ney from 2D film-making to vir- distributed by the content plat- tual reality (VR) at an RTS East forms Jaunt, Inception and Digital event in December at Anglia Domain. Rühl has her own VR virtual reality lesson Ruskin University, Cambridge. production studio, Cats Are Not Rühl was a traditional TV Peas, which made Keyed Alike. producer until she picked up her She shared her insights on first 360° camera rig in 2015. the challenges of shooting a She talked about the short VR film in terms of producing, VR film Keyed Alike, which was directing, framing and editing. produced and written by Rühl, Rühl’s next project, Playing directed by Chloe Thomas (a God, which is directed by Ben director of ITV drama Victoria) Fredericks, is an interactive, and stars Gemma Whelan fact-based VR experience, pos- (Game of Thrones). It is a love ing the audience ethical ques- story about two women who tions about how they would meet on a London riverside react to a real-life refugee crisis. covered in love locks. The RTS event was held in Keyed Alike has been show- collaboration with StoryLab. Keyed Alike

Cats are not Peas not are Cats cased at film festivals and Shreepali Patel

30 Matthew Bell Trust raises docs’ impact London Centre discovers how AI was used to create a stunning programme for BBC Four

he idea seemed more sci-fi than telly, but a BBC Four programme generated by artificial Tintelligence proved a hit when it aired last September. The two architects of the show – BBC Four channel editor Cassian Harrison and BBC Research & Develop­ ment’s head of internet When AI Met the Archive

research and future services, BBC George Wright – explained how they used artificial intel­ ligence (AI) to create Made by Machine: When AI Met the Archive TV made by machine at an RTS London event in early December. This followed an event in May, at which the programming were analysed lessons from the experiment to place a brand’s ads close to London Centre explored how for their “BBC Four-ness”, were valuable. AI “can effec­ relevant scenes in a TV pro­ AI could shape TV’s future. explained Wright. This pro­ tively analyse video content” gramme. For the wedding of BBC 4.1 AI TV offered two cess identified 150 prog­ and “edit and build its own Prince Harry and Meghan nights of shows, including rammes that reflected the image sequences”, he said. Markle, GrayMeta helped to one radical experiment. Made channel’s style and tone. Joining Harrison and develop the Royal by Machine: When AI Met the The archive clips were Wright on the panel at the Wedding App, which enabled Archive, was presented by Dr found and stitched together event, which was chaired by viewers to identify and see Hannah Fry and a virtual by AI, which used three Enders Analysis head of TV information about guests on co-presenter, and used AI to methods: identifying objects analysis Andrew McIntosh, Sky’s live broadcast. unearth gems from the BBC’s in programme scenes; scan­ were John Motz, chief tech­ Moore explained archive – an unfeasibly ning subtitles to find con­ nology officer at GrayMeta, that Atos works “behind the time-consuming task for nections between words, and Paul Moore, Atos UK’s scenes” with broadcasters in human researchers – and subjects and themes; and director of new media and areas such as workflow and IP then made the show. analysing the visual “energy” technology futures for the routing. “Those things in the “We delivered the world’s on screen to create a compi­ BBC account. background that the audience first broadcast TV pro­ lation that moved between Motz said that GrayMeta never sees are ripe for optimi­ gramme, which was edited, high- and low-energy scenes. takes a “humanistic approach” sation using AI,” he said. selected and basically built “Over the course of the to AI in its work for broadcast­ Addressing broadcasters, by AI – with a little bit of evening, particularly for the ers that include Channel 4 and Moore recommended using human intervention as well,” Made by Machine hour, we [had] Sky. “There’s so much oppor­ AI for “low-hanging fruit. said Harrison. more than a quarter of a mil­ tunity to drive efficiency and Find the simple things that People have to guide the lion people watching, which is quality, and [to generate] more can be done, which are very technology so that it can a pretty healthy audience for interactive experiences,” he difficult for humans.” provide content that audi­ BBC Four,” said Harrison. said. “But it’s clear to me that However, as AI has no ences want. “With AI, you The channel editor we’re a decade or more away innate common sense or have to build it with humans,” stressed that the programme from getting to a place where ethics, “the human still needs said Wright. Without human was an experiment: “This is it’s fully automated.” to be in the loop”. For now, involvement, “you would not the direction in which GrayMeta has worked with he concluded , “Let’s not deliver quite a poor output”. the BBC will now be sched­ Channel 4 as part of its AI- think about AI in broadcast­ To make Made by Machine, uling and making its televi­ driven contextual advertising ing – let’s think about aug­ 270,000 hours of factual sion programmes.” But the trial, allowing the broadcaster mented intelligence.” n

Television www.rts.org.uk February 2019 31 RTS NEWS

RTS Thames Valley held its inaugural RTS events awards in late Novem­ Thames Valley Centre launches ber, announcing win­ ners in four technology and IN BRIEF business categories. Online publishing platform debut awards The Broadcast Bridge won the Newcastle holds Corporate Website award, with the judges acknowledg­ advice surgeries ing its outstanding contribu­ RTS North East and the Border’s tion to the broadcast industry pre-Christmas networking event in generating more than attracted 200 people to the Tyne- 300 pages of technical con­ side Cinema in Newcastle. The tent every month. The run­ event was open to those working ners up were The Broadcast in a behind-the-camera role, from Knowledge and Boxer Systems. newcomers to seasoned profes- The Community Improve­ sionals. The RTS centre, Northern ment Business prize went to Film + Media, Bectu, BFI Network, Manor Marketing in recogni­ the Film & Television Charity and tion of Managing Director Film Hub North offered advice to Jennie Marwick-Evans’s attendees in short, doctor-style fundraising­ and marketing ‘surgeries’. Later that month, the contribution to local mental- RTS centre’s annual review-of- health charities, especially the year quiz, hosted by Graeme those with a focus on young Aldous, was held at Live Theatre, people. The runners-up were Newcastle. Cosmos Technology and IPE. Carys Hughes receiving her award from Tony Orme

Sky design engineer Carys Matt Robbins Hughes won the Young Tech­ Birmingham hosts nologist award, impressing was made to Pixel Power Forrester of Mirriad Advertis­ freelance party with her passion for broadcast graphics designer Charlie ing, Lyndsay Duthie of Ice technology and respect for Cooke, who won over the Blue Media and Reuben Such More than 100 industry free- scientific methods. The run­ judges with his commitment of IPE. lancers attended RTS Midlands’ ners-up were Joe Withers of to customer satisfaction and The awards were presented Christmas party – held in partner- Emotion Systems and Glenn creative design. at the De Vere Wokefield ship with the Producers’ Forum, Shadbolt of Pixel Power. The runners-up were Estate hotel, Reading. which supports local film-makers, The Broadcast Hero award Stewart Dalton and Vijay Matthew Bell and Crew Birmingham, which helps to connect TV talent with productions – at the art and have given so generously of technology centre Birmingham Stalwart their time, ideas and exper- TV talk delves , in December. tise as Derek. If you want to understand what is meant into ethics honoured by “outstanding service’’ then Channel 4 wins look no further than Derek,’ Futures quiz n One of the founding mem- said RTS Honorary Secretary n Thames Valley’s Christmas bers of the Thames Valley David Lowen. lecture, given by electronics RTS Futures members joined Centre almost 30 years ago The Pilgrim Award is consultant John Watkinson, industry executives in a festive-­ is the latest recipient of the named after a former Hon- took in philosophy, science, themed quiz in December. Society’s prestigious Pilgrim orary Secretary of the RTS faith and morals. He is the Leading the contestants through Award. and awarded for outstanding author of many industry 10 rounds of television trivia Derek Owen took on the service to the Society by its treatises, such as The Art of were drag queen and Celebrity task of looking after the volunteers, especially those Digital Video. Big Brother winner Courtney Act centre’s finances as Honorary in the regional centres. Leaving TV to one side, he and presenter Ria Hebden, who Treasurer in 1991 and served Last year, it was awarded offered a philosophical trib­ tested the teams on everything in that post until his retire- to the London Centre’s ute to all free thinkers. Wat­ from the year’s biggest TV sto- ment from the committee Terry Marsh and to Graeme kinson said: “There is no such ries to programme theme tunes. in 2016. Thompson from the North thing as a failed experiment A team from quiz host Channel 4 ‘I cannot think of many East and the Border Centre. – they never fail. Unexpected was victorious, winning tickets volunteers in the Society who Matthew Bell results should be published.” to ITV’s Dancing on Ice. Tony Orme

32 The latest RTS Futures Television Careers Fair was the Society’s most RTS Futures successful yet. A record ONLINE 1,400 tickets were sold for the January event in London, at the RTS which featured expert panels and presentations from TV’s leading lights. n February is a time when Forty broadcasters, produc­ many people start looking for ers and industry bodies set up their next career move. In our home in the exhibition hall, latest guest post, Anne Fenton, dispensing advice to a MD of executive recruiting firm stream of people hoping to Lumina Search, shares her tips break into the industry. for finding a new job in media, IMG Studios – whose cli­ From left: James Stirling, entertainment and digital media. Stevie Knows, Elle Bracher ents include the Premier She advises approaching the and Lucy Skinner

League and World Cup Rugby Hampartsoumian Paul process as a seller, not a buyer, – hosted a session on sports being strategic about applying production. “There’s a wealth for positions – and leaving of jobs,” said head of produc­ egos at home. To read her tips tion services Danielle Neville. TV fair attracts in full, visit www.rts.org.uk/ Sports production is chang­ AnneFenton. ing, said director of engineer­ ing Alan Bright, opening up n Homelessness, plastic new avenues of work. Live record numbers surgery and prisons are broadcasts remained hugely among the subjects that will popular but “there’s a bigger ­professional experience – Shaun Wilton – director of be explored by Channel 4 this appetite for different types of you wouldn’t expect them to Anna Valley, formerly audio- year. Ian Katz, the broadcast- coverage”, he said. Demand if they were applying for an visual business Shooting er’s director of programmes, for clips, bite-size highlights, entry-level job.” Working in a Partners – gave the inside announced his latest com- podcasts and even niche restaurant, she said, demon­ track on a career in broad­ missions in late January. The content such as rugby ref­ strated stamina and the abil­ cast technology, advising his slate includes a new drama cam footage meant more ity to deal with people. audience to gen up on 4K from , starring RTS jobs were being created. Smockum advised her resolution, Dolby Atmos and award-­winner ; ThinkBigger! MD Edi audience to watch as much high dynamic range. the second series of critically Smockum argued that entry- TV as possible, not just high- Facebook and Instagram’s acclaimed documentary series level schemes are “hot end docs: “You can’t be snob­ Lucy Skinner ran a session Prison; and an adaptation of the houses. They’re really good bish about telly – you have to with content creators on her children’s classic The Tiger Who at providing training and know why Love Island works.” platforms. Stevie Knows, who Came for Tea. See the full list at contacts – and they keep Jude Winstanley – MD of performs comedy sketches, www.rts.org.uk/2019C4. you moving up.” Her com­ TV jobs website The Unit List said: “I don’t have fancy pany manages schemes for, – issued a warning about equipment. I shoot on my n The BBC celebrates the among others, Channel 4. work experience: “You should iPhone and edit using an app.” nation’s love of the arts with a When looking for talent, be learning something that Monetising content can be host of new documentaries this Smockum didn’t “care if can lead to opportunities in difficult. London Fitness Guy year. The commissions include: people don’t have any television, not photocopying.” – personal trainer James an exploration of the emergence Stirling, who films his work­ of black talent in television with outs – works with brands, but RTS award-winner , of Patrick Kavanagh, her is wary of the potential “back­ TV’s Black Renaissance: Reggie A poet’s life brother Art Agnew and Peter lash” if his content becomes Yates in Hollywood; a celebra- Murphy gave an insight into too commercial. “I turn down tion of Oscar Wilde’s life and remembered the life and works of a poet more ad opportunities than I work in The Importance of Being who wrote about everyday take. I’d rather build a loyal Oscar; and an investigation into Irish life. audience than keep hammer­ the history of the selfie and the n Republic of Ireland Centre His best-known works ing them with ads,” he said. impact it has had on modern life threw a spotlight on one of include On Raglan Road. He Matthew Bell in Me, My Selfie and I with Ireland’s greatest poets, Pat- also worked for the Irish Press Ryan Gander. Read more about rick Kavanagh, in December. newspaper and had a column IMG Studios and Finecast spon- the commissions at www.rts. Dr Una Agnew, the author in the RTV (now RTÉ) Guide. sored the fair. Go to www.rts.org. org.uk/bbcarts. of The Mystical Imagination Charles Byrne uk/CareersFairVids2019 to watch Pippa Shawley and the sessions and presentations. Kate Holman

Television www.rts.org.uk February 2019 33 OFF M E SSAGE

n the coming weeks we ■ Talking of music, Off Message was makers look so determined to hire a should learn a lot more about glued to BBC Four’s trilogy Guitar, Bass TV high-flyer to take up the hot seat ITV’s plans to launch a UK and Drum. Billed as “an exploration being vacated by Richard Scudamore. streaming service. What we of three key instruments in modern BBC Studios chief Tim Davie’s pub- know already, thanks to popular music”, the respective guides lic decision to decline the job repre- Barb, is that non-traditional were Lenny Kaye, Tina Weymouth sents a big vote of confidence in the viewing continues to grow. and Stewart Copeland. corporation’s commercial arm. Figures published by the ratings body Very fine and deeply informed Expect exciting times ahead for the Iin January suggest that so-called presenters they were, too. Studios business. “unidentified viewing” – time spent But one quibble. Wasn’t Kaye’s with Netflix, Amazon Prime and Now history of the guitar a little too sub- ■ On the subject of TV and sport, TV or playing games and enjoying jective? Barely a mention of the great Off Message was fascinated to read a DVDs – surged to almost a fifth (19%) black blues players and no mention at recent Q&A with broadcaster Clare of all TV-set activity in the year to all of seminal rocker Chuck Berry. Balding in the New Statesman. September 2018. As Keith Richard will tell you, Ber- Asked which TV show she couldn’t As others, including behemoths ry’s guitar licks were essential to the live without, the doyenne of sports Apple and Disney, prepare to com- development of rock ’n’ roll. presenting chose the matchless pete in the streaming space, 2019 Let’s hope a second series helps set Killing Eve. looks certain to see even greater dis- the record straight. The final question was: are we all ruption to how shows are consumed doomed? Her answer was upbeat: and distributed. Prepare for a thrilling ■ Staying with arts and culture, the “No. We just need to place more and unpredictable year ahead. new season of BBC One’s Imagine value on empathy, imagination, got off to a superlative start, with kindness and physical exercise.” ■ Huge congratulations to Simon a film dedicated to the prolific As the fighting continues at West- Albury, the RTS’s erstwhile CEO, for ­playwright and screenwriter minster, this kind of advice is needed being appointed an MBE in the New James Graham. on all sides of the House of Com- Year’s Honours list. If you didn’t see Graham’s unset- mons. for PM, anyone? Simon was made an MBE for his tling Brexit: The Uncivil War, starring work in promoting diversity in Benedict Cumberbatch, when it was ■ Finally, you may remember that broadcasting. A veteran and tireless first screened in early January on scene in Blue Planet II where an campaigner, since 2013 he has Channel 4, then do take a look on orange dotted tuskfish is seen using thrown his energies into the Cam- catch-up ASAP. a “tool”. The fish is seen smashing a paign for Broadcasting Equality. The Imagine documentary was clam’s shell against a piece of coral To say that Simon is persistent in genuinely revealing. We learnt that before devouring the exposed clam. his dedication to improving the Graham is writing an episode of Well, the RTS’s CEO, Theresa Wise, representation of BAME people – season 3 of The Crown. Also, that he’s had the privilege of actually witness- both in front of and behind the cam- being treated for work addiction. ing this extraordinary event in the wild era – is an understatement. His No wonder. Not yet 40, Graham’s at close proximity. Her encounter with interest in diversity dates back to the CV reads like the résumé of someone the amazingly agile tuskfish came volunteer work he did for the US twice his age. while diving off the Tanzanian coast civil rights movement in the 1960s. during her winter break. Coincidentally, Simon’s long-time ■ How intriguing that the Premier Theresa’s diving skills clearly sur- friend, the globe-trotting Michael League still remains without a new pass her driving skills, as demon- Palin, received a knighthood. Chief Executive following Susanna strated in 2017 during A League of Their Any joint party the pair may be Dinnage’s U-turn. Own TV executive challenge. A film of planning to hold to celebrate their However, her decision to stay at her racing a Formula 3 car at Silver- gongs is bound to be a hot ticket. Discovery represents a big plus for stone was shown at that year’s RTS Expect comedy and some great the TV industry. Cambridge Convention. Alas, Theresa music. Simon is a devotee of gospel Also, it reflects well on the TV world finished last behind Kenton Allen, and soul. that the Premier League’s decision Heather Jones and Zai Bennett.

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

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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 Charles Byrne IBC Conference Liaison David Abraham David Lowen April Chamberlain Terry Marsh Dan Cherowbrier Sir David Attenborough OM Honorary Treasurer Caren Davies RTS Technology Bursaries CH CVO CBE FRS Mike Green Simon Pitts Baroness Floella Stephanie Farmer Benjamin OBE BOARD OF TRUSTEES Cat Lewis AWARDS COMMITTEE Mike Darcey Lynn Barlow Will Nicholson CHAIRS Julian Bellamy Nikki O’Donnell Awards & Fellowship Lord Hall of Birkenhead Tim Davie Tony Orme Policy Lorraine Heggessey Mike Green Fiona Thompson David Lowen Armando Iannucci OBE David Lowen Michael Wilson Ian Jones Tom Mockridge Judith Winnan Craft & Design Awards Baroness Lawrence of Simon Pitts Lee Connolly Clarendon OBE Sarah Rose SPECIALIST GROUP David Lynn Jane Turton CHAIRS Programme Awards Sir Trevor McDonald OBE Rob Woodward Archives Wayne Garvie Ken MacQuarrie Dale Grayson Gavin Patterson EXECUTIVE Student Television OBE Chief Executive Diversity Awards Stewart Purvis CBE Theresa Wise Angela Ferreira Siobhan Greene Sir Howard Stringer Early Evening Events Television Journalism Sue Robertson (interim) Awards Sue Inglish Education Graeme Thompson

Television www.rts.org.uk February 2019 35 RTS TELEVISION JOURNALISM AWARDS 20192018

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