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November 2018

Why daytime rocks VENUE: BUSINESS DESIGN CENTRE, N1 0QH

RTS.org.uk/careersfair2019 #RTScareers Journal of The Royal Society November 2018 l Volume 55/10

From the CEO We have enjoyed A very different event, but just as Also in this issue, two book reviews abundant and vibrant insightful was our latest screening, by eminent people about eminent activity this autumn Tiny Shoulders: Rethinking Barbie, held at people – Lucy Lumsden on Jon Plow- across our regional the Curzon Cinema in Soho. A mas- man and Jon Thoday on Michael Ovitz. Centres, especially the sive thank you to Entertainment One Graeme Thompson’s interview with North East, as well as for arranging this. the director of BBC Two’s stunning in London. One of the Director Andrea Nevins secured series The Mighty Redcar turns the spot- highlights was a packed early-evening privileged access to the Barbie inner light on the North East. The region is, event that tackled the complex ques- sanctum at Mattel’s headquarters in of course, the location for MTV’s real- tion of how to successfully measure Los Angeles for her compelling film. ity sensation . So am audiences in the multi-device era. Following the screening, Andrea thrilled that we have a report from an “Who is watching: The challenge and Barbie design chief Kim Culmore RTS North East and the Border event of digital measurement” heard from joined us for a revealing question and dedicated to the show. platform owners, advertisers and answer session. I am very grateful to Last, but not least, Lisa Campbell Barb. It was great to also hear the them for a thought-provoking evening. reveals how daytime TV is going from perspective from Facebook and You- Full reports of both these events are strength to strength. Tube. A hugely insightful debate. in this edition of Television. And I’m My thanks to all the panellists, to delighted that Mathew Horsman producers Terry March (the recent could find the time to write a piece recipient of a Pilgrim Award) and for us on the deal of the decade – Vicky Fairclough, and to the night’s Sky’s acquisition by Comcast. As ever, chair, Kate Bulkley. his analysis is incisive and perceptive. Theresa Wise Contents ’s TV Diary Our Friend in Beijing Rosie Jones on the fine art of procrastination, as she Marcus Ryder on what British TV executives can learn 5 ignores pressing deadlines to hone gags 19 from the scandal that engulfed a Chinese movie The rise and rise of daytime Audiences, advertisers and arithmetic Disdained by those who don’t watch it, Lisa Campbell Matthew Bell grapples with the complexities of 7 discovers that the genre is booming 20 measuring TV viewing across a multi-device landscape The Sky’s the limit A guide to comedy gold Mathew Horsman analyses the impact of Comcast’s Lucy Lumsden revels in ’s new book, an 10 recent £30bn purchase of the European pay-TV platform 24 engaging mix of memoir and manual Journey to forgotten Britain Beguiled by his own image Graeme Thompson salutes The Mighty Redcar and Jon Thoday finds much to enjoy in Michael Ovitz’s 12 learns about the challenge of building relationships 26 autobiography but ultimately thinks the agent’s in difficult situations enigma remains intact Noisy from Newcastle Rethinking Barbie Matthew Bell hears how Geordie Shore, a flagship show Oscar-nominated documentary-maker Andrea Nevins 14 for MTV since 2011, reflects the vibrancy of the North East 28 reveals the hidden dramas behind an international icon. Steve Clarke is hooked Champions of British storytelling The BBC’s Charlotte Moore explains why trusted 26 British voices are more important than ever. Steve Clarke reports Cover: ITV

Editor Production, design, advertising Subscription rates Printing Legal notice Steve Clarke Gordon Jamieson 3 Dorset Rise UK £115 ISSN 0308-454X © Royal Television Society 2018. [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 November 2018 3 Your guide to upcoming events. Book online at RTS NEWS www.rts.org.uk

RTS FUTURES ■ Nikki O’Donnell Bar, 61 Commercial Road, National events Monday 10 December ■ nikki.odonnell@.co.uk Southampton SO15 1GG RTS Futures Christmas quiz ■ Stephanie Farmer RTS AWARDS Venue: , 124 Horseferry LONDON ■ [email protected] Monday 26 November Road, London SW1P 2TX Wednesday, 21 November, 2018 RTS Craft & Design Awards 2018 Google for media THAMES VALLEY Hosted by RTS FUTURES Join us at Google’s London HQ Friday 23 November Venue: London Hilton on Park Wednesday 30 January 2019 to hear about its latest develop- 2018 Winter Ball Lane, London W1K 1BE Careers Fair 2019 ments in media and broadcast- 7:00pm till late Venue: Business Design Centre, ing. There will be refreshments Venue: De Vere Wokefield Estate, RTS APPG 52 Upper Street, London N1 0QH and networking time before and Goodboys Lane, Reading RG7 3AE Tuesday 4 December after the main panel. Speakers ■ Tony Orme The future of TV journalism RTS AWARDS TBC. 6:30pm for 7:00pm ■ [email protected] in an age of fake news and Wednesday 27 February 2019 Venue: Google, 76 Buckingham disinformation RTS Television Journalism Palace Road, London SW1W 9TQ WALES Panel discussion hosted by Awards 2019 ■ Daniel Cherowbrier Thursday 6 December Damian Collins MP, DCMS Sponsored by Guestbooker ■ [email protected] RTS Cymru Wales Committee Chair and Chair Venue: London Hilton on Park Christmas quiz of the RTS APPG. Speakers Lane, London W1K 1BE MIDLANDS Hosted by ITV Wales’s Ruth include: Jamie Angus, director ■ Jayne Greene 07792 776585 Wignall. £10 entry fee includes of BBC World Service; Jonathan RTS AWARDS ■ [email protected] a mince pie and a festive tipple. Thompson, CEO of Digital UK; Tuesday 19 March 2019 7:00pm for 7:30pm start and Deborah Turness, President RTS Programme Awards 2019 NORTH EAST AND THE BORDER Venue: Cameo Club, 3 Pontcanna of NBC News International. In partnership with Audio Network ■ Jill Graham Street, Cardiff CF11 9HQ Additional speaker TBC. 6:00pm Venue: Grosvenor House Hotel, ■ [email protected] ■ Hywel Wiliam 07980 007841 for 6:30pm start 86-90 Park Lane, London W1K 7TN ■ [email protected] Venue: Wilson Room, Portcullis NORTH WEST House, Westminster SW1A 2JR RTS AWARDS ■ Rachel Pinkney 07966 230639 WEST OF ENGLAND Friday 28 June 2019 ■ [email protected] Wednesday 28 November RTS EARLY EVENING EVENT RTS Student Television RTS West of England Futures Wednesday, 5 December, 2018 Awards 2019 NORTHERN IRELAND Festival 2018 RTS screening of 4 Blocks Sponsored by Motion Content Tuesday 26 March 2019 Aimed at final-year students, Joint event with TNT Serie/Turner Group RTS Northern Ireland Student recent graduates and emerging and the RTS. Screening of the Venue: BFI Southbank, Belvedere Television Awards talent in the industry. Part of season 2 opener plus a Q&A Road, London SE1 8XT Venue: TBC Digital Week with executive producers Hannes ■ John Mitchell Venue: Watershed, Bristol BS1 5TX Heyelmann and Anke Greifeneder ■ mitch.mvbroadcast@ from TNT Serie, Quirin Berg from Local events btinternet.com Thursday 6 December Wiedemann & Berg and direc- RTS West of England Big Fat tor Özgür Yildirim. 5:30pm for DEVON AND CORNWALL REPUBLIC OF IRELAND Bumper Quizmas 6:30pm screening ■ Jane Hudson ■ Charles Byrne (353) 87251 3092 Venue: The Folk House, 40a Park Venue: Curzon Soho, 99 Shaftes­ ■ RTSDevonandCornwall@rts. ■ [email protected] Street, Bristol BS1 5JG bury Avenue, London W1D 5DY org.uk ■ Belinda Biggam SCOTLAND ■ [email protected] RTS EARLY EVENING EVENT EAST ■ Jane Muirhead Thursday 6 December Wednesday 28 November ■ [email protected] A TV Christmas Carol Can films make a difference? Wednesday 28 November Speakers: Kenton Allen, CEO, Big Brian Woods talks documentary SOUTHERN RTS Yorkshire quiz 2018 Talk Productions; True Vision founder Brian Woods Thursday 22 November Companies can enter as many CBE; and Kate Phillips, controller in conversation with Catherine Freelancers’ fair teams of five as they wish: £10 of entertainment, BBC. Chair: Elliott, Cambridge School of For all industry professionals in for each team, payable on the Anita Singh, arts and entertain- Creative Industries. Supported by the Southern region (separate night. Cash bar available all ment editor, Daily Telegraph. StoryLab­ at Anglia Ruskin Univer- student events are run for those evening. 8:00pm-late 6:30pm for 6:45pm start sity. Places are free but must be seeking work experience). You Venue: Queen’s Hotel, City Venue: , 24 Endell reserved via [email protected]. must sign up to attend as there Square, LS1 1PJ Street, London WC2H 9HQ 6:30pm. Followed by reception will be a guest list on the door. ■ Lisa Holdsworth 07790 145280 Venue: Anglia Ruskin University Light refreshments. 7:00pm ■ lisa@allonewordproductions. CB1 1PT Venue: Vestry Restaurant and co.uk

4 TV diary

Rosie Jones on the fine art of procrastination, as she ignores pressing deadlines to hone gags

his week, like most charity gigs this week were to raise filming for BBC Three. I love film- weeks, has been a money for people with cerebral palsy ing days, mainly because of hair and little busy. And when and for Stonewall. make-up. I say, “a little busy”, I As a lesbian with CP, these two I never wear make-up usually and mean rushed-off- charities are especially dear to my I only brush my hair on special days. my-feet-no-time- . I often wonder what “good” I When I get the opportunity to be to-sleep busy. I do in the world. I am a comedian who pampered, it’s a real treat. mean, is sleep really necessary? earns money by speaking about her- This filming day was extra special TI’m thinking, no, not really. Apart self all day, every day. because I got to do it with my pal, from the Bags for Life under my eyes, I quite possibly have the most self- fellow comedian Helen Bauer. She’s I am really happy, and every morning indulgent job in the world. So, some- brilliant and very funny, but for God’s I wake up with a smile on my face. I times, it’s nice to be a small part of sake don’t tell her that, nobody needs still can’t believe that I get paid to something bigger, and to do a bit of their head getting even bigger. make people laugh. I am living the good for once. dream. ■ When I’m not gigging, writing, or ■ While gigging takes up my eve- filming, I am bingeing TV shows. Big ■ I started the week by going back nings, my days are spent in coffee time. This week, I’ve gobbled up the to my home town, Bridlington, to shops, trying to order cappuccinos. entire series of Killing Eve and the be the bit of entertainment at the But, as a result of my slow, slurred entire series of The Bisexual, both of region’s annual business awards. To speech, I am often being mistaken which I highly recommend. be honest, it was strange to go back for an uncertain Cockney – “Cappa They are flawless, and I have there. I’d forgotten how small it was. tea, no?” two new major crushes: It was like going back in time. So, while I slurp my third and . Dear Lord, they I now live in the big, bad , unwanted English Breakfast of the are magnificent. and I’m used to the convenience and week, I write. I am currently writing ease of London life. It was great to a couple of sitcoms, one for ■ Right, I’d better go. I’m just about to see some familiar faces, though, and and one for the BBC. Both have board a plane to Ireland. This week- it was a dream to perform at Brid’s imminent deadlines. Naturally, I have end I am performing at Vodafone theatre, the almighty Bridlington Spa, spent the majority of this week writ- Comedy Carnival Galway. I’ve never a stage I longed to be on when I was ing jokes for my Edinburgh show, been to the Emerald Isle before, and growing up. which is 283 days away. Procrastina- I’m rather excited to spend a long tion at its achingly finest. weekend drinking Guinness. Any- ■ Then it was straight back to Lon- body know a good hangover cure? don to do a couple of charity gigs. ■ The most exciting day this week I know, I am a great person. The was Wednesday, when I did a bit of Rosie Jones is a comedian and writer.

Television www.rts.org.uk November 2018 5 Join the

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48RTS_A4.indd Advert.indd 1 8 18/12/201725/07/2017 00:3511:16 Extreme Cake Makers Channel 4 The rise and rise of daytime

aytime TV has long he wasn’t one of “those people” who been the butt of Daytime TV watch TV in the daytime. “A lot of comedians’ jokes. In bloated women seem to be watching an episode of Mock the TV. Activia yoghurt. That’s the solu- Week last year, Hugh Disdained by those tion.” He went on to list DFS sofas, ads Dennis pretended to who don’t watch for anti-chafing cream and Michael beD a weary daytime announcer: “Well, it, Lisa Campbell Bublé as other daytime delights. because they’re all the same, and I The reality, however, is that day- can’t be bothered to announce them discovers that the time TV is booming for many of the all, here’s Flog Dickinson’s Antiques Sun broadcasters and is attracting audi- Hammer Breakout in the Country… genre is booming ences beyond the stereotypical bored finishes at 5pm.” housewife and jobless graduate. And in one of his recent shows, ITV daytime, particularly, is enjoy- Michael McIntyre said he hoped that ing something of a golden age, �

Television www.rts.org.uk November 2018 7 � meaning that the once very-public woes of Daybreak – rock-bottom ­ratings and more reinventions than Marks & Spencer – are a long-forgotten nightmare. The 6am-6pm daytime slot has increased its audience every year for the past four years, and this year is the best-performing since 2003 (with an 18.6% audience share for January to September. That is partly down to noisy, head- line-grabbing morning shows – and to one particularly noisy, healine-­ grabbing presenter, Good Morning Brit- ain’s Piers Morgan. Pairing the irksome, controversy-­seeking Morgan with the patient, consummate professional proved to be - stroke that ensured that Good Morning Britain avoided the same dire fate as its predecessor, Daybreak. The show now regularly tops 1 mil- lion viewers and its share of viewing is up 17% year-on-year. It’s also some- thing of a social-media sensation – not just thanks to Morgan’s provocative tweets, but to Reid’s exasperated eye rolls and withering put-downs, which often go viral. Another key to the show’s success is its ability to land exclusives, from Thomas Markle speaking for the first time about his daughter’s royal wed- ding, to Morgan’s much-publicised Judge Rinder interview with Donald Trump in July. For the joint heads of ITV Daytime, Jane Beacon and Clare Ely, the show more access to the biggest stories exemplifies what makes their daytime ‘ITV DAYTIME… and events. fare distinctive. “We’re all about strong IS ENJOYING When it comes to the afternoons, characters,” says Ely. “From Piers and ITV scheduling manager John Williams Susanna to David Dickinson, Jeremy SOMETHING OF has been keen to create greater con- Kyle and Judge Rinder, we’re not afraid A GOLDEN AGE’ sistency, since he joined the broad- to be controversial. It means we get caster a year ago. Instead of slots being lots of attention and it gives us a very in continual flux or filled with repeats, different tone to BBC daytime.” shows are now at defined times to This Morning, ITV’s late-morning audience and they are so connected to reflect the fact that, while daytime magazine show and another stalwart it, even more so now with social media audiences are loyal, they like routine. of the schedule, has also been in the and the new This Morning app, which “When you create consistency, you news recently. Its 30th anniversary was number one in the App Store can build momentum. So, at 2pm, we special clocked up 1.8 million viewers when it launched in October,” says have the three Cs – courtroom, crime and a 15% share – its biggest audience Beacon. and cooking [currently Judge Rinder rules for nine years. The anniversary in “And we have a symbiotic relation- here]; at 3pm, it’s the two Ds, Warwick October was marked with a Bafta Spe- ship with social media across all our Davis and David Dickinson; at 4pm, it’s cial Award, with former host Richard shows,” adds Ely. “We feed social Tipping Point, and 5pm is Bradley Walsh Madeley remarking that it was suc- media with brilliant content and, in with The Chase or Cash Trapped.” cessful because “it plugged into the turn, that’s reciprocated.” With long-running and successful viewers, it belonged to them. It didn’t This Morning, too, has benefited from stalwarts in the schedule, it is harder to belong to us or our production team, securing exclusives – an extended launch new shows – The Chase turns 10 or Granada or ITV, it belonged to the special covered Princess Eugenie’s next year and its audience share is up viewers, and that was the key to it.” wedding and secured 3.2 million view- 8% year on year; is 20 It’s a tone and philosophy that suc- ers and a 45% audience share, its big- next year; Lorraine has been on for air cessive teams have preserved through gest audience ever. Not surprisingly, nine years and its share is up 5% year the decades. “The show belongs to the there’s now an increased desire to gain on year.

8 8% year on year after a flat period, and, if current trends continue, it will be at its highest share for three years. “These shows have benefited from advances in technology and are so well produced that the quality exceeds what you’d expect for a typical day- time budget. They can feel like peak- time shows, which is why we can attract a 45% ABC1 audience – that is high for daytime shows,” says C4 head of daytime David Sayer. He adds: “These shows are also use- ful in a multichannel world, as they are able to sit on , More 4 and .” The other advantage of replacing a long-running show with a range of series is that production can be spread around the country as opposed to coming from one fixed creative base. This is core to Channel 4’s remit, which is also behind a new, live daily show to be broadcast from its recently announced HQ in Leeds. “Now that we know where we’ll be, we can think about what sort of show this will be and who the talent will be. It’s an exciting prospect,” says Sayer. For the BBC, cutbacks have already seen daytime programming reduced. With a further £800m of savings to find, some sources predict that day- time commissions will be cut on BBC One altogether and replaced with repeats – echoing the decision taken

ITV in 2011 to save £20m by ditching day- time commissioning on BBC Two. Nevertheless, Beacon stresses: “As a In the meantime, though, BBC con- commercial broadcaster, it’s important ‘WHILE DAYTIME troller of programming and daytime to grow new shows – and to stick with AUDIENCES ARE Dan McGolpin has vowed to “modern- them because, when shows fail, they ise” BBC daytime by axing Flog It after fail fast. Rinder was a big risk as he was LOYAL, THEY 17 years to make way for new shows. unknown but we stuck with it and now LIKE ROUTINE’ While several of those announced he’s such a big part of ITV daytime.” are in the traditional areas of housing, Likewise, Tenable has gained crime and cooking, daytime drama is momentum since its launch in 2016, on the up – with funding from over- averaging 900,000 viewers and a 14% with big brands has also been an issue seas broadcasters underwriting prime- share so far this year, which is up for Channel 4. However, the decision time production values on some BBC 240,000 viewers and four share points, to decommission Deal or No Deal two daytime shows. compared with last year. years ago freed up 200 hours per year, These include crime drama The Mal- It does mean that there are no open- allowing the channel to air more lorca Files, co-funded by French and ings for producers until 2020, but Ely upmarket, repeatable features. German broadcasters. Meanwhile, and Beacon are encouraged that These are typically presenter-led, Shakespeare & Hathaway – Private Investi- industry perceptions of what makes observational shows featuring ordinary gators has been recommissioned after good daytime TV are at last changing. people and have a clear sense of take- becoming the BBC’s biggest daytime Says Ely: “Daytime was seen as a out for the audience. They include A drama launch since 2013’s Father Brown. mumsy genre. We’d be pitched crafts New Life in ; Escape to the Chateau: With a series of international deals and knitting and weddings and dating. DIY; Find It, Fix It, Flog It and Extreme on the cards, The Mallorca Files is And loads of pet shows. People would Cake Makers. expected to repeat the success of pre- say, ‘Nine million people own a dog’, The latter two shows have won an vious crime dramas Death in Paradise and we’d say: ‘Yes, but 61 million don’t.’ RTS and a Broadcast award, respec- and Father Brown. Both have been sold Daytime doesn’t mean niche.” tively, and helped change the percep- to more than 200 territories. The challenge of launching new tion that daytime means low budget Whoever said there was no money shows when the schedule is packed and low quality. Daytime share is up in daytime? n

Television www.rts.org.uk November 2018 9 The Sky’s the limit

Riviera Sky

t’s official. Sky, the leading wire on Sky and, when the dust set- Pay-T V pay-TV platform in the UK, is tled, Comcast emerged the (somewhat no longer a Murdoch company. impoverished) winner. It stumped up The man most closely identi- a stonking £30bn for a company that Mathew Horsman fied with the launch and had been trading at around £20bn analyses the impact development of the film and before the bidding war erupted. footieI satellite giant, , Some wondered whether Disney of Comcast’s recent signalled his departure late last year, might, in the end, seek to disrupt the when his media behe- Comcast party, by sticking with its £30bn purchase moth agreed to sell most of its pay-TV minority stake in Sky. Doubts were of the European and Hollywood studio assets, including dispelled a few days after Comcast’s a 39% stake in Sky, to Disney for $71bn. winning bid was unveiled, when Dis- pay-TV platform Fox clearly preferred the Mouse to ney sold its entire stake on the Com- a competing approach from US cable cast terms. and broadcast combo Comcast. The result of one of the most closely But the final stages of Murdoch’s full fought battles in recent media-sector retreat would await an end game of history is now clear: Disney gets the some complexity and not a little Fox movie studio and pay-TV chan- drama. Having failed to secure the Fox nels, Fox’s 30% stake in (about assets in the US, Comcast was intent which more in a moment) and control on winning the consolation prize. Fox’s of Asian pay-TV platform Star. ‘NOW TV WAS ONE stake in Sky was pledged to Disney as “New” Fox (to which Murdoch snr part of the US deal but Comcast and son Lachlan will now turn their OF SEVERAL BIG mounted its own spoiling bid for the full attention) keeps , the ATTRACTIONS rest of Sky, having tried and failed to local Fox broadcast channels and its derail the Disney-Fox tie up. local sports channels. The Murdochs, FOR COMCAST’ Disney and Comcast went to the through , also

10 continue to hold the family press recently acquired Time Warner subsidi- high-revenue, pay-TV business. The interests and significant UK radio ary, holds the remaining 10%. theory has been that, if households operations, including and Hulu has been an important part of really do want to quit full-fat pay-TV, Virgin Radio. the strategy of Disney, Comcast, Fox then Sky can nudge them toward the Comcast, for its part, gets all of Sky, and Time Warner in the face of intense skinny bundle of Now TV. If someone is which operates pay-TV platforms in competition from new entrants such going to eat your lunch, it may as well be the UK, Ireland, Germany, Austria and as and Netflix. Already, the you. The same lesson is being applied, it Italy, as well as Now TV, Sky’s over- main US free-to-air networks (Dis- seems, in the case of Hulu in the US. the-top alternative to “full-fat” pay-TV, ney’s ABC, Comcast’s NBC, Fox’s epon- Now TV was one of several big and its streaming service in Spain, ymous network and CBS) have bulked attractions for Comcast, alongside the launched in September 2017. sheer size of the pay-TV satellite foot- Ironically, the fates of Disney and print, particularly in the UK, Germany Comcast remain closely intertwined ‘AS A MAJOR and Italy. Comcast was also impressed – at least for now. Comcast is a major by Sky’s advanced set-top box func- content distributor of Disney product PAY-TV PLAYER, tionality under its new Sky Q brand in the US, and Sky plays a similarly COMCAST and excellent customer management important role for Disney in Europe. (better, by all accounts, than Comcast’s The impetus behind Comcast’s bid, UNDERSTANDS own service, which is much-maligned and the reason it was willing to pay [SKY’S] MARKET on social media). such an extraordinary price, is the Comcast will also be able to merge transformative change afoot in inter- PROFOUNDLY’ its content production and distribution national media and communications. assets in Europe (under NBCU) with On-demand video continues to make those of Sky (under its Vision subsidi- strides at the expense of broadcast, as up by buying or launching pay-TV ary), and take full advantage of its consumers increasingly require access variants. In nearly every case, these ownership of pay-TV platforms on to content on their own terms, not on networks are now owned by compa- both sides of the Atlantic and its con- the gift of schedulers. Meanwhile, tradi- nies that operate studios as well. trol of a major film studio. Given the tional “full-fat” pay-TV is giving way to Mainstream media’s joint response lack of overlap between Comcast and “skinny”, cheaper bundles of pay ser- to the digital new entrants, Hulu, offers Sky, other than in production and vices. Netflix, Amazon and the other both an ad-funded and a subscription distribution, this is where job cuts insurgents are forcing the pace. video-on-demand (SVoD) variant, and could materialise. Comcast is a major cable TV opera- it is clearly pitching for the same mar- Finally, Comcast appears to be keep- tor in its home market, and owner of ket as Netflix and Amazon. ing on board one of the UK’s very best NBCUniversal, operator of one of four Comcast may find it awkward to senior management teams, led by national TV networks in the US and a remain strategically invested in a Jeremy Darroch. major Hollywood studio in its own proposition controlled by a principal There will be many companies right. Despite its international pay-TV competitor, Disney – especially when watching Comcast-Sky with keen channels, international news service the latter is so obviously gearing up for interest. Disney, for a start, will need to CNBC and UK production companies battle in the SVoD space. consider how closely it remains linked (including Downton Abbey maker Carni- Disney has floated plans to have up to Sky as a distribution partner, or val), Comcast has been overwhelm- to three SVoD propositions of its own whether it should plough its own ingly focused on its US domestic in the US. The first one would be cen- direct-to-consumer furrow in Europe. operations to date. tred on a repositioned Hulu; the sec- Among the UK public service broad- At home, its growth prospects were ond would offer Disney’s premium casters, ITV and Channel 4 are both constrained because it was already so movie and TV content (the company looking to upgrade and evolve their big in traditional markets. Securing an having already signalled the removal on-demand propositions, either with international foothold of the size of most of its attractive content from or without the BBC. implied by ownership of Sky was an Netflix in the coming year); the third They will also want to see how their attractive short cut to diversification, would be an ESPN+ service. There has plans might involve Sky and other critical mass and global reach. been speculation that these could be pay-TV operators who share an inter- As it was already a major pay-TV bundled at an attractive price. est in promoting UK broadcast and player, Comcast understands this mar- Comcast may turn its direct-to-con- on-demand services in response to the ket profoundly. It was also attracted by sumer attention to Now TV and the challenge posed by Netflix and Ama- Sky’s IP strategy – effectively, a hedge European market. The Sky-owned zon. Sky and the commercial PSBs are on the internet as the means of deliv- brand is third in UK SVoD, with fewer newly aligned in a market where once ering video as the role of broadcast than 2 million subscribing households, they were at daggers drawn. diminishes. well behind Netflix (with more than It wasn’t cheap. But Comcast has At home, it may regret ending up 9 million) and bought itself a stellar asset. And now, with only a minority stake in Hulu, the (around 5 million). abroad as well as at home, Comcast on-demand TV service that will be Now TV has been carefully positioned aims to use its expensively won critical owned 60% by Disney once it completes in the UK and elsewhere in the Sky mass and operational scale to strike its acquisition of Fox (adding Fox’s 30% footprint so as not to unduly accelerate hard and deep at the digital warriors stake to its own). AT&T, through its declines in the company’s core, massing at the gates. n

Television www.rts.org.uk November 2018 11 Content Graeme Thompson salutes The Mighty Redcar and learns about the challenge of building relationships in difficult situations Journey to forgotten Britain

small town on the he and his crew faced suspicion and dreams against a backdrop of high youth north-east coast of hostility in their first weeks. Townsfolk unemployment and rising poverty. England found itself felt that television crews in the past The stories included those of Kaitlyn trending on social had distorted life on Teesside. Kempen, who aspires to go to Rada media in the wake of “We moved in to a very functional while her mum works three jobs to a landmark factual flat in the town and basically set out to pay the rent; James Daniels, whose dad series for BBC Two. The Mighty Redcar, prove to everyone we were going to do is in prison and who is mentored by aA four-part documentary made by this fairly,” says Dewsbury, who previ- Redcar’s under-funded youth service 72 Films, won praise for its uplifting ously worked on titles such as The Age into a job that just might keep him out depiction of young people enduring of Loneliness and The Detectives. “It felt of trouble; and Safy Diarrassouba, who the challenges of life in a northern like we met almost everyone in Red- has the potential to play netball for town blighted by the closure of its car, trying to win their trust. England, but is prevented from taking steelworks, and for the series’ distinc- “Our worst moment came when we up a scholarship to a private school in tive 1980s soundtrack. lost access to institutions, including the Yorkshire by her mother who can’t But more importantly for the pro- college and the school. This was a major bear to see her leave. duction team, who lived in the setback given our focus on young peo- “It was hard filming some of these once-thriving resort for the best part ple. Thankfully, we were able to win stories,” says Dewsbury, himself the of a year, the four 45-minute episodes them round.” product of a northern working-class shown earlier this autumn received The production followed a group upbringing. “We wanted happy end- warm endorsement from locals. of people in their late teens and early ings for them all.” Director Dan Dewsbury admits that twenties attempting to realise their One of the storylines that did have

12 soundtrack resulted in one of Spotify’s authenticity was one of the things that most popular playlists. made the show distinctive.” “The music became incredibly His researcher was RTS bursary stu- important to the show,” says Dews- dent Adam Mann. “It was his first big bury. “We’d done some filming at Red- job since graduating from university. car’s local radio station, which was His local knowledge was invaluable and playing a lot of 1980s music. After dis- he brought real enthusiasm and deter- cussing with Danny Horan [the BBC mination to the team,” he says. commissioner now After a marathon at Channel 4] and the edit back in London, editor, the 1980s vibe ‘IT WILL MAKE which Dewsbury felt absolutely right describes as a labour for the series.” YOU LAUGH. IT of love for editors Over 36 weeks, the WILL BREAK Samuel Sananta, Sam team shot considera- Bergson and Reva bly more than they YOUR HEART… I Childs, he took the were ever able to unusual step of use. Some storylines HOPE IT MAKES showing the episodes fizzled out because YOU ANGRY’ to the contributors. of access difficulties “I decided that, if it or the young protag- didn’t feel like truth onists simply moved on. for those young people, it wouldn’t go “Lots of the young people we met in. I lost sleep over whether we had ended up joining the forces to escape done justice to their stories. We made a the town,” recalls the director, who has few changes to the edit after listening to developed a reputation for building them. Their reaction meant everything. relationships in challenging situations. And when the series was broadcast I “Redcar, like so many once-thriving was so happy for them and the team.” communities, holds tight to its past. The filmic approach to the series Older people talk about what it used to and the unflinching storylines won be like. That’s such a downer for the praise from viewers and critics alike. younger people. What came out of this Chitra Ramaswamy in for me is that you have to think of the wrote: “This is proper, heart-warming, future and invest in this new genera- heart-rending film-making that, for a Tom Pearson, participant in The Mighty Redcar tion and not yearn for what’s lost. few nostalgic hours, made me love the

BBC “One of the most humbling things BBC again.” we witnessed was the way in which And writing in , Redcar’s an upbeat conclusion involved Dylan the youth service, business people and initially sceptical MP, Anna Turley, said: Cartlidge, who worked as a waiter volunteers in Redcar went out of their “Please do watch The Mighty Redcar. It while writing and performing his own way to support, mentor and encourage will make you laugh. It will break your alternative hip-hop music. these guys.” heart. You will be rooting for our bril- Cameras followed Dylan as he trav- During his time in the town, Dews- liant young people. But, most of all, I elled to London to meet Universal bury recruited additions to his team. hope it makes you angry. Angry at the Music staffers. He was later signed to These included a local drone operator, inequality of opportunity. Angry at the Glassnote Records (home to Mumford who captured sweeping vistas of Red- limitations that poverty brings.” & Sons) and is now on tour. In epi- car’s majestic seafront, dominated by The success of The Mighty Redcar sode 1, he spoke of his ambition to the abandoned steelworks, and stu- means there are likely to be more earn enough to bring his younger dent Madison Cooper, who proved TV profiles of communities in “left-­ brother out of care. an authentic and engaging on-screen behind”British towns. Dylan’s musical journey, along with narrator. Dewsbury, currently working on a the heroic determination of vinyl-­ “I always wanted a narrator from prison series, says he’s aware of discus- record store Black Slab to keep its busi- Redcar,” he says. “I wanted that sions and he would love to be involved: ness in Redcar, were underscored by voice to be empowered. So we found “You begin to understand the pride in the show’s synth-laden soundtrack, Maddy after an open audition. It was these places, rooted in history, desper- which featured an eclectic mix of 1980s a collaboration between director and ately trying to reinvent themselves. And icons, including Tears for Fears, Aretha contributor. you understand the anger of people Franklin and Jimmy Somerville. “She had input on the script and was who just want a happy life but feel they Critical and popular reaction to the very much a part of the team. Her have to move away to achieve it.” n

Television www.rts.org.uk November 2018 13 Noisy from Newcastle Production Matthew Bell hears how Geordie Shore, a flagship show for MTV since 2011, reflects the vibrancy of the North East

he tale of boozy, ‘noisy’ television,” recalled Poyser, sexed-up Geordies – whose indie was then also gearing up “I’m fit, I’m flirty and to make The Only Way Is Essex (Towie). I’ve got double Fs”, as Geordie Shore, like Towie and Made in one of the cast memo- Chelsea, is a constructed reality show rably declared – has that blends fact and drama. “It’s a comeT a long way in a short time. model that has proved hugely popular,” Geordie Shore – based on the US series said the show’s executive producer, Jersey Shore – first hit UK screens in Rebecca McLaughlin. “It’s really May 2011 and has racked up 163 epi- important that we listen to our cast.” sodes. The MTV reality show has also “We let our cast members tell their sold abroad to more than 80 territories. stories their own way and in their own On the eve of its 18th series, Geordie time,” said Orr. “We never judge our Shore was put under the microscope at cast members or force them to do an RTS North East and the Border “Anat- anything they wouldn’t want to do.” omy of a hit” event in mid-October. Television has a duty of care to the Graeme Thompson, a former Chair people in its shows. “We have pro- of the centre, discussed the DNA of the cesses, policies and protocols,” show with the executives who make explained Poyser. “With Geordie Shore, and commission it. The session formed where we have a [returning] cast, we part of Digital Cities North East, a festi- keep in contact with that cast through- val of events for the creative industries out the periods between filming. We in the region. also [use] professionals outside of “Jersey Shore was a massive hit Lime, [such as] psychiatrists, psycholo- worldwide for MTV US,” said Craig Orr, gists and medical advisers.” VP of commissioning and development The Broadcasting Code, which at MTV International. A UK version applies to all shows that air in the UK, is was the logical next step, but where stricter than codes operating in many would the show be set? other countries, said Orr: “The show that Claire Poyser, Managing Director of we make for the UK is the benchmark.” Lime Pictures, which makes Geordie The cast can and do employ agents Shore, revealed that the North East won to exploit the commercial opportuni- out because it was felt that a Geordie ties arising from the show, such as cast would make for a “warmer, richer, brand endorsements. “The cast mem- more celebratory” show. “MTV had a bers make their money from their couple of cast members who were from commercial ventures, not necessarily Newcastle, so we put two and two from the talent fees on the reality together and Geordie Shore was born.” show. The exposure that we give them Lime’s youth-accented CV was the on TV is their shop window,” said Orr. key to winning the commission. At the Cast members have also gone on to Elletra time, it included both and a make TV spin-offs such as MTV’s Judge from reality show about a group of affluent Geordie, in which Vicky Pattison settled Geordie teenagers in Cheshire called Living on feuds between couples, friends and Shore the Edge. “We were known for making families. An MTV reality series, The

14 Charlotte Show, features former Geordie engaging television. Of course, I would Shore star . And many say that, but we do. of the cast have made the jump to the “With the more successful reality house and Celebrity… jungle. shows, while [viewers] will remember The cast are paid but Orr wouldn’t be moments of aggravation, most of the drawn on how much: “We pay more for viewers don’t want to see too much of our cast members on Geordie Show than that. Whether it’s in Geordie or Towie, on other, similar reality shows in the UK [viewers don’t like] too much shouty, because we’re filming with them 24/7. in-your-face [footage].” “They get paid decently and fairly. Geordie Shore, Poyser suggested, owed We’ve been cautious not to go wild with its longevity to generating a feel of [their pay] because we’ve had situations “community, a sense of family and with MTV US reality shows where the [people] looking out for each other – talent fees were so much that we could there is a genuine warmth there”. n no longer afford to make the show.” Geordie Shore is shot in a purpose-­ ‘Anatomy of a hit: Geordie Shore’, took built house on the quayside at Wallsend, place at Tyneside Cinema, Newcastle where ITV cop show Vera is also made. upon Tyne, on 16 October. The pro­- “We have the house all year round. We ducer was Graeme Thompson. put our cameras and rig in it,” explained McLaughlin. “We have to make sure that the cameras are in the right place at the right time to be able to tell [the Investing in cast’s] stories, and then be able to react to the fall-out from those stories.” the North East Geordie Shore uses footage shot in the house, on location in Newcastle, and in Geordie Shore, ITV’s Vera and CBBC front of a green screen to capture a cast show The Dumping Ground are the member’s reaction to an incident. only three returning network shows “Newcastle, as a city, has been an currently filmed in the North East. absolutely fantastic location,” said ‘I’ve spent most of my 35 years McLaughlin. “We don’t just film in the in television outside London, so I house and clubs – we film in lots of know that the regions should never locations across Newcastle.” be seen as second-class citizens,’ “Ultimately, the success of the show said Lime Pictures Managing Direc- comes down to the cast over the actual tor Claire Poyser. location, but the cast being Geordies, She argued that programmes predominately, is key,” said Orr. “Shore such as Geordie Shore contribute in a different town wouldn’t have as hugely to a region’s economy: ‘For much appeal.” every series we make, there is over A day’s filming produces around £300,000 of direct spend in the 130 hours of footage and each episode region on accommodation, locally takes two days to film. “That gets employed people and travel. crunched down to a show and, by the ‘There is a very simple metric you time you take out things such as pre- use in television,’ Poyser said: ‘For title [sequences], you’re looking at only every television programme made 40 minutes of new content,” said in the region, you [multiply] the McLaughlin. Three crews, each with a spend by five. So, for every series producer, work in shifts to ensure film- we make, we reckon we inwardly ing continues day and night. “The edi- invest £1.5m into the region.’ tors have a huge task and have around Deducting the spend of the seven weeks offline and one week series made in foreign resorts online in which to [edit] it,” she added. (the cast has been relocated for Lime Pictures hires the kit and some holiday specials to places such as crew for Geordie Shore in the North East. Magaluf), Poyser estimated that “For our runners, we go to local uni- Geordie Shore ‘has, at the very versities,” said McLaughlin. “It’s really minimum, [brought] £18m back important for the show because these into the [North East] economy’. guys have local knowledge.” The production team on the

Geordie Shore shares features with show is around 50- to 60-strong. MTV pictures: All other shows in the Lime Pictures sta- ‘At least 10% to 20% of these peo- ble, such as Towie, argued Poyser. She ple are employed locally – critically, added: “We don’t make snipey televi- in entry-level roles.’ Billy Bright from sion, we make warm, aspirational, Geordie Shore

Television www.rts.org.uk November 2018 15 urther evidence that the BBC is striking a more The BBC strident tone as it calls for greater resources in the streaming era was The BBC’s Charlotte Moore explains provided by the corpora- why trusted British voices are tion’sF director of content, Charlotte Moore, in her recent Steve Hewlett more important than ever. Memorial Lecture. In a wide-ranging and, at times, Steve Clarke reports feisty speech aimed primarily at policymakers­ and politicians, Moore argued that trusted, authentic British storytellers in the tradition of Hewlett risked being undermined unless the BBC was properly funded. Yes, the golden age of content we were experiencing was partly due to Netflix and Amazon raising the bar, said Moore. But, despite having pockets as Champions deep as the Mariana Trench, these com- panies’ investment in UK production was not bridging the content gap – money spent on UK programmes by Britain’s public service broadcasters was at its lowest for 20 years of British In her lecture, the senior executive focused on what the BBC, uniquely, could deliver to audiences, both at home and overseas: authentic, trusted British storytelling, told by veterans, storytelling such as , or newer talent such as Phoebe Waller-Bridge, the adaptor of Killing Eve, and Nicole Taylor, the writer of Three Girls. Moore said that Hewlett, presenter, producer and journalist, knew that, the harder the story, the more important it polling suggested that nearly two- Bafta-award-winning­ Three Girls, the was to tell. “He understood that stories thirds of people intended to make story of the victims of the Rochdale are there to entertain us, but they are changes to their daily lives. child-abuse scandal, shown by BBC also how we question the way we are, Drawing attention to the scale of One on three consecutive nights. how we laugh at ourselves, and how maritime pollution was “public service “On the face of it, an extremely we come to terms with difficult truths. broadcasting at its best”, said the BBC’s uncomfortable story to tell. Horrific “‘I’m a storyteller…,’ Steve said it again director of content. She drew a parallel and harrowing, it’s fraught with really in one of his later interviews. ‘I now between Blue Planet II’s unflinching challenging issues – from why the girls realise that is really what I am about.’” focus on the effects of plastic in the weren’t believed for so long, to why In today’s fast-changing society, oceans and one of Hewlett’s most senior figures in the police, social ser- “British stories told by British voices successful, and controversial, pieces vices and the council were too afraid of matter more than ever before,” pro- of broadcast journalism. being accused of racism to act. Before posed Moore. She recalled how viewers His determination to expose the Nicole had written a single word, we were emotionally engaged by Blue state of Diana, Princess of Wales’s promised to tell their story and we Planet II. The show’s depiction of the marriage in an incendiary, hour-long couldn’t let them down,” said Moore. endemic plastic pollution of the world’s interview on Panorama (he was the Turning to the present media land- oceans had caused a sea change in programme’s editor) in 1995 was scape, she outlined how “the giants of public perception of the problem. another example of bold, emotional the West Coast have driven up quality”, In particular, the story of a female storytelling. The show was watched by forcing “everyone to raise the bar”. whale’s likely poisoning of her own 23 million people and generated inter- She claimed that, in doing so, calf, via the build-up of plastics and national headlines. So, too, was his “they’ve made the BBC’s unique public chemicals in her milk, was a pivotal brave decision to tell his final story, the service mission steadily more important moment in affecting viewers’ attitudes story of his cancer, live on air to Eddie to this country”. to single-use plastic. After watching Mair on Radio 4’s PM. The BBC’s public purpose was criti- this sequence on Blue Planet II, they Trusted storytellers were more vital cal “in the age of filter bubbles and wanted to do something practical to than ever in our cynical, febrile age. fake news”, where, “increasingly, reverse the situation. Moore said She also referenced the RTS- and there’s the sense that we’re all living in

16 Three Girls, written by Nicole Taylor BBC

Female voices centre stage

Charlotte Moore: ‘Female stories must clearly be a massive part of this narrative, too. I don’t need to tell anyone here that, as a society, we’re just at the start of a very long journey to address a huge historical failing of female voices. ‘But I do believe that we’re living through an incredibly excit- Killing Eve, adapted by ing time. I can’t put it any better Phoebe Waller-Bridge

BBC than Phoebe Waller-Bridge: when it comes to the need for more our separate worlds”, suggested the British stories were in decline across female-centric stories, finally, content chief. “We’re focused on what UK networks. “people have woken the fuck up”. makes us feel different or divided, “Overall investment in original Brit- ‘Forty-five per cent of the dramas forgetting what we have in common. ish content is down by £1bn since we’ve commissioned at the BBC in We’re losing the ability to see things 2004,” she said. “It is no coincidence the past two years are from female from another’s point of view or to put that all this has happened during a writers. It’s not 50:50, yet, but it’s ourselves in their shoes.” period when the BBC has come under more than double where we were And, as shows such as Bodyguard and real financial pressure. in the past. the latest incarnation of “Since 2010, when the licence fee ‘There’s a whole generation of have proved, even in the VoD age there was frozen, the amount we have avail- female stories, perspectives and remained a place for appointment- able to spend on content has fallen by experiences that’s coming to the to-view TV. nearly a fifth. That’s meant half a bil- surface. It’s our responsibility to In addition to bringing the country lion less a year to spend on new British make that generation heard – and together, part of the BBC’s purpose ideas and programmes.” help them to inspire a new genera- involved celebrating difference. This She continued: “Netflix’s current tion in turn. aspect of the corporation’s mission budget for programmes is $8bn. Ama- ‘They bring with them a promise was evident in shows such as The Boy zon’s is $5bn. But their investment in of a society that is fairer, better, with the Topknot, Murdered for Being Differ- new UK programmes is only around and more equal than ever before. ent, Chris Packham: Asperger’s and Me and £150m a year. Less than 10% of their I defy anyone who saw that viral Rio Ferdinand: Being Mum and Dad. catalogues is made up of content pro- video of the little girl waiting for the While praising some of the BBC’s duced in the UK. new Doctor Who to be unveiled, other achievements in drama, comedy, “The Crown may be a wonderful exam- and who witnessed the expression entertainment and factual, such as ple of a big global player telling a British on her face when she shouted, Happy Valley, The Detectorists, Strictly Come story, but it’s also a rare one. In this new, “The new doctor is a girl”, not to Dancing and David Olusoga’s Black and US-dominated media environment, we think that we’ve done something British: A Forgotten History, for reflecting run the risk of seeing fewer and fewer good and inspirational.’ British passions, Moore noted that distinctively British stories.” �

Television www.rts.org.uk November 2018 17 � Drawing attention to the BBC’s role Charlotte Moore as an arm of British cultural soft power, she emphasised the impor- tance of content such as The Night Manager, War & Peace and Blue Planet II, and of globally successful formats like Strictly Come Dancing. With Brexit looming, this part of the BBC’s remit was hugely important. “And it’s about so much more than just the BBC…, it’s about the whole of the UK production sector and the strength of our broadcasting industry overall,” Moore added. “British TV is the very best in the world. As a coun- try, we punch so far above our weight.” The implication was clear – further resources were needed to beef up British content aimed at UK audi- ences, or the US would eventually dominate British media companies to ‘WE RISK SEEING FEWER an even greater extent than was the case today. AND FEWER DISTINCTIVELY “Ten years ago, around 83% of BRITISH STORIES’ independent production companies

in the UK were either UK- or BBC European-owned.­ Today, it’s less than 40%, with the rest owned by US harder than ever to take Britain’s multinationals. creative strength and cultural influ- “Increasingly, it is decisions taken ence to the world”. BBC turns on on the [American] West Coast that are Her boss, BBC Director-General young people defining our media landscape. We Tony Hall, recently told the RTS that, cannot allow them to reduce our following years of austerity, “the creative firepower.” cracks are beginning to show”, as Charlotte Moore: ‘We still reach Creativity was taking a back seat to witnessed by the example of BBC more than eight out of 10 under-16s technology: “The television landscape Three being downgraded to an each week, and more than eight is increasingly defined by what will online-only service. out of 10 16- to 34-year-olds. We’re deliver the biggest profits for compa- “Because of the huge changes that still the media provider that young nies, not the best programmes for have taken place in the market adults spend the most time with. audiences. around us – the vast increases in ‘BBC Three is challenging the “I worry that the insatiable greed competition and costs – what we status quo, through an authentic for data-gathering is actually serving currently do is simply not sustainable and unfiltered lens.… the wrong master. That entire busi- with the resources we have.” ‘We know that young people nesses are focused on what they can Despite these threats to British love our programmes, so it’s not take from audiences, instead of what storytelling,­ there was still “a fantastic right that they should be left to they can give back. opportunity” and the BBC was “bril- discover them on Netflix or else- “Sure, audience data and algo- liantly placed to respond”. where, and lose out on everything rithms are incredibly useful. We can Evoking Steve Hewlett’s commit- else the BBC has to offer. learn so much from what’s working ment to the BBC, she said that, even ‘What we’ve learnt time and for audiences and what’s not. We can though he “asked difficult questions time again is: make it brilliant, and understand how to tailor our services of us, he was also our greatest cham- they will come. uniquely to them. pion and supporter”. Hewlett “even ‘Bodyguard hasn’t just broken all “But I don’t believe any amount of spoke about his concerns for the BBC records with more than 36 million data can tell you what to commission and its vulnerability in his very last box-set requests, it also attracted next. Data simply won’t deliver Car interview with Eddie Mair. He knew the highest young audience for any Share, A Very English Scandal or Murder how much what we do matters. drama this year on any channel.’ in Successville.” “He held us, quite rightly, to the She made five promises to licence- highest standard. He was a passionate fee payers: a commitment to new believer in British creativity and risk-­ The Steve Hewlett Memorial Lecture talent; to back great talent; to provide taking and in public service is a joint initiative by the RTS and the the right content for younger audi- television. Media Society. BBC director of content ences; to respect diverse audiences “As we look to the future, it’s this Charlotte Moore gave her lecture at (“Diversity needs to be hardwired spirit of fearlessness we need to the University of Westminster, central into everything we do”); and to “work embrace in everything we do.” n London, on 11 October.

18 OUR FRIEND IN BEIJING

hina’s television Marcus Ryder The stars’ high pay has caused a and film industry is lack of investment in other parts of booming. Figures on what British the industry, notably screenwriters. released in August A few years ago, the vice-president show that the Chi- TV executives of Alibaba Pictures even suggested nese television can learn from doing away with screenwriters alto- market has offi- gether. He proposed that scripts be cially overtaken the UK to become the scandal that written through “crowdsourcing” Cthe second largest in the world. And, ideas on internet forums. While this earlier this year, China’s box office engulfed a Chinese idea did not take off, it showed the overtook the US for the first time. movie star level of respect in which screenwrit- If you are serious about the film ers are held. and television industry you need to There is a growing acceptance of be serious about China. It is one of the low quality of Chinese screen- the reasons that I moved to Beijing plays but, paradoxically, there is almost three years ago. now what the Hollywood Reporter has In the past few months, however, described as a “feeding frenzy” for the industry has been rocked by the good scripts. This is a golden oppor- events surrounding one of its biggest tunity for foreign scriptwriters. stars, Fan Bingbing. The story holds 3 The final lesson from Fan’s case is important lessons for media execu- perhaps the most important – when tives across the world who want to you work in a foreign country you work in China. need to obey the law. I know that Fan is a household name in China. sounds obvious but it is vital to She is one of the few domestic actors remember. The online publication to have achieved crossover appeal in China Film Insider recently carried

Hollywood, appearing in X-Men: Days Hampartsoumian Paul a wonderful piece, written by Dan of Future Past. Harris, a leading international media In July, she went “missing”. In Octo- have come under fire for not paying lawyer, about Fan Bingbing. He noted ber, she reappeared and admitted to their taxes. In China, it has been how, when it comes to Asia, foreign tax evasion. She was ordered by the actors who have become the face companies often play fast and loose authorities to pay $127m in taxes and of inequality and tax “cheating”. with the law and taxes. penalties. Like most news in China, This an important insight into what There is no denying that the legal the simple story I have outlined is Chinese audiences want to see. Last structures in many Asian jurisdictions surrounded by conspiracy theories. year, the breakout TV hit was In the are “challenging”, but the need for These range from illicit affairs to Name of the People, a drama dealing good legal advice throughout any political meddling. with anti-corruption detectives production is essential. Irrespective of whether you believe tracking down the rich and powerful. It is difficult to know what the long- in the official version of events or want The first episode was viewed 350 mil- term consequences will be for Fan’s to dabble in conspiracies, the story lion times. career. Her most recent movie, Air Strike, holds three important lessons for any- 2 Industry insiders believe that Fan co-starring Bruce Willis, was released one wanting to do business in China: proves that Chinese stars get paid “too in the US but cancelled in China. 1 The Chinese public is increasingly much” relative to other key roles in TV Long term, there is almost no doubt concerned about inequality, and loves and film. In China, it is not unusual for that the industry will keep on grow- stories of the super-rich getting their the vast majority of a production’s ing in China, and international media comeuppance. budget to be spent on a single star’s execs will need to learn how to work For a British person, when you hear salary. The government has recently in it successfully. n about Fan’s story, it is helpful to think tried to rectify this: salaries of on- about it in terms of the UK Uncut tax screen performers are now capped at Marcus Ryder is chief international edi- campaign. In Britain, big companies 40% of a production’s total costs. tor of CCTV News Digital, part of CGTN.

Television www.rts.org.uk November 2018 19 From left: Kate Bulkley, John Litster, Matt Hill, Rich Astley, Sarah Rose and Justin Sampson. Inset: The Little Drummer Girl

Audiences, advertisers and arithmetic

elevision is trying to keep The other panellists, Sky Media Man- advertisers happy and out Measurement aging Director John Litster included, of the clutches of its online were encouraged by the strides Barb has competitors. But, with the been making to keep pace with modern growth of streaming ser- Matthew Bell grapples viewing habits. “From an advertising vices such as Netflix, tot- with the complexities of sales perspective, Barb is and always ting up who watches TV, and when will be our currency,” he said. andT where, is becoming a complicated measuring TV viewing Sky also collects its own audience business. data from set-top boxes, which it can This is the key data that advertisers across a multi-device use to hone its targeted advertising. want and which ratings body Barb is landscape Channel 4 harvests audience infor- doing its utmost to provide, according mation from the 18 million registered to CEO Justin Sampson. He was part of users of its video-on-demand (VoD) a panel at an RTS early-evening event platform, All 4, more than half of that drew a capacity crowd to The whom are in the key – for advertisers Hospital Club in late October. – 16-34 age group. “We get very

20 ‘WE NEED TO FIX COMMERCIAL MEASUREMENT… AND CONVINCE ADVERTISERS TO BRING BUDGET BACK TO TV’

granular information about what to measure – offers a challenge both to they’re watching [and] on which the ratings body and broadcasters (see devices,” revealed Sarah Rose, chief box, right). Barb’s Project consumer and strategy officer at And the amount of unidentified Channel 4. viewing has increased hugely in recent Dovetail Barb, through Project Dovetail, has years with the growth of the US caught up with the broadcasters and is streaming services. Pre-Netflix, the The television ratings body, Barb, now releasing multiple-screen figures level of unidentified viewing was far maintains a panel of 5,300 homes for TV sets, tablets, PCs and smart- lower and mainly attributed to people that reflect TV viewing across the phones across the TV landscape (see using their TV sets for gaming or country, to produce audience fig- box on page 22). watching DVDs. ures daily. “The truisms that Dovetail has now “There’s a large amount of commer- In September, it launched multi- enabled the whole market to see are cial viewing in television that is not ple-screen programme ratings that ones we’ve known for some time, currently captured [in the ratings],” measure audiences on TV sets, namely that most [young viewers], said Rich Astley, chief product officer tablets, PCs and smartphones. when they can, watch [programmes] at Finecast. His company delivers These figures are generated by on the big screen. Everyone imagines addressable advertising across VoD, a software code embedded in teenagers in the bedroom watching on linear and live-streaming platforms. broadcasters’ video-on-demand smartphones and tablets – [but that “In the minds of a lot of our marketers, (VoD) services across the differ- number] is tiny,” said Rose TV as an advertising medium is cur- ent online platforms. A process She added: “We are relieved that the rently under-represented.” called ‘Dovetail Fusion’ combines Dovetail numbers and the numbers we He added: “TV is much bigger than the panel’s viewing data and the have from our own users match – they [its] current representation from linear device-based information to pro- vindicate [Barb’s] panel measuring viewing – there’s an opportunity to duce multiple-screen programme system.” Dovetail, she said, “is revolu- either bring investment back into TV audience figures. tionising how broadcasters operate. We or [bring in] new investment. This new measurement is a key commission shows differently now “There’s a really strong future in part of Barb’s Project Dovetail, because we see how they’re consumed television and the experience of which launched in 2013 in recogni- on different platforms.” watching TV has never been as good as tion of changing UK viewing habits. “Barb is in a good place,” suggested it is today.” But Astley warned: “As an In the next stage of the project, Litster. “Eighteen months ago, we were advertising medium, it’s got a lot of concerned with multiple-screen struggling, as a collective, to get things work to catch up on. We [need to] reach and time spent viewing, moving. But I think that there’s a sense prescribe the right value to TV as an it will report the extent to which of initiative now, and Dovetail actually advertising medium for the future.” tablets and PCs increase the num- working is something we’re all excited For agencies and brands looking to ber of viewers and average weekly about.” advertise on television, “there’s a bit of viewing time for Barb-reported Despite the popularity of multi-­ frustration out there”, admitted Matt channels. Finally, the ratings body platform and catch-up TV, however, Hill, research and planning director at plans to report on multiple-screen

Paul Hampartsoumian/Shuuterstock/BBC Paul old-fashioned audience measurement Thinkbox, the marketing body for UK advertising campaign performance. still has its place. “Overnight [ratings] commercial TV. “The one thing that ‘We have to take a whole indus- still tell you whether you have a hit,” everyone is looking for is to get a try along with us, with a meas- argued Rose. proper gauge of the incremental reach urement that everybody believes She continued: “Things that are top across linear TV and broadcast VoD, and to be right,’ said Barb CEO Justin 10 in VoD viewing tend to be top 10 in get an idea of [how] their campaigns Sampson. ‘In an , I’d linear, because success travels, and it’s are being delivered.” Barb is addressing have the broadcasters drilled like nearly always on the main channels in this shortfall in its data in the second a troop of the North Korean army the same order. Without wanting to stage of Project Dovetail. in Pyongyang, synchronised and sound like a terrestrial dinosaur, TV is TV executives worry that advertising moving at speed, but that’s not proving remarkably resilient. [Project] revenue is increasingly being lost to going to happen. Dovetail is game-changing but, still, social media and online platforms, but ‘We have to avoid the trap that 90%-plus of the viewing it tracks is Hill offered some reassurance. “TV does the Spanish Armada fell into, which linear.” a job that those other channels cannot was to sail at the speed of the slow- But not everything on the horizon is do,” he said, emphasising the “premium est ship – and it didn’t do very well. rosy from Barb’s perspective. The content” that television offers. So, we’re trying to find a pace that is increase in unidentified viewing – Barb’s new, multiple-screen ratings, somewhere between those two.’ content on services that Barb is unable said Astley, were hugely useful. For �

Television www.rts.org.uk November 2018 21 The modern Sarah Rose TV audience

Barb CEO Justin Sampson used the audience for hit BBC One thriller Killing Eve to illustrate how TV viewing habits have changed. The entire series was made available to viewers on iPlayer following the transmission of episode 1 on 15 September. He revealed that 3.87 million peo- ple watched episode 4 before it was broadcast, 2.26 million saw it live on 6 October and 2.48 million watched it during the following week. The total audience was 8.6 million, of whom 90% watched on TV sets, the remainder on other devices. Live events, such as England’s World Cup semi-final against Cro- atia, are watched overwhelmingly ‘DOVETAIL IS on TV sets. It drew a television audience of 20.7 million and only REVOLUTIONISING 337,000 viewers on tablets, PCs and smartphones. HOW BROADCASTERS Another summer programme, OPERATE. WE ITV2 reality show Love Island, however, made a bigger splash in COMMISSION SHOWS the online and mobile world. Using DIFFERENTLY NOW’ the 15 July episode as an example, Sampson said: ‘The average audi- ence on tablets, PCs and smart-

phones was not far off 1 million, Hampartsoumian Paul which boosted the TV-set audience by close to 25%.’ � Killing Eve (see box, left), they “are of it this year in terms of delivering Gaps in the measurement of TV telling us that there is a huge amount big audiences.” viewing remain. ‘The rise of uni- of multi-­platform, pre- and The Sky Media chief added that dentified viewing is a big challenge post-broadcast viewing”. targeted advertising is coming on for Barb,’ he admitted. This year, But only up to a point. “The critical apace: “We’ve had loads of success on average, viewers have spent an piece that’s missing is commercial with things like local car dealers and average 47 minutes a day watching measurement – that is, whether an ad garden centres, which can advertise at content on services that Barb is viewed in that content is [what] is ulti- a postcode level. A car dealer can currently unable to measure. For mately going to determine budget allo- advertise within four miles of its deal- young adults, who are less wedded cation for an advertiser. We can’t do ership, supporting big-brand advertis- to traditional TV, the figure rises to that today [for non-linear TV],” he said. ing for particular models. We need to 69 minutes a day. Astley added: “[Advertisers] are pull- do more of that.” ‘We know the TV set is on, ing money out [of TV] – that’s been “It’s a really exciting time,” con- but what’s being watched is not happening for the past few years. What cluded Thinkbox’s Matt Hill. “The a Barb-reported channel,’ said do we need to do to fix that? We need premium environment that TV offers, Sampson. Unidentified viewing to fix commercial measurement. We’ve coming together with all the benefits is growing and largely driven by got to address some of the changes in that you get from the online world and audiences for Netflix, YouTube and viewing consumption that we’re see- measurement, is a crucial part of that. Amazon services. ing and convince advertisers to bring I think we’re heading towards a really New measurement tools could budget back to TV.” good place.” n help Barb to measure audiences Nevertheless, there were plenty of for the new, over-the-top channels. reasons to be cheerful about televi- The early-evening event ‘Who is watching? Router meters, attached to a home sion’s future relationship with adver- The challenge of digital TV measurement’ wi-fi network, would allow the tising. “I still believe in the was held at The Hospital Club in central ratings body to monitor the viewing brand-building power of TV,” said London on 24 October. The event was of streaming services. Litster. “Commercial TV, and TV gen- chaired by journalist Kate Bulkley and pro- erally, has had a really successful time duced by Terry Marsh and Vicky Fairclough.

22 Should Facebook and YouTube join in? Shutterstock/YouTube

Barb does not collect viewer data from Finecast’s Rich Astley responded: ‘It’s The panel chair, journalist Kate Bulk- the US tech giants but, as Facebook and great to hear – we’ve heard the appe- ley, pointed out that Facebook is now Google (via its subsidiary YouTube) pro- tite’s there. The demand is very much producing more high-quality content, a duce more TV-quality programming, this there [too] from advertisers and agen- view that Hill accepted. ‘If it is making omission feels increasingly significant, cies to have everything in one view and professionally produced content on [VoD not least to advertisers. However, there in one measurement system, but the services] Facebook Watch and YouTube is little agreement in the TV industry on differences do need to be called out. Red [now YouTube Premium], that is how to measure such audiences. ‘Is it professionally produced, long-form more legitimate because it’s quality At the RTS event, Barb CEO Justin content or is it short-form, user-­generated content offering a similar ad-like expe- Sampson issued an invitation: ‘Anyone content? YouTube has some of both. Let’s rience to the rest of TV,’ he said. ‘But wants to meet and work with Barb have everything in the system, but clearly rest of the services don’t, so therefore it – we’re happy to talk to them.’ label it when it’s different.’ shouldn’t really be considered on a like- From the audience, Google UK’s head Facebook head of marketing science for-like basis. of market insights, Jonny Protheroe, R&D for EMEA Alex North, who was ‘Where do you draw the line in terms responded. ‘There is a will [at] Google for also in the audience, said: ‘There’s defi- of quality, professional, premium-quality YouTube to be part of TV [joint industry] nitely an interest on the Facebook side content? It is a subjective measure. If currencies around the world,’ he said, in adhering to the principles that Justin you are an advertiser, you want to know adding that discussions were most outlined in terms of audited, transparent, where the valuable placements are that advanced in Germany where YouTube independently measured data. There’s a you can go. should soon be measured by the Ger- danger, though, of terminology here.’ ‘There’s a danger that we get caught man equivalent of Barb. Joint industry He argued that YouTube is ‘TV-like; up in definitions – and what you decide is currencies (JICs) provide audience num- Facebook is even less TV-like, so should it a premium environment, I might disagree bers and trading metrics for each adver- sit within Barb?’ He added: ‘It’s not as sim- with. How do we come together as an tising medium. ple as, “Flick a switch and you’re in Barb.’” industry to decide these kinds of things?’ ‘We need to agree as an industry Thinkbox’s Matt Hill agreed with North: Astley suggested, provocatively: ‘You what we want the currency to cover. ‘[Just] because we’ve got lots of video can start with Ofcom-regulated [ser- I don’t think you can treat all platforms formats springing up across different vices.].’ Currently, Facebook and Google the same. They are different in the way places, [it doesn’t mean] that they all – which argue that they are platforms, people consume [content] and they are need to be measured together in the not publishers – are not regulated by different in the type of data available, same place, when, in fact, they’re really Ofcom and therefore not subject to the and measurement needs to reflect quite different types of video.’ same rules as UK broadcasters. those differences.’ Hill added: ‘The reality is that Barb is North replied: ‘So you think we should He warned that the ‘one-size-fits-all a measurement for premium, profes- seek regulation?’ existing measurement structure’ was sionally produced, quality content in a That, said Bulkley, as she ended the unsuitable. ‘[We need to be] represented quality environment and that should conversation, was ‘a whole different appropriately and fairly.’ continue to be its remit.’ panel discussion’.

Television www.rts.org.uk October 2018 23 How to Produce Comedy Bronze by Jon Plowman is published by 535, A guide to priced £16.99. ISBN: 978-1788700399 comedy gold Book review Lucy Lumsden revels in Jon Plowman’s new book, an engaging mix of memoir and manual

ow to Produce Comedy Bronze is a glorious blend of memoir and manual. It looks back on Jon Plow- man’s 30-year careerH as a freelance producer and BBC Comedy impresario, and speaks to the next generation of aspiring TV produc- ers with various learnings accumulated along the way. You don’t need to be in the business to enjoy this book, but it’s one for the comedy fan. There are insights into the making of Alas Smith and Jones, A Bit of Fry and Laurie, anything by and , Bottom, , The Office, and W1A. Jon’s story is busy, to say the least. It spans from his roots in theatre at Oxford University, where his contem- porary outshone his three- man, one-act play Oldenburg with an all-singing all-dancing production of Marat/Sade, to briefly working as a TV reporter for Granada, before he realised that he was no David Dimbleby, right through to , Dawn and Jennifer’s multiple series and, more recently, : The Movie. His account is also snappy, - tive and full of indiscretions. And, somehow, he gets away with these. This is no mean feat, given that he’s still very much in the business and needs to stay friends with people in high places. “My television career began with a lie,” begins one chapter. Jon was driven by the need to avoid a desk job by any Absolutely Fabulous: The Movie

24 ‘KNOW YOUR LIMITS EVEN WHEN YOU’RE WAY BEYOND THEM’

means necessary. He went from cast- the corridors of Television Centre. Don’t bounce along, accompanied by orders ing assistant in the late 1970s on Abso- feel too sorry for him, though, he was to “Google it!” or “Look it up on You- lution, a movie starring Richard Burton, better than most at getting a “yes” from Tube!”, which I dutifully did. to teaching Iranian girls how to speak a commissioner. Those persuasive Anecdotes from Jon’s career are English so that they could get work on tactics he used to get guests for Harty peppered with lessons and top tips the make-up counters at Harrods. On and Wogan stood him in good stead, that randomly pop up like quickies in his way up, he produced a late-night and the wrath of Jon was very effective. a sketch show: “Know your limits even show with the medium Doris Stokes. There’s a great chapter on his time when you’re way beyond them” or “Be So, it’s not the silver-spoon start in spent in the US, immersed in the writ- careful what you agree to… exercise the comedy that you might have assumed. ing rooms, watching US showrunning same care that you would when offer- No making cups of tea for Spike Milli- in action. This, by the sound of it, made ing a locust just the tiniest nibble from gan or brown-nosing the Cambridge him even more appreciative of our a lettuce leaf”. Footlights, but a winding path, chiefly British craft of comedy production. And there are some touching men- through entertainment. This led him to Throughout, there are many little-­ tions of the late Geoffrey Perkins, working with and then known facts about shows we all love. another highly talented head of com- on their talk shows. We learn that wasn’t edy, and actor Emma Chambers, two The only brown-nosing was with originally written for Dawn French, names dear to Jon and the world of celebrities to try and persuade them that ’ Ambridge was the comedy who left us far too early. to appear on an “ulcer-inducing” live inspiration for Royston Vasey, and that, But, of all the many shows and peo- show, week in and week out. And that for The Office, and Ste- ple mentioned, a good chunk of the experience got Jon his first gig in com- phen Merchant wanted to cast people book is a rather touching love letter to edy, producing Comic Relief. who looked right, rather than people Dawn French and Jennifer Saunders. The second half of the book treads who could act. He returns to them again and again, some familiar territory, as he describes Buy the book for the explanation of just as, over the years, they returned to his time as head of comedy entertain- an executive producer’s role on Little him as their go-to producer. The Vicar ment at the BBC. There, he had to deal Britain alone. There, Jon had to make a of Dibley, and Jon’s description of its with me on a daily basis. I was the call on just how big a certain bodily fluid production (delightfully noted as a controller of comedy commissioning, stain on ’s jacket needed “happy spell”) is a masterclass on the sitting with the channel heads up on to be in order to get the biggest laugh. crucial elements of great sitcom: a the 6th floor of Television Centre. It For fans of W1A, Jon describes how simple premise, great timing, syn- was a role created as the centre of his legendary moans about the BBC chronicity of writer, producer and gravity shifted at the BBC in response systems were put to good use as he director, and a perfect cast. to the growth of the indie sector. became a self-appointed researcher for Then there’s Absolutely Fabulous – a This was the early noughties, the era writer and director John Morton. He tiny sketch developed, expanded and of Little Britain, The League of Gentlemen, would forward the latest corporate ’d into an award-wining Extras, Jam and Jerusalem, Hyperdrive and babble, including PowerPoint presen­ global phenomenon and a hit movie. , to name but a few. tations about the alleged benefits of No bronze here, only gold. Jon describes how he was something toilet-roll dispensers. In How to Produce Comedy Bronze, we of a reluctant head of department, And how an intern who had been have a rare insight into the peculiar hardwired to be on the side of writers working at the BBC without pay for and precious art of comedy, and a and talent. And, as Dawn French says 15 months (he was the producer’s memoir from someone who has been in her foreword, “a brilliant Cerberus”. cousin, of course) would become the at the epicentre of some of our greatest So, I would often have to play the inspiration for the intern character Will comedies in recent years. role of “dream crusher” and go down Humphries, brought to life by the bril- Jon is a fun-seeker, mischief-maker, to the 4th floor with the latest bit of liant Hugh Skinner. stress-coper and the ultimate reluctant news about what we might be able Jon writes exactly as he speaks. He’s professional who, thankfully, never – or, rather, not be able – to afford. self-deprecating (it’s there in the title), grew up. We salute him and look for- “If you don’t commission this, we he’s a great storyteller and gives the ward to the next instalment. n might as well all give up and make occasional side-swipe. Countryfile”, was one of Jon’s familiar The book is made up of joyously Lucy Lumsden runs Yellow Door complaints as his cries echoed round short chapters which make it all ­Productions.

Television www.rts.org.uk November 2018 25 Beguiled by his own image?

Book review Jon Thoday finds much to enjoy inMichael Ovitz’s autobiography but ultimately thinks the agent’s enigma remains intact

ho is Michael Who Is Michael recollections of “what was”, where are Ovitz? An Ovitz? by Michael the tales of “what might have been”? interesting Ovitz is published If you are an enthusiast of “the busi­ title for an by WH Allen, priced ness of show business” books, this one autobiography £20. ISBN: 978- does not come close to either The Last of probably 0753553367 Mogul, about Lew Wasserman and MCA theW greatest living agent. Ultimately, Universal, or The Agency, devoted to the though, this book fails to deliver a creation and rise of the William Morris definitive answer to the question. agency – albeit, neither of these are For newcomers to Hollywood mem­ autobiographies. oirs of this ilk, there is plenty to enjoy. These two works charter the foun­ Chapters are packed with a plethora handed those stars to his junior part­ dations of modern American show of anecdotes about battles won, films ners. But there is no mention of pro­ business, without which Ovitz could made, deals struck and (occasionally) jects he had promised to set up not have succeeded. I had hoped that flops sold. floundering and falling by the wayside. Who is Michael Ovitz? would provide an For the uninitiated, there is less than It would be great if he told us about interesting sequel, a study of how CAA one might expect to learn about the the five films he really believed in that continued the industry’s evolution. inner workings of Hollywood and the never got made. Or even a single pro­ Wasserman is discussed as an world of show business more gener­ ject he loved that failed with CAA adversary of Ovitz, who hardly spoke ally, or about how they have changed ­(, which he to him. The key detail of why is omit­ over the years. For many, however, this co-founded), but which went on to ted. Maybe Ovitz doesn’t know or may not be the fundamental draw. succeed with the involvement of maybe he doesn’t want to say. Personal accounts of the headline another agency. As for the key points of difference events of Ovitz’s career, including John Maybe there are no such examples. between William Morris and CAA, Belushi’s death, and, of course a range Or maybe, as a great salesman, he just Ovitz’s explanation rests heavily on his of his greatest hits – from , can’t bring himself to divulge what statements that the founders of CAA Jurassic Park and Groundhog Day to Rain really happened when things didn’t were simply much hungrier and harder Man, Goodfellas and Tootsie, to name a go to plan. working. He leaves out any detail about few – are, expectedly, entertaining. There is a niggling fear that Ovitz has what they actually did differently. Having said that, for me, Ovitz considered which failures his autobi­ There is an absence of any real analy­ often creates an itch only to leave it ography simply has to include because sis of how show business changed with unscratched. He raises subjects that they were so public and newsworthy, the rise of CAA. Perhaps this is best sound interesting but are then never and omitted the rest. For all the explained by a simple fact: it didn’t. especially well explored – that Robert Not in any meaningful sense, anyway, Redford was difficult; that David Gef­ because the real trailblazers were the fen hated him; and the demise of his previous generation. It might be that relationships with his partners, who ‘OVITZ OFTEN The Last Mogul and The Agency are more included his closest friend, Ron Meyer. CREATES AN interesting reads on this subject In particular, the lack of any signifi­ because they are about a more interest­ cant engagement with his own failures ITCH ONLY ing period in Hollywood history. is frustrating. Much time is spent TO LEAVE IT That is not to dispute Ovitz’s own explaining how he signed mega stars personal status as a groundbreaker in away from rival agencies, and then UNSCRATCHED’ some areas. A section in which he

26 ‘THERE IS AN ABSENCE OF ANY REAL ANALYSIS OF HOW SHOW BUSINESS CHANGED WITH THE RISE OF CAA’

mission is to deliver genuine insight into the character of its subject, Who Is Michael Ovitz?, while engaging and enjoyable, ultimately disappoints. You can infer that he was (and is) a great salesman, who gravitated not to the most exciting projects but to the biggest deals – but any indication of what drives him is noticeably absent. There is plenty written on how he established a new high for movie directors’ fees and managed to pack­ age movies with 30% of the spend on talent coming back to CAA. We read about his apparent reincar­ nation with his recent pursuits in Sili­ con Valley, which he seems to regard as the new Hollywood. But at no point does he really say he liked what he was doing, which, given the incredible Michael Ovitz in front array of movies, TV shows and indi­ of Roy Lichtenstein’s viduals on his CV, perhaps reveals Bauhaus Staircase more about him than anything written mural, which dominates in the book. the lobby of the old CAA building More time is devoted to how he

PatrickMcMullan.com persuaded Roy Lichtenstein to paint a brilliant mural in the old CAA building explains how he took CAA into the the pitfalls of a different corporate envi­ at the end of Wilshire Boulevard than world of corporate finance, and man­ ronment when he left CAA in 1995 to any passion for the projects he worked aged to persuade ’s head office in work as number two to on or the artists he worked with. Japan that he was best placed to advise at Disney. Fundamentally, this is a book of, on the acquisition of a Hollywood The obvious conclusion here is that admittedly often entertaining, anec­ studio, is fascinating. Ovitz’s success at CAA was intimately dotes about Ovitz’s career with only So, too, is his account of how he connected with the team he worked passing nods to things that went badly. shook Madison Avenue when he infil­ with and the incredible talent he repre­ There is less that deepens our under­ trated the inner workings of Coca-Cola sented – and that, ultimately, the talent standing of the business in which he and persuaded the company that CAA, is the power. Without it, Ovitz became a operated or challenges our expecta­ a showbiz agency, could create better mere mortal. He proved the truth of the tions of his personality. advertisements than advertising giant advice that good agents give to their Who is Michael Ovitz? I’m still McCann Erickson. clients – never believe your own hype. not sure. n Such was his brilliance in these It is a shame that he doesn’t offer more instances that it comes as a surprise to reflections on this topic. Jon Thoday is Managing Director of discover that he struggled to navigate If an autobiography’s fundamental ­Avalon Entertainment.

Television www.rts.org.uk November 2018 27 ome feminists might choke at the idea that the highly controversial Bar- bie doll was actually invented by an ardent feminist. This was one of manyS fascinating insights to emerge from an RTS event devoted to a new Documentary feature-length documentary Tiny Shoul- ders: Rethinking Barbie. The film examines the changing face Oscar-nominated of Barbie from a feminist – and occa- sionally anthropological – perspective documentary-maker since the doll’s debut in 1959. This sophisticated, thoughtful and Andrea Nevins reveals insightful 90-minute documentary the hidden dramas premiered to strong reviews at the Tribeca Film Festival earlier this year behind an international before making its debut on the US icon. Steve Clarke streaming service Hulu in April. Variety praised the film as “illuminating and is hooked thought-provoking”. Contributors to Tiny Shoulders: Rethinking Barbie, distributed by Enter- tainment One, include American femi- nists Gloria Steinem, Roxane Gay and Peggy Orenstein (the author of Don’t Call Me Princess). The story of Barbie began in the second half of the 1950s, when Ruth Handler, whose husband Elliot had founded Mattel Toys in 1945, found the inspiration for what became Barbie (unusually, a doll with breasts) in a cheap German sex toy called Lilli, bought by men at tobacconists. Over the decades, many different types of Barbie dolls and Barbie fash- ions have been sold. These include a Barbie presidential candidate (the party was undefined) and a Barbie astronaut but, much to the consterna- tion of feminists, the toy’s defining characteristics – blue-eyes, impossibly skinny and blonde – remained stead- fastly unchanged. Critics of Barbie complained that the doll’s body was so thin that she lacked the body fat to menstruate. There were occasional modifications, such as to her skin tone and eyes – famously, the latter were altered so they looked straight ahead, rather than downwards. However, it was not until 2016 that Rethinking radical change took place and the “Curvy”, “Petite” and “Tall” Barbie dolls first appeared on the shelves. The development of these new designs, collectively known as Project Barbie Dawn, and Mattel’s anxiety about the

28 launch – particularly in the PR depart- complicated relationships with the “I know how important it was to us ment – provides Rethinking Barbie with men I was working with and some as a Barbie team.… Many people still its storyline. #MeToo moments myself. don’t know that we’ve made these As the RTS audience heard, film- “I thought there should be more changes. Many people still don’t know maker Andrea Nevins struck lucky investigation into where women are the foundational origin of the brand when she managed to persuade Mattel in the world. But I didn’t want it to be came from an extraordinary feminist to allow her inside its El Segundo HQ a dry rendition of the past 60 years of perspective. in Los Angeles county and observe the feminism. What better way than to “Ruth [Handler] was a business- mainly female team at work. woman who couldn’t sign cheques “It was a complete surprise [when I at her own company. found out about Project Dawn],” she “We stand on that very feminist said. “They didn’t know they were WHY DO PEOPLE foundation and do our best to leave going to succeed. They were allowing HAVE SUCH the brand better than it was when we me in to watch them potentially fail.” INCREDIBLY stepped into our roles.” How, then, did she persuade Mattel Even in these times, when content to give her this privileged access? Her STRONG FEELINGS production is booming, finding the previous work has focused on subjects ABOUT THIS PIECE money for high-end documentary can such as Hillary Clinton and Jesse Jack- be a struggle. Fortunately, Nevins had son (made for A&E), and she directed OF PLASTIC? money in the bank from her two pre- HBO’s State of Play: Happiness, which vious films. “We self-financed,” she looked at how successful NFL players said. “Subsequently, Hulu came on cope with everyday life once they retire. look at an icon that we all know, which board as a partner. By then, we were in “It took Mattel a long time to convince we all love and which we have all the edit, so they knew what the end of the team to tell this story because they played with.” the story was. never let anybody inside those doors,” Nevins said that she had complete “What they didn’t know was that she recalled. “Honestly, going inside the editorial control over Rethinking Barbie, Trump was going to be elected, that we Barbie vault – there are people working and acknowledged her lucky timing were going to have a pussy-grabbing at Barbie who have never been inside. in approaching Mattel. “I went and moment and a #MeToo moment.” “And, as I was investigating and knocked on the door and they were So, in the wake of what turned out observing, I saw a lot of women run- at a very, very dark moment. So dark be a successful relaunch, where does ning a huge corporation and making that, when they saw this movie two Barbie stand in the age of #MeToo? In some very serious decisions about or three years after I’d started it, they our fast-moving culture, how does what it means to be a woman in were like, ‘You never said that we were Barbie keep up? today’s society. in a bad place.’ “It gives you a lot to work with,” said “I thought that was an extraordinary “I think that they were in this place Culmore. “Obviously, I can’t talk about thing to be able to observe. And it would where they really felt that they needed what’s next for Barbie. I can talk about say something about where our society to let outside light in. There was a dis- what we’ve done, which is instilling is today.” connect between what they felt they the bodies across the line, not just the Brought up by a mother who was a were saying and how the rest of the Fashionista Dolls. specialist in art history and her surgeon world perceived them.” “We do close to 500 or so dolls a husband, Nevins attended Harvard Joining her at the RTS event was year. The Fashionista line is a very tiny before embarking on her media career. Kim Culmore, the Barbie designer part of that – although, financially, one Her first job was working as a sports responsible for the doll’s new itera- of our biggest. reporter in North Carolina. tions. She is a key presence in the film, “We’ve introduced role-model dolls.… “I was not a Barbie girl,” she said. as is her colleague, communications We are committed to maintaining our “I had one but she was part of a large chief Michelle Chidoni. We witness the positon as the most diverse and inclu- ecosystem of many, many toys. So, my creative tensions between the two. sive doll line in the world. starting point was: ‘Why do people Culmore told the RTS that the expe- “[We want] young girls to have the have such incredibly strong feelings rience of Project Dawn was “an impor- opportunity to tell their stories with about this piece of plastic?’ Why is it tant story for [all people] who run a broader range of characters and that you can talk to almost anyone and businesses”. She emphasised that images. The images that we put into they’ll tell you their Barbie story, or “diversity and inclusion aren’t just the the hands of children matter.” about how much they hate her or how right things to do for humanity, they could disagree with that, not much she’s influenced them or shaped also equal good business. Corporations even Barbie’s harshest critics. n their careers. My big question was why?” have a key role in changing our world.” Nevins added: “For me, growing up She added: “I signed up to be a ‘On Tiny Shoulders: Rethinking Barbie’ as the daughter of a feminist, and as a designer, not a documentary subject. was screened by the RTS at the Soho feminist myself, I had complicated It’s uncomfortable and you are very Curzon cinema in London on 7 November. feelings about why I also liked pretty vulnerable. I can’t speak for the com- Andrea Nevins and Kim Culmore were dresses. Was that OK? I also had pany on why they chose to do it. ­interviewed by Caroline Frost.

Television www.rts.org.uk November 2018 29 RTS NEWS Trans drama spreads its wings

The first episode of For its part, Mermaids was timely new ITV drama keen to be involved. Chief Butterfly, written by Executive Susie Green

North West Centre RTS award-winner argued that, unlike docu- Tony Marchant and made by mentaries, “this was a way of the Manchester-based Red getting the story told without Production Company, was putting any of the young given a screening by RTS people in a position of having North West at the Lowry, to out themselves or put Salford, in early October. themselves at risk”. The three-part drama, Marchant hoped that which is full of warmth and locating the drama in the humour, tells the story of an heart of a family would ordinary family faced with make it both universal and an extraordinary situation. relatable, so the audience Eleven-year-old Max identi- would invest in the story on fies as a girl, and, as the tick- three levels, “in Max’s gender ing clock of puberty begins dysphoria, in how the family and Max’s belief that he’s in copes, and in the love story the wrong body intensifies, between the mum and dad”. the fractured family – mum, At the heart of the story played by , and are the two young actors dad, Emmett J Scanlan – playing Max (Callum Booth- Butterfly

must unite to help Max find ITV Ford) and sister Lily (Millie a way forward. Gibson). Director Anthony During the Q&A which misinformation around, and introduced UK TV’s first ever Byrne praised their perfor- followed the screening, BBC so many families who have trans character, Hayley Crop- mances. He recounted how Radio 5 Live’s Nihal Arthana- never seen their stories on per, more than 20 years ago. he worked with them, Friel, yake asked the key creatives screen,” said executive pro- Marchant said everyone Scanlan, and Alison Stead- about Butterfly’s topicality ducer . involved was “really assidu- man as outspoken grandma and the responsibility of Having established that it ous about the research”, Barbara, helping them to gel creating a drama around a was the right time to tell the working closely with the as a family so that they’d sensitive issue that has never story, Shindler took the proj- charity Mermaids, and meet- “feel like a real family, which before been fully explored in ect to ITV, since it was the ing trans people “to do justice is so important in terms of a UK television drama. broadcaster’s flagship soap, to the experience of the kids accessibility”. “There is so much , that and their families”. Carole Solazzo Pilgrim Award for Terry Marsh

TS London stalwart He quoted her colleagues’ In 1990, she became the Award jury. Lowen presented Terry Marsh is the words of praise for Marsh: youngest head of BBC schools the award at the Institution latest recipient of “Energy, commitment, dyna- broadcasting. Latterly, she has of Engineering and Technol- the prestigious Pil- mism, generosity, mentor, worked as a digital media ogy in central London, which Rgrim Award. “It’s given for remarkable, selfless, cha- consultant. was hosting a joint event outstanding service to the risma and inspiration”. Marsh is a Fellow of the RTS with RTS London on the Royal Television Society by She began her TV career at and a former London Centre 2018 International Broad- its hard-working volunteers,” the BBC on Play School, before Chair. She is still involved with casting Convention (see said RTS Honorary Secretary becoming a producer of the centre, producing many of page 36). Marsh handles the David Lowen, who presented science and technology pro- its events and also chairs the Society liaison with IBC. n the award to Marsh. grammes for the corporation. RTS Young Technologist Matthew Bell

30 The team behind Arctic sci-fi thriller Fortitude came to Bristol in late

West of England October to share their experiences of producing drama for . Twenty-four local writers attended a writer’s workshop with: Fortitude creator/writer Simon Donald; executive producer and managing director of Fifty Fathoms Patrick Spence; and script producer Ben Stoll. After discussing how the project moved from idea to script to screen, the execs Fortitude each hosted a round table Sky Atlantic with the writers to provide insights and career advice. The same evening, a packed audience at the Studying with Fortitude Watershed enjoyed a pre- view of the first episode from Fortitude series 3. show.” High-profile casting The third series of Fortitude creative arts to schoolchil- Bottle Yard Studios site helped. “ will be the last. “We’re tying dren and young people. director Fiona Francombe happened to be the first one up all the loose ends,” said Fortitude unit publicist Iain introduced the event, adding: to say yes, then the rest fol- Donald. McCallum, who helped to “It was an honour for Bottle lowed,” said Spence. Other Spence elaborated: “We pull the RTS West of England Yard to be Fortitude’s official cast members have included needed to bring all those event together, said: “At Fifty home for this new series and Richard Dormer and Chris- strands to an enormous Fathoms we pride ourselves we feel sure that it sends out topher Eccleston. ­climax. There are 1.8 million on working closely with the the message – Bristol, Unesco On creating a captivating Sky Atlantic fans who have talent we find on our door- city of film, is the ideal place story, Spence advised: “Have watched the show.” step, wherever we happen to to make great drama.” a very clear tone of voice and Before the screening, the be filming. Donald and Spence joined have something to say [but, audience was shown a short “There is no shortage of Francombe on stage to discuss finally,] it’s all about the film made on set by Boom- amazing talent in Bristol and the making of Fortitude. The characters.” satsuma Media Production it was a huge pleasure to idea was originally for a film, Donald added: “I look for Diploma students, to whom welcome the young people Donald said: “I kept having things I haven’t seen before. Fifty Fathoms had provided from Boomsatsuma to our this discussion about mon- I think this show is distinc- access during production at set and still more marvellous sters and horror movies and tive, as the audience are Bottle Yard Studios. to see the fruits of their we realised it would be gold never quite sure where the Bristol-based Boomsat- labour on the big screen.” dust if you created an inter- answers lie.” suma offers training in the Suzy Lambert esting new Monster that you could spring on the public.” He added: “It was the fast- est green light for any project I’ve been involved in, because London visits BBC Studioworks it was what Sky Atlantic was looking for at that time – n BBC Studioworks hosted Studios 2 and 3 on long-term LED. Nostalgic elements of the visually it stands out and it RTS London in October for a hire to ITV. Programmes filmed building’s original design are was a big character show.” hot-ticket tour of its updated at the studios include ITV’s reflected in some of the decor. Spence elaborated on how facilities in White City. This Morning and BBC One’s BBC Studioworks is a com- the show played with genre: Three studios offer large and The Show. mercial subsidiary of the BBC. “Everyone thought it was a mid-sized spaces available to Most of the technical The White City studios have murder mystery set in the hire, with Studio 1 still home to equipment has been updated, been open since August 2017. Arctic but, halfway through many shiny-floor shows, and with lighting now nearly all Kristin Mason series 1, it becomes a horror

Television www.rts.org.uk November 2018 31 RTS NEWS: DIGITAL CITIES NORTH EAST Sitcom writer gives masterclass

orth East writer hook that took it off the page Elliott Kerrigan, who – it was pretty stale,” recalled created Boy Meets Girl Kerrigan. He changed tack – the first sitcom to and made the two lead char- Nfeature a trans actor in a lead acters a same-sex couple, role – has the BBC Writers but “it still wasn’t working Room to thank for his break. – it was rubbish”. “To get a show on TV is so Then his attention was hard – it’s like winning the drawn to the Trans Comedy lottery,” said Kerrigan, who Award – and “Jude” became lives in Cramlington, Nor- “Judy”. thumberland, and admitted “I’m not trans and I knew to knowing nobody in televi- nothing about being trans, sion when he first put pen to but I had a script and char- paper. Winning the Writers acters I cared for,” said Ker- Room Trans Comedy Award rigan. “Every character is took the writer from his based on my own family.” “bedroom to the BBC”. Offering a tip to the young He continued: “It changed writers in the audience, Ker- my life and I’m really grate- rigan said: “Your first page ful – if it wasn’t for the Writ- must be a killer.” ers Room, God knows what The writer followed his I’d be doing.” own advice to the letter in Kerrigan was speaking at Boy Meets Girl. At the begin- an RTS North East and the ning of the very first episode, Border session on scriptwrit- Judy (Rebecca Root) comes ing, co-produced with the clean with her young date, Boy Meets Girl

BBC Writers Room, at the BBC Leo (Harry Hepple), on their Tyneside Cinema, Newcastle. first night out together: The RTS Award-winning Matthew Bell reports from Digital “There’s something that I

BBC Two sitcom Boy Meets Border need to tell you. I can tell you

Girl started life as an age-gap the Cities North East, a series of events later or I can tell you now, North East & love story, without a trans RTS Futures for the creative industries in the region and I’d rather tell you now element. “There was no real – I was born with a penis.” n How to get ahead in scriptwriting

n The BBC Writers Room, in that included BBC Three super- decide whether to continue about great characters from the words of its head, Anne natural drama In the Flesh and to watch or to switch over to drama, they are usually flawed, Edyvean, ‘finds, develops and this year’s hit BBC One thriller another channel. You really complex, and faced with champions new writing talent Bodyguard. need a strong hook.’ strong emotional and moral across the BBC’. Every year, it Writers, argued Mullan, need Writers, he suggested, ‘don’t dilemmas.’ receives some 13,000 scripts passion to succeed. ‘Don’t try always have to write about ‘Surprises’ are another key in response to its schemes to second-guess what the what [they] know, but they element of any script, argued and helps the best writers to BBC is looking for. Write what need to know [about] what Mullan, who is based at Media­ develop their craft. it is you want to write, not they write. So, if you’re look- City, Salford. At the RTS North East and what you think people are ing to explore a world you ‘Don’t be afraid to wrong- the Border session with Elliott looking for.’ don’t know, then [do your] foot your audience – trust Kerrigan, Usman Mullan, an A script should ‘hit the research.’ that they will figure things out assistant producer at the BBC ground running’, Mullan said, Characters should be for themselves. You should be Writers Room, offered script- adding: ‘You have about a ‘emotionally compelling’ so springing surprises on your writing tips, illustrating his minute to grab the attention that viewers ‘want to spend audience constantly,’ he said. advice with clips from shows of your audience, while they time’ with them. ‘If you think Matthew Bell

32 Damming the Nile ONLINE at the RTS

n As the nights draw in and the season for telling ghost stories arrives, we’ve been looking to television for a good fright. From Doctor Who’s Weeping Angels to Stranger Things’ Demogorgon, you can learn how production teams set about creating some of televi- sion’s scariest monsters. Fans of zombies, werewolves and other supernatural creatures should visit www.rts.org.uk/ monsters.

n Talking of supernatural icons, it was announced last month that the people behind Sher- Sailing the Nile in VR lock, and Mark

BBC Gatiss, are retelling the story of Bram Stoker’s Dracula for BBC BC Africa correspon- being a passive observer on One and Netflix. Read more dent Alastair Leithead Digital Cities North East the sofa at home, and to about the pair’s plans to bring took the audience at immerse themselves in a literature’s most famous vam- the Middlesbrough The week-long festival story and decide what they pire to television (www.rts.org. BInstitute of Modern Art on a for the creative industries would like to look at as the uk/Dracula18). journey down the Nile in in Newcastle, , story unfolds. another North East and the Middlesbrough­ and Gates­ Using a VR headset is the n Back in the real world, Kate Border session at Digital head ran 15-19 October. best way to see Damming the Holman spoke to comedian Cities North East. The RTS, BBC Academy Nile, taking viewers into a Daniel Sloss about his new Africa was the inspiration and Northern Film and virtual world travelling down Netflix specials. Having started for BBC News’s first virtual Media were among the the Nile. Rather than just out on the comedy circuit at the reality (VR) documentary, organisations that hosted watching the documentary tender age of 16, Sloss explains Damming the Nile. The corpo- free training events on TV, there is a real sense of how his routines have changed, ration’s man on the ground, being with the reporter and and why his latest show has led Leithead, shared his steep the production team on their to the break up of more than learning curve with the audi- any direction or even ignore assignment, and of becoming 10,000 couples (www.rts.org.uk/ ence in the North East, where the reporter’s “piece to cam- immersed in the story they DanielSloss). he was brought up. era” altogether. Not being are telling. He discussed Ethiopia’s able to easily direct the For the audience in n Earlier this autumn, we ambitious project to dam the viewer’s gaze presents a new ­Middlesbrough there was a announced 32 new RTS bur- Nile and the political friction set of challenges to broad- chance to experience VR at sary recipients, who have that it is causing downstream casting’s production and first hand and get a glimpse just started their degrees in in Egypt. With stunning loca- journalistic norms. of how much of a shake-up television production, broad- tions, rich cultural influences The all-seeing camera it is for storytelling. cast journalism or computing and the engineering wonder means there can be no cut- Leithead is now using his and engineering. While they of building a dam, it was an aways or sequences, and newly acquired VR skills to get to grips with lectures and easy pitch for a 30-minute there’s a different way of make a sequel that shines a leveraging their student dis- TV programme, but this was writing a script to pictures light on the Democratic counts, we’ve been hearing to be told in a different way. when the reporter doesn’t Republic of Congo. n from those who are further Leithead revealed how VR know which way the viewer Chris Jackson into their degrees. To find out was forcing a rethink of TV will be looking. Sound is A report on the Digital Cities what they’ve been up to, watch reporting: 360° cameras hand designed to help lead the user. North East/RTS North East and their video diaries (www.rts.org. power to the audience, For the audience, it offers a the Border event ‘Anatomy of a uk/2018BursaryDiaries). which can choose to look in chance to move away from hit: Geordie Shore’ is on page 14. Pippa Shawley

Television www.rts.org.uk November 2018 33 RTS NEWS

memorable thing was an RTS centres review HDTV demonstration,” he the high points of recalled. “I thought, ‘Where’s that technology going to go? this year’s IBC tech No one is ever going to be able to deliver HDTV to con- fest in Amsterdam sumers.’ What a difference three decades makes.” he International At IBC 2018, Short noticed Broadcasting Con- that “over-the-top IP [inter- vention (IBC) drew net] delivery was the new almost 56,000 people normal – when people talk Tto Amsterdam in September, about television, they’re talk- a small decrease on the year ing about IP-delivered TV.” before. But there was a 14% Aradhna Tayal, director of rise in conference delegates. Radio TechCon, the UK’s The proportion of women radio and audio technology panellists at the conference conference, also made her was up from 14% to 37%, said IBC debut. She roamed the Channel 4 chief operating 15 halls for the long-running officer Keith Underwood, “What caught my eye” strand who chaired the IBC content of IBC, in which experts steering group. reveal their favourite prod- Muki Kulhan interviewed at IBC

Speaking at a joint RTS IBC ucts at the trade show. London/Institution of Engi- At the RTS/IET event, Tayal neering and Technology (IET) showed three videos shot for event in mid-October, he her IBC breakfast session, added that the new digital Women and US including one on Switcher giants, such as Amazon and Studio’s video creation plat- Netflix, were also well repre- form, which is able to sync sented on panels. up to nine iPhones and iPads Underwood said IBC had giants step up to create live multi-camera reflected “three key themes video streaming. that we’re seeing in the mar- IBC’s floors were also full ketplace”: a “huge change in by digital executive producer from IP production to cloud of quirky delights. Tayal consumer behaviour”; Muki Kulhan, who also [technology] and [web] secu- “enjoyed seeing gadgets” on “globalisation­ and consolida- chaired sessions at IBC. rity, all the way through to the exhibition floor: “One tion”, as recently seen in Another panellist, James fighting robots”. thing that was so cool was a Comcast’s takeover of Sky; Lovell, Cisco media account David Short, vice-chair drone that fits in a handbag and the emergence of manager and IBC first-timer, of the IET Multimedia Com- – it folds up and it’s got a 4K “breakthrough technologies”. was impressed by “the scale munications Network, first camera with optical zoom.” n The evening was chaired and breadth of things shown, went to IBC in 1988. “The Matthew Bell

networking without the need for traditional hardware, and

Machines learning how to think BBC I witnessed this for start- ups as well as established n Blockchain technology, here to stay, machine learning the capture side and display. manufacturers.’ diversity, machine learning and was ubiquitous and security And the new dominant tech- All the panellists agreed that software services were the was raising its head. nology is machine learning, but even though IP was making a main themes of the Thames Doran recalled an IBC con- I don’t like to call this artificial massive impact, serial digital Valley/Southern IBC review. ference speaker referring to intelligence – it’s just repeated interface (SDI) still had plenty of The panel at Queen Mary’s the disruption of over-the-top learning.’ life left in it. IP won for a specific College, Basingstoke com- (OTT) services. He continued: ‘I ‘The push for diversity is use case, but plug-and-play prised: Ciaran Doran from Pixel thought OTT was the disruptor really good and it did stand out SDI had simplicity on its side. Power; Neil Maycock of Grass but blockchain is being used this year,’ said Trafford-Jones. Although automated intercon- Valley; Martin Parsons from as a disruptor of OTT, which is Moving on to discussing nectivity was gaining ground, IP Image Eyes; and Russell Traf- itself a disruptor in television.’ software services, he added: was still very much in its infancy ford-Jones of Techex. It agreed Parsons said: ‘High dynamic ‘It’s now clear that there is a and needed a lot of coaxing. that internet protocol (IP) was range was everywhere, both at real uptake of software-defined Tony Orme

34 To mark the new series of Doctor Who, two of the key personnel – drama

Wales Wales Centre chief Simon Winstone and production designer Arwel Wyn Jones – discussed the making of the BBC One show at an RTS Wales event at the University of South Wales, Cardiff, in October. The pair revealed how they brought new showrunner Chris Chibnall’s vision to the screen – and how they swapped the familiar pro- duction base of South Wales for South Africa, where some of the series was shot. Jones realised a lifelong Doctor Who’s Tardis ambition when he redesigned BBC the interior of the Tardis for the new series. When asked if he had wanted to try something revolutionary The Tardis regenerates with its design, he said: “There are certain things you have to stick with [such as] job is to make people believe measurement, which incudes present boom in drama pro- the six-sided console and the they’re seeing something TV sets, tablets, PCs and duction in South Wales.” roundels.” that they aren’t really seeing.” smartphones. Winstone – head of drama But the production Jodie Whittaker’s debut as According to Jones, the in Wales for BBC Studios, designer added that he was the 13th Doctor attracted BBC’s drama studios at Roath which oversees production at able to make the set look 10.9 million viewers – the Lock in Cardiff Bay, where Studios – added: bigger and less rigid by add- show’s highest ratings since it Doctor Who has been shot “Through [BBC] Studios, we ing infinity mirrors into the returned to TV after a 16-year since 2012, are key to the now work on shows for a walls. “I wanted to play upon break in 2005. The consoli- show’s success: “London wide range of organisations the ‘dimensions’ aspect of dated viewing figures are producers saw how good the – there are an awful lot of the Tardis,” he said. “Basi- based on ratings body Barb’s crews were and Doctor Who opportunities out there now.” cally, I’m a con artist – my new four-screen has been crucial to the Edward Russell

are looking for specialists – Futures visits if you have something differ- ent to say on a topic, it helps.” Advising people working in The One Show opened jobs in customer services or looking to be an assistant local TV to gain experience its doors to RTS student ventures such as TV camera [operator], go out and where they can, she said: Futures for a sold-out societies at university. shoot your own footage. If “Despite the low pay, there

RTS Futures event in late October. “Good runners won’t be you want to get into news, are opportunities to host Audience researcher Emmy runners for too long,” she find a story.” shows, and then you can Little, who landed a job on explained. “If you’re really on She added: “You learn a make a showreel. Also, radio the show after applying for a it, you’re very aware, and go lot as a runner; it’s a way of is a great way in, there’s some runner position posted on the above and beyond – it doesn’t proving you can do the job great regional content oppor- Facebook group “People take people long to cotton on before you get the job.” tunities with them.” looking for TV work”, fielded to that.” Answering questions about One of the few TV shows questions from RTS Futures Little urged the attendees how to make it as a TV pre- filmed at New Broadcasting members before they joined to pitch ideas, whether they senter, Little emphasised the House, The One Show has the audience for the live show. are on a work experience importance of having an been a fixture on BBC One “There’s no shortcut,” she placement, working as a interest in a specific area. since its launch in 2006, said, and advised those with runner or in a temporary job: She explained: “There’s no featuring stories from around no TV experience to show “Think, ‘What have I got that such thing as a general TV the UK and celebrity guests. their transferable skills from could stand out?’ If you’re presenter any more. People Kate Holman

Television www.rts.org.uk November 2018 35 RTS NEWS Midlands hosts its first TV fair

Midlands’ inaugural Radio 1 head of programmes careers fair attracted Aled Haydn Jones and Love 600 young people to Island series editor Mike

Midlands Centre the Edgbaston cricket Spencer, revealed the secrets ground in mid-October to of making audience-grabbing hear from industry experts. shows. BBC News Midlands Panel sessions took place correspondent Sima Kotecha throughout the day at the hosted the session. RTS event. “The secrets At the end of their ses- behind TV sport”, hosted by sions, most panellists joined BBC WM presenter Richard the teams in the exhibition Wilford, featured Sports Per- area where they gave advice sonality of the Year deputy on writing CVs to the young editor Michael Jackson, BBC people, aged 16-25, who had sports news correspondent their eyes on a career in Natalie Pirks and BBC Sport television. editor Jo McCusker, who In the exhibition area, a offered advice to budding team from BBC One daytime sports broadcasters. drama Doctors invited the The entertainment panel students to try their hand at boasted award-winning acting, be part of the crew Learning the craft of TV producers Mark Sidaway (The John Bray and learn the secrets of real- X Factor) and Charlie Irwin istic medical injury make-up. (I’m a Celebrity…), and Panda Suzanne Virdee, reflected the Experiment) gave valuable The Midlands Today team TV development executive wide range of documentary advice and answered a mass gave tips on making editorial Francesca Palmer (Let It programming on television. of questions from the floor. decisions and BBC WM Sport Shine), who spoke to a packed Jodie Allt, production co- BBC Academy gave tips on offered attendees the oppor- room in a session hosted by ordinator on Blue Planet II, how to shoot short-form tunity to commentate on TV presenter Trish Adudu. Love Productions’ Simon content, before the final panel football. Workshops also The panel for the session Evans (Benefits Street) and of the day, which featured covered fake news and shoot- on factual shows, hosted by director Jeff Wilkinson (In BBC Three commissioning ing videos on mobile phones. ITV News London newsreader Solitary: The Anti-Social editor Nasfim Haque, BBC Dorothy Hobson Nottingham gets in toon for Aardman

n Why has a naked man made company, Bottletop and spon- event, said he hopes to make share creative ideas. This is a of plasticine become one of sored by RTS Midlands. Animorsels a regular feature in chance to socialise with people the most popular animated fig- The theme was stop-motion Nottingham: ‘Animators in the who share your passion, to ures of all time? What are the animation and the crowd had a East Midlands don’t always have hear what’s happening in the pitfalls of filming a stop-motion chance to look back at Parkyn’s the chance to get together and world of animation and even conversation between clay old favourites, including Crea- pass on some tips.’ bats? And how does Shaun the ture Comforts and some And the secret of Shaun’s Sheep look so fleecy? of Morph’s darker antics, fleecy coat? Well, A crowd of animation fans alongside a range of apparently, they were let in on those secrets short animated features use fleece. and more at the very first ‘Ani- from independent Sally Bowman morsels’ evening at Antenna, producers and a Nottingham, in late October. Halloween-themed Aardman model-maker Jim montage of the Parkyn was the star attraction audience’s own at the event, which was organ- bite-sized animations. ised by the Nottingham-based Bottletop creative director

animation and production Mark Pyper, who organised the Shaun the Sheep BBC

36 Planet Earth comes alive

New camera technology was the secret of Planet Earth II’s immersive

East Centre storytelling, allowing viewers to make an emotional connection with the natural Planet Earth II world, Mike Gunton told an BBC RTS East event in October. The creative director of the the world from the animals’ cameras on Movi gyro-stabi- “These are the stories you BBC’s Natural History Unit point of view, rather than lised supports allowed Planet can’t see with your own eyes. spoke about the challenges observing from afar. Earth II camera operators to It’s only possible with the of making the series to an The thrilling scene when a run alongside and capture the power of the lens and new audience of 120 RTS East young iguana escapes near- ordeal as the iguana experi- technological solutions,” said members, creative profes- certain death in an encounter enced it. The same technol- Gunton, who suggested that sionals and students at Nor- with a nest of racer snakes ogy put the viewer into the the snow leopards’ socialising wich University of the Arts. has been viewed by more centre of a swarm of a billion habit of tagging isolated rocks Working on Planet Earth II, than 500 million people. “This locusts, providing an “extra­ with urine and scent is a alongside David Attenborough, made a connection with the ordinary sense of what it’s “weird big cat cross between was the pinnacle of Gunton’s audience in an extraordinary, like to be inside that world”. Tinder and Facebook”. 30-year, 250-film career in visceral way,” Gunton said. “If Remote solar-powered, High-quality natural history wildlife film-making. you can get the entire country motion-activated cameras series such as Planet Earth II He discussed the continual to care about whether a tiny enabled Gunton’s team to are crucial to attract a younger challenge of coming up with reptile escapes, you’re making capture intimate images of audience away from the something “bigger, more a connection.” a creature so elusive it had smartphone screen to enjoy a ambitious, riskier” each time, Yet, only five years ago evaded Attenborough powerful shared experience, arguing that Planet Earth II had it was not possible to film throughout his long career. argued Gunton. “Planet Earth II transformed natural history scenes in this way. Gunton For the first time, Planet went against X Factor, appeal- production by using new explained the crucial role of Earth II was able to film the ing to the same audience, and miniature cameras, specialist new technology in trans- rare and solitary snow leop- crushed it,” he said. supports and drones to show forming wildlife series. Small ard in the Himalayas. Robert Ambrose

film-makers might not have Radharc docs: a force for good secured. Night Flight to Uli, filmed in Biafra during the Nigerian civil war, brought The RTS Republic of Radharc – Gaelic for vision The first Radharc film aired the famine in the region to

Ireland event in late – films started. They are not in 1962 and, over the next the world’s living rooms and October threw a light religious programmes as 34 years, RTÉ broadcast led to the launch of the char-

Republic of Ireland on the Radharc docu- such, but reflect a spiritual more than 400 programmes. ity Concern. mentaries, made over almost ethos. McEvoy, a former RTÉ The film-makers were not The Radharc Archive is four decades by a film unit of producer, used excerpts from afraid to tackle difficult top- headed by Peter Dunn, a Catholic priests in Ireland. the films to illustrate Rad- ics. Their standing as clergy brother of one of the Rad- At RTÉ Dublin, Peter harc’s broad geographic and allowed them a level of harc founders, Fr Joe Dunn. ­McEvoy explained how the thematic reach. access that a team of lay Charles Byrne

Television www.rts.org.uk November 2018 37 OFF M E SSAGE

earty congratu- UK TV episodes between 2001 and controller of BBC Two, oversaw the lations to Leeds 2016 were written predominantly introduction of colour TV in the 1960s for being chosen by women. So, it’s highly encouraging remains at the leading edge of tech- as Channel 4’s that YouTube’s first European big- nological innovation 50 years later. new northern budget scripted show, the sci-fi epic Extraordinary. HQ. To think, on Origin, which launched earlier this the eve of the month, is written by Mika Watkins. ■ Evan Davis’s empathetic and announcement, media types were You may have read of how Wat- cerebral interviewing style on News- Hconvinced that Manchester would kins’s ability as a wordsmith was first night was not to everyone’s taste. For be revealed as the broadcaster’s non- spotted when she was working as an some, he always suffered for avoiding metropolitan home. intern at Left Bank. It was there that the attack-dog approach of his pre- Leeds could not be a more fitting she developed the script for Origin. decessor, . choice. The city even has a claim to Of course, winning commissions, Yet, his less aggressive interviewing be the original Hollywood. French especially for a drama written by an style often yielded enlightening results. artist Louis Le Prince filmed moving untested writer, is rarely straightfor- His final was a masterclass pictures on Leeds Bridge in 1888, an ward. Before YouTube greenlit the in this approach to interviewing politi- event that is regarded by some film project, Channel 4 and Sky both cians, as he patiently extracted several historians as the beginning of cinema. passed on Origin. nuggets from George Osborne. The peerless is, of Let’s hope that the series succeeds If you missed the programme, it’s course, a native of Leeds, where his (the writer is also the drama’s show- definitely worth catching on iPlayer. father was a butcher – and the inspi- runner), but, even if it doesn’t, a bright ration for Film 4’s wonderful comedy future beckons for Mika Watkins. ■ It may not have escaped your A Private Function. attention that the festive season is Already, a campaign is underway ■ Good to see Sir David Attenbor- just around the corner. If you are to name Channel 4’s new base after ough returning to Sunday-night looking for media books to give as another famous Yorkshireman, Count- television with BBC One’s Dynasties. presents, then Off Message can make down’s . Richard’s The opening episode, which some recommendations. was the first face to appear on Chan- focused on the story of an aging male Edward Stourton’s Auntie’s War: The nel 4 when the network launched chimpanzee called David (a complete BBC During the Second World War sounds in 1982. coincidence) was a genuine treat. like a fascinating read. There is a kind of precedent for this. And now we learn that the great For something a little lighter, chil- Two years ago, the BBC renamed the man is making a series for Netflix. dren’s TV guru Lewis Rudd’s recently home of Radio 2 Wogan House. There is a kind of inevitability in this published memoir, Not Just About Man- move. You may remember that Sir aging, could hit the spot. ■ Much is rightly written about the David was one of the first broadcast- And don’t forget Jon Plowman’s lack of female screenwriters. Earlier ers to seize the opportunity to front How to Produce Comedy Bronze, this year, the Writers Guild of Great some of Sky’s 3D films. reviewed in this edition of Television. Britain reported that only 28% of all He may be 92, but the man who, as Happy reading.

38 November 2018 www.rts.org.uk Television RTS PATRONS RTS Principal BBC Channel 4 ITV Sky Patrons

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Television www.rts.org.uk November 2018 39 RTS CRAFT & DESIGN AWARDS 2018

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