July/August 2021

Comedy’s feelgood revival LOVE TV? SO DO WE!

R o y a l T e l e v i s i o n S o c i e t y b u r s a r i e s o f f e r f i n a n c i a l s u p p o r t a n d m e n t o r i n g t o p e o p l e s t u d y i n g :

TTEELLEEVVIISSIIOONN PPRROODDUUCCTTIIOONN JJOOUURRNNAALLIISSMM EENNGGIINNEEEERRIINNGG CCOOMMPPUUTTEERR SSCCIIEENNCCEE PPHHYYSSIICCSS MMAATTHHSS

F i r s t y e a r a n d s o o n - t o - b e s t u d e n t s s t u d y i n g r e l e v a n t u n d e r g r a d u a t e a n d H N D c o u r s e s a t L e v e l 5 o r 6 a r e e n c o u r a g e d t o a p p l y .

F i n d o u t m o r e a t r t s . o r g . u k / b u r s a r i e s

# R T S B u r s a r i e s Journal of The Royal Television Society July/August 2021 l Volume 58/7

From the CEO The emotion of the is full of great reads. Caroline Frost’s the UK is eventually written, don’t be Euros has affected report on the return of the feelgood surprised if there’s a chapter devoted many of us. It’s cer- factor in comedy is essential reading. to the phenomenon of lockdown tainly provided some A big shout-out to the four RTS puppies. Shilpa Ganatra looks at how real sparkle to the bursary scholars featured in this issue. pet dogs have always been a magnet LOVE TV? British summer. Three They survived lockdown and are for programme-makers. cheers for our brilliant thriving in their early careers. As the content sector re-emerges, football teams and the entertainment Young talent was much in evidence Tara Conlan reports on the severe they’ve given us. at the RTS Student Television Awards, shortages affecting British producers. I am delighted that the RTS’s bien- held in late June. Congratulations to all The heartening conclusion is that this nial Cambridge Convention will be the winners and nominees, and thanks demonstrates how much content is SO DO WE! going ahead as a physical event this to our brilliant awards jury Chair, Siob- being made in the UK. September. Bookings are open, with han Greene. Siobhan, who is standing Do enjoy the summer and stay safe. an early-bird rate available. I can’t wait down, has been an absolute joy to work to see everybody there and to welcome with. The RTS really appreciates all the the industry back safely. hard work she has put into this role. R o y a l T e l e v i s i o n S o c i e t y b u r s a r i e s o f f e r f i n a n c i a l The July/August edition of Television When the history of coronavirus in Theresa Wise s u p p o r t a n d m e n t o r i n g t o p e o p l e s t u d y i n g : Cover: Starstruck (BBC) TTEELLEEVVIISSIIOONN PPRROODDUUCCTTIIOONN Contents Charlene White’s TV Diary Bouncing back from lockdown JJOOUURRNNAALLIISSMM The ITV News presenter celebrates her birthday and the Four RTS bursary scholars recount how their careers 5 success of her cousin Nadine, who’s landed an important job 20 have taken off after being derailed by the pandemic EENNGGIINNEEEERRIINNGG Comfort Classic: Spooks Here we go again Matthew Bell hails the glossy spy thriller Spooks, which Privatising Channel 4 is once more on the Government’s CCOOMMPPUUTTEERR SSCCIIEENNCCEE 6 was more Bond on a budget than John le Carré 24 agenda. But this time it feels different and the momentum is quickening, says Torin Douglas Ear Candy: Brain Cigar PPHHYYSSIICCSS Harry Bennett is seduced by the gloriously authoritative Pooch perfect 7 dissection of media bombshells that scarred the mental Shilpa Ganatra leads us through TV’s obsession with MMAATTHHSS landscape of almost no one 26 man’s best friend Working Lives: Casting director This revolution will be televised Matthew Bell asks Kate Rhodes James how she cast An RTS panel predicts that virtual production will have F i r s t y e a r a n d s o o n - t o - b e s t u d e n t s s t u d y i n g 8 Cold Feet, Sherlock, The Terror and Line of Duty 28 a profound impact on how TV shows are made Feelgood is back in fashion Wanted: more staff, studios and gear r e l e v a n t u n d e r g r a d u a t e a n d H N D c o u r s e s a t Caroline Frost soaks up the warm glow of comfort Tara Conlan investigates how the pandemic and the 10 comedy personified by the Friends reunion and BBC 30 demand for content have led to acute shortages hitting L e v e l 5 o r 6 a r e e n c o u r a g e d t o a p p l y . Three’s Starstruck UK TV production Merger mania sweeps TV Our Friend in the East From Discovery merging with WarnerMedia to All3Media A-listers are heading to Norfolk for both films and TV 13 acquiring more producers, media companies are scaling 32 series. Claire Chapman explains the appeal of Nelson’s F i n d o u t m o r e a t up, reports Kate Bulkley county to producers Making black lives matter RTS Student Television Awards 2021 r t s . o r g . u k / b u r s a r i e s One year after UK broadcasters announced their new Vick Hope and Siobhan Greene hosted the awards 16 diversity initiatives, Marcus Ryder gives his verdict 33 ceremony streamed on 25 June # R T S B u r s a r i e s Editor Production, design, advertising Royal Television Society Subscription rates Printing Legal notice Steve Clarke Gordon Jamieson 3 Dorset Rise UK £115 ISSN 0308-454X © Royal Television Society 2021. [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 July/August 2021 3 A BRIGHTER DAY

AUDIONETWORK.COM/DISCOVER

SEND US YOUR BRIEF [email protected] TV diary

he wonderful thing Cotton for Stella Live. I’m a huge about juggling a admirer of Fearne. I think she’s just tonne of jobs is that wonderful. every day really is Just to sit and chat with her about different. My week mental health struggles, life and can swing between ­readjusting to life post-lockdown is discussing a £3,000 a dream. I’m so so happy to say that Balenciaga coat that looks like a high- she was as beautiful a soul as I’d visT jacket on Loose Women to explain- hoped she would be. And, yes, I’m

ing the latest Covid infection rates ITV massively fan-girling here! on ITV News. Or travelling across the UK working on my latest long-form Charlene White ■ This month also involves taking programme. part in a brilliant event for Women Many hats, many pies but – as my celebrates her birthday in Journalism about returning to school form teacher would probably work after time off for maternity still agree – me keeping busy is the and the success of her leave. The fantastic panel of jour- best way to stay out of trouble! cousin Nadine, who’s nalists includes Sun editor Victoria Newton. ■ June kicks off in style, with lunch got an important job to Navigating work after you’ve had a and a catch-up with Ade Rawcliffe, kid can be really tricky. I’m a big fan group director of diversity and do at the Independent of being honest about how hard it inclusion and board member at ITV. can be and sharing tips to try and We’ve known each other for years ease the pressure. It’s about time all but a combination of maternity parents were valued in the work- leave and the pandemic mean that she’s achieved thus far. Her star will place, and for businesses to work we haven’t met face-to-face since just keep on rising – trust me. with parents rather than against summer 2019. them. Especially mothers. Career-wise, so much has changed ■ This month also sees the start of for both of us in that time. It is good filming for my next long-form pro- ■ This month, I also squeeze in my to talk it all over and have a chat ject, with probably the most diverse 41st birthday and take the kids to about where the industry has and team of talented production folk Legoland. And we bury yet another hasn’t changed since Black Lives I’ve worked with since my days at family member. Thankfully, this Matter took hold here last year. BBC Radio 1Xtra News. That’s pretty time the cause of death is not Covid, special. though sadly the funeral is held ■ It has also been an interesting year I’m still new to long-form and have under lockdown restrictions. for my cousin Nadine White, who is got a lot to learn, but I’m thoroughly I’m so proud of what my family now the race correspondent at the enjoying the experience, which is has achieved despite these limits. But Independent (she formerly worked taking me around the UK – and after well over a year of having to say at HuffPo). June marks the first time hopefully further afield if restrictions goodbye to loved ones from afar, and the two of us have been interviewed allow. I won’t say much more about having to grieve at a distance, I’m together for a magazine feature – it, but it’ll be a good ’un… yearning for a good old Caribbean not only that, we are to be the front- celebration of life. cover stars. ■ But what I will shout about from A pretty epic moment for the both the rooftops is what a lovely after- Charlene White is a presenter on Loose of us. I’m super proud of everything noon I have interviewing Fearne Women and ITV News.

Television www.rts.org.uk July/August 2021 5 COMFORT CLASSIC

Spooks BBC

hen it arrived on terrorism to the street, didn’t appear our screens in Matthew Bell hails too fanciful. 2002, Spooks was the glossy spy thriller London was the show’s set, with the truly revolution- action – gun battles, explosions, car ary. British telly Spooks, which was chases and all – played out in the capi- had mastered the tal, and filmed with real vim and imagi- cerebral spy thriller – most notably more Bond on a budget nation by lead director Bharat Nalluri. withW the BBC’s revered adaptation of The show didn’t have the money avail- than John le Carré John le Carré’s Tinker Tailor Soldier Spy, able to Bond films but, by the standards starring Alec Guinness as master spy the toll that living a secret life exacts of TV drama, the budget was fat. George Smiley – but Spooks was on personal relationships. You may wonder whether Spooks different. It was a show of its time; scripts qualifies as a “Comfort Classic” but, Action, not behind-the-scenes skul- were being penned at the time of the having watched all 86 episodes during duggery, was to the fore, as MI5’s finest 9/11 attacks on the US by al-Qaida. the first lockdown, I can assure you tackled fanatics and terrorist threats, Looking back almost two decades in that it provided much-needed solace from left to right, from Libya to North- an interview with Radio Times last year, to this writer. ern Ireland to Russia and beyond. It the programme’s creator, David Wol- This was despite an escalating body was high-octane fare, although the stencroft, said that the show was “like count that, series by series, robbed the traditional tropes of spy story deceit a lens” on real-world events. Spooks’ programme of many of its much-loved and betrayal were ever-present, as was storylines, taking the fight against characters.

6 Ear candy Spooks started as it meant to continue. In only the second episode, Helen Flynn (Lisa Faulkner, who was better known than most of the cast) was brutally tortured and killed – Line of Duty was not the first drama to kill off its stars unexpectedly early. Her hor- rific death, at the hands of a fanatical racist, who plunged her head into a deep-fat fryer, drew the most com- plaints from TV viewers during the year. Spooks called on some of the coun- try’s best emerging acting talent. Of the first series main cast, only Peter Firth as spy chief Sir Harry Pearce and Jenny Agutter (Pearce’s treacherous rival) were well known to TV audiences. The spies in the field, Matthew Mac- fadyen, Keeley Hawes and David Oye- lowo, as well as intelligence boffin Nicola Walker, were then at the start of what were to become stellar careers. And, as Spooks ran to 10 series, Rupert Penry-Jones, Miranda Raison, Hermi- one Norris, Gemma Jones and Richard Armitage, joined and left the service. Not everyone was convinced about the accuracy of its depiction of life in Brain cigar Her Majesty’s Secret Service. Former

MI5 chief Dame Eliza Manningham-­ Ambulenz Buller sniffed that the series showed “a complete disregard for the law; we are id a “tragic server of being underground... I think it’s for very careful about the law”, which, of crash” really claim people with very serious emotional course, was why audiences flocked to it. the first six episodes problems.” Series 1 attracted an average of of Peter Baynham Or very serious memory problems, 7.5 million viewers per episode. And, and Jeremy Sim- as both go on to reminisce about all over its 10 series, Spooks scooped mul- monds’ new pod- sorts of events and products that never tiple RTS and Bafta awards. Audiences cast, Brain Cigar? Just existed. So clearly do they remember dipped latterly and, although the BBC like the world events and cultural “Bowie Dinners” (David Bowie’s early was apparently happy to continue Dmoments the writers imagine in the 1990s range of microwaveable meals), commissioning, the show’s producer, series, it may never have happened. they can even quote the advert: “After Kudos, took the decision to “kill it off Either way, it doesn’t matter. The a tough day in the studio, I need some- in its prime” in 2011. An example other podcast picks up where episode 6 thing quick.” producers of long-running dramas would probably have left off – lost and Joining them are cameos just as might do well to follow. confused in their realm of glorious hilarious and cognitively challenged, A spin-off movie, Spooks: The Greater nonsense. such as Julia Davis’s Heather Woodley. Good, followed four years later, with The duo abandon logic and linearity Heather goes on air to promote her Peter Firth and Hugh Simon, as MI5 to present a hotchpotch of ludicrous charity Loneliness Action UK only to analyst Malcolm, the only regular stories with the utmost seriousness. reveal that she allowed her own father actors from the TV series. Think Baynham and Chris Morris’s to suffer from loneliness to the point of Famously, the programme’s tag line surrealist satires such as The Day Today suicide, despite living three doors proclaimed that Spooks was “MI5, not 9 and Brass Eye. down the road from him. to 5”. And one would hope so – never Just moments into the first episode So why not tune in, turn off your has a day in the office proved so risky. n and Simmonds extols the virtues of an brain, and have a riotous wander “upstairs basement flat” he has found around the “upstairs basement” that is Spooks is available on BritBox and when house hunting: “You get the Brain Cigar. n BBC iPlayer. benefit of natural light but the security Harry Bennett

Television www.rts.org.uk July/August 2021 7 WORKING LIVES

Casting director Line of Duty BBC

Kate Rhodes James has cast the last three with my colleague Daniel audition and it does work, it could some of the most-loved British drama Edwards. The show’s creator, Jed Mer- prove to be a stroke of genius. series of the past 25 years, including curio, is one of the most collaborative Cold Feet, Sherlock and Line of Duty. and supportive people I’ve worked How do you keep tabs on actors, given with in the industry. the huge amount of drama on TV? What does the job involve? I have the same experience with I spent my entire childhood watching I have to keep on top of the talent and Steven Moffat and Sue Vertue on their television and I still love it – it’s my be knowledgeable about not just their projects. We’ve always had brilliant passion. So, it’s not exactly a hardship. abilities but also where they are in conversations about casting. To be When I first started as an assistant their working lives. truly creative, you need a collaborative 30 years ago, I’d catch up on some- You need to know when an actor is working environment. If it’s not, you thing every other week. Now, it’s every trying to change their trajectory and don’t have the opportunity to fully day, and we have to divide up series doesn’t want to be sent the same scripts. discuss and challenge perceptions. among the people in the office. Even I present my casting ideas to the crea- then, we can’t watch everything. tive team, usually the director, producer, Which people do you work with executive producers and broadcaster. closely when casting a series? How did you become a casting director? The relationship with the director is I went to drama school in the late Do you offer an opinion? paramount. Sometimes it doesn’t work 1980s. I soon discovered that I didn’t Yes, I see my role as one of challenging – because we all have individual tastes want the life of an actor – I was sur- preconceptions. A cast makes a story or maybe our personalities don’t rounded by so many talented people come alive; our job as casting directors match – but that’s fine. and knew I didn’t have what it takes. is to push for original choices that But being at drama school allowed produce inspired moments in drama. Is it easy to persuade actors to take on me to understand what makes a great new challenges? actor. I acted for about three years Is good casting a collaborative process? If they don’t want to do it, actors will before giving it all up. Yes. I cast all six series of Line of Duty, say no. But if you bring them in for an My first job was assisting Bond

8 casting director Debbie McWilliams on GoldenEye, Pierce Brosnan’s first outing as 007 – it was unbelievable fun. I then started to work for Janey Fothergill as well, which took me into television.

Is acting the ideal training for becom- ing a casting director? One hundred per cent. I know exactly what to do when I’m auditioning an actor and how to help them. You never forget how uncomfortable an audition is and so I make sure actors feel welcome.

What was the first TV programme you cast? I was sent a script for a pilot by a young producer at ITV and asked to cast it – I was petrified. It was broad- cast to little fanfare and then nothing happened, so I went back to assisting Debbie. ITV then entered it for the Montreux Television Festival and it won the Silver Rose for Humour. That programme was Cold Feet, which starred James Nesbitt, Helen Baxendale, John Thomson, Fay Ripley, Hermione Norris and Robert Bathurst, all then at the start of their careers. The next drama I cast was Jimmy McGovern’s BBC One drama The Lakes, which starred John Simm in his first high-profile role.

What makes a good casting director? The Terror

You have to be really confident about BBC your taste and able to stand up for your choices. Our job is not to say “yes” to charger, pens and pencils, lots of don’t want to watch white, middle-­ everything – it’s to push a little bit Post-it notes – and endless snacks to class women like myself all the time. further to achieve something more get me through the day. interesting or daring. Can casting be too prescriptive? What are the best and worst parts of Yes. Actors are being asked to reveal What shows are you most proud the job? too many aspects of their personal life, of casting? The best is when you read a script, which I do not agree with. I think the There are so many shows I’ve loved identify the ideal actor, they’re availa- most important thing an actor can casting but I’m immensely proud of ble, they do a brilliant reading and then achieve is a level of mystery. They are Bleak House, which Andrew Davies get the job. It’s even better if the actor actors and need to be supported in adapted for the BBC in half-hour epi- is new to the director. The worst is what they do and not allow politics to sodes. People were really negative when you can’t make the deal or get dictate choices. about it while we were making it, but dates to work and you lose an actor. the response when it aired was aston- Do you have any unrealised ambitions? ishing. AMC’s The Terror is another What advice would you give to some- Besides becoming a French starlet, I fantastic piece – it was criminally one wanting to become a casting guess it would be to work more in undersold but, when people found it, director? Europe. I’ve worked with European how they loved it. Jared Harris starred Watch television and makes notes of directors such as Dome Karukosk on with Ciarán Hinds and Tobias Menzies, the people you like and why. You have BritBox’s first original drama, The Beast and a selection of some of the finest to be able to articulate why someone is Must Die, and Edward Berger on The British character actors, such as Ian right for a role and fight for them. Terror, and they come with a com- Hart and Paul Ready. pletely different perspective. They all Is casting becoming more diverse? really enjoy the process of casting. n What do you bring to work with you? Yes – and rightly so. I was just looking I have a trolley, containing a camera, at the BBC’s drama slate and there’s a Casting director Kate Rhodes James was tripod, the script, computer and fantastic range of different voices. I interviewed by Matthew Bell.

Television www.rts.org.uk July/August 2021 9 Feelgood is back in fashion

Friends: The Reunion HBO Max

lmost exactly two huge appreciation from viewers, it years ago, I was Caroline Frost soaks seems the feelgood funnies are experi- invited by this maga- up the warm glow encing a particularly bountiful renais- zine to muse on what sance. Even the romcom has risen from was then a wave of of comfort comedy the ashes, with Starstruck following the “sad-coms” or “dram- personified by the same narrative arc as the 1999 film edies”,A those shows playing not quite Notting Hill. What’s behind the change? for laughs but more for wry, sympa- Friends reunion and “People are looking around for ways thetic chuckles at the vicissitudes of to cope with our real-life predicament,” life. The success of Detectorists, Back to BBC Three’s Starstruck offers Andy Wolton, creator and writer Life, Don’t Forget the Driver, Ricky Ger- of Trying, the first British scripted origi- vais’s After Life, Mum and This Country nal on the Apple TV+ platform. His served to prove that small-screen gags comedy stars Esther Smith and Rafe would, from now on, be accompanied Spall as Nikki and Jason, a young couple by gulps in the throat. Lockdown comforters going through the process of adopting a Twenty-four months later, the world child. Nikki and Jason could be anyone’s has changed beyond all prediction and, Andy Wolton: neighbours, and the frictions between so it seems, has TV comedy. In place of Time, This Is Us them are real but conquerable. those titles has come a string of upbeat Tanya Moodie: Wolton is delighted but not surprised shows such as Motherland and Starstruck Call My Agent! by the success of his show, already on the BBC, Sky’s Breeders, We Are Lady Cookery shows on YouTube recommissioned. “It’s a relief turning Parts and Back on Channel 4, plus Trying on the TV, seeing nice, flawed people and Ted Lasso on Apple TV+ – shows Simon Blackwell: being funny, doing their best to over- with equally strong characters facing Gardeners’ World come things in their lives.” everyday problems, but with a bigger Springwatch Veteran comedy writer Simon laugh-out-loud ratio and challenges Jon Thoday: Blackwell­ (The Thick of It, Veep) explores mostly resolved in 22 neat minutes. Schitt’s Creek, similar territory with Breeders, his Sky While lockdown has meant that all Sunderland ’Til I Die One show that sees another married types of TV have received 18 months of couple Ally and Paul (Daisy Haggard

10 and Martin Freeman) overtaxed by the alone in the weird, awful things you do story, but ultimately things come good. challenges of bringing up young chil- – whether it’s gnarly relations in your We can invest in these stories without dren. “There’s a universality to the loveless marriage, looking after your fear of going away unfulfilled. They experience,” muses Blackwell. “We all elderly parent or having to improvise bring us the happy ending we don’t know that you would die for your chil- a costume at the gate when you’ve always get in real life.” dren, but sometimes you want to kill forgotten it’s World Book Day.” For Moodie, who lost her father to them. We’re all in a community of Do these characters really have a Covid, these comedies have provided a falling short but doing our best, and bond or are they just forced together particularly sweet alternate universe hopefully we’ll get there in the end.” through circumstance? “They would over the past year and a half: “In their Although the first series of Breeders never normally hang out, they’re world, it hasn’t happened. It’s not even was filmed pre-Covid, the serendipity united by this arbitrary connection, as a pre-Covid world where we were sick of the show’s themes is not lost on we all are with different things,” says and didn’t realise. So we’re not looking him. “We weren’t to know to at that world with the pres- what extent it would echo sure of the clock ticking people’s real lives,” he says. – instead, we can engage “We knew about the frustra- with a parallel universe tion of kids, but suddenly where it hasn’t happened being with them 24/7… people and it’s not going to. were relating to the show in “It’s soothing and reassur- a way we could not have ing to look at a rose-tinted predicted.” world that hasn’t been sick Blackwell says he received a and doesn’t have to heal.” message from one viewer: “He “People have definitely wrote, ‘When did you hide your had enough of the Zoom cameras in my house?’” He chats and all the miserable adds: “I think it’s comforting news,” reflects Jon Thoday, for viewers to see it on screen, executive producer of Star- to know that other people are struck, the timeless tale of experiencing the same thing.” “boy meets girl, boy just The same could be said for happens to be a famous film his Channel 4 show Back, star” given a breath of fresh focusing on a family whose air in the hands of Kiwi smooth running of a pub is Schitt’s Creek comedian Rose Matafeo, who thrown into chaos by the Netflix writes and stars. I hoped the return of a long-lost foster one upside of lockdown brother. While the chemistry of its Moodie. “Then something tests us could be that we could bring comedy co-stars David Mitchell and Robert [series 3 saw Meg facing a cancer diag- to slightly different audiences from Webb lends an enigmatic edge to the nosis] and you realise, ‘This person’s normal, with people just wanting comedy, the show nevertheless offers a actually my friend now.’ Sometimes, it a laugh.” similarly comforting setting and light- takes hard times to find out. And those As the boss of Avalon, Thoday natu- ness that Blackwell explains he pur- are the turning points…” rally hopes that the huge success of posely focuses on in his writing. That sense of belonging, of knowing these shows will lead to commissioners “Some bleak stuff happens, but I try other characters may mock, joke and investing more money in the genre to make even the bleak stuff warm. I compete but ultimately have each and creating some prime-time, pre-­ want people to take away something other’s back, is something that runs watershed hits, as in days of old. warm from watching.” through all of these hit shows. “Comedy’s always in evolution, it’s He’s clearly managed it, judging by This is present in lockdown’s biggest become more niche over the years, but one viewer’s reaction to the motley global hit, Schitt’s Creek, and, of course, the success of Starstruck and other crew propping up the family’s bar. almost defines the evergreen Friends, shows such as Taskmaster show that “They got in touch to tell me how still one of Netflix’s biggest global audiences are hungry for it.” much they’d like to live there, in the shows, nearly two decades after it After lockdown, he has a strong case. pub,” reports Blackwell. “They were finished, and whose reunion brought There’s no doubt that during this drawn to that sense of real community Sky a record audience in May. uniquely upsetting and challenging – a community of flawed people, like It is clearly no coincidence that, at a period, TV comedy has provided com- all good sitcoms.” time of confusion, forced solitude for fort and temporary respite. Fans have been equally quick to so many, fear for the future and some- “If you’re being told a good story identify with the competitive mothers times even despair, such titles have so and it’s making you laugh, then, for – and father – gathered around the many millions tuning in, often for 22 minutes, life’s just that little bit school gate in the BBC’s Motherland. repeated viewings. easier,” suggests Simon Blackwell. “People are constantly contacting me “These kinds of shows are all pro- “And there’s a particular joy in laugh- to say ‘I’m Liz’ or ‘I’m Amanda’ or ‘I’ve viding a comfortable, cosy world that I ing along with other people and seeing got a friend who is exactly Kevin’,” says would want to live in,” says Andy Wol- their smiling faces… even if they are Tanya Moodie, who plays Meg in the ton. “There’s a tiny bit of sadness, the same faces you’ve been staring at show. “It’s nice, finding out you’re not because you need some adversity for a for months.” n

Television www.rts.org.uk July/August 2021 11

Succession

Merger mania sweeps TV From Discovery merging with WarnerMedia to All3Media acquiring more producers, media companies are scaling up, reports Kate Bulkley Sky

here is a media consoli- diversified revenue models, you At the recent virtual Banff World dation bonanza under understand why scale is the most Media Festival, Netflix’s chief content way, with no let-up in important thing,” says Evan Shapiro, officer, Ted Sarandos, indicated that the sight. The boom is suck- producer, media commentator and streamer is looking to buy production ing in big legacy media creator of the Media Universe Map. companies. Indeed, Netflix has report- companies, including WarnerMedia’s merger with Dis- edly made offers to several. But a big Hollywood studios such as Warner covery, announced in May, is a clear stumbling block for sellers is that Net­ BrosT and MGM, as well as broadcast- scale play. It creates the second-­ flix wants to lock in exclusive access. ers, production companies and global largest media company after Disney “This ‘exclusive to Netflix’ clause tech platforms. With its world-class by revenue, with the aim of compet- has made potential deals fail,” says creative talent, the UK is not immune, ing against Netflix, Disney+ and Ama- one executive familiar with the situa- and the rush by companies to scale zon Prime in the streaming market. tion. “If Netflix can get an output deal up and secure access to premium In late May, Amazon slapped down and get access to content supply that content is happening worldwide. $8.45bn to buy the MGM film and TV way, it will do that first, for sure.” The stakes could not be higher and, library, stunning many. The move In Europe, France’s two biggest in some cases, are literally existential. secured access to a treasure trove of commercial broadcasters, TF1 and “When you look at the entertainment properties, from James Bond to Legally RTL Group-owned M6, are planning war for attention and you realise that Blonde. “There are so many opportuni- to merge in a move that would create there are seven trillion-dollar Death ties for remakes and spin-offs, with a player responsible for 70% of the Stars – Amazon, Google, Facebook, titles across 50-odd years,” says Tom French TV advertising market. Microsoft, Apple, Tencent and Alibaba Manwaring, partner at Helion, a media The proposal will certainly be the – all with unlimited resources and mergers and acquisitions specialist. subject of a competition review in �

Television www.rts.org.uk July/August 2021 13 THE 2021 MEDIA UNIVERSE (SEEN FROM THE US) by Evan Shapiro

Twitter Alibaba Tencent Google $610bn $856bn Facebook Oculus $46bn 330m users $966bn FB Watch 1.7bn users WhatsApp Chromecast Alphabet Snap Roblox Epic $1.67tn 2bn users Activision $94bn $36bn $28bn $75bn Instagram 375m MAU Take Two Android 1bn users OnlyFans $21bn FB Messenger ByteDance $3bn Nintendo Chrome YouTube 1.3bn users $110bn Cameo 2bn users Dish $75bn 500m MAU Valve $25bn Patreon $1bn YouTube TV Bravo, MSNBC, $12bn EA 3m subs 9m subs $1.2bn Vizio CNBC, USA, Peacock TikTok Cheddar $41bn SyFy, E!, $4bn Bandai Telemundo Fandango Altice US Xumo Charter TLC $17bn $16bn NBC $150bn $1.5bn Square Enix Discord +stations Comcast Cox 3.1m video 16m video 4.2m BB $6.6bn $10bn $263bn $19bn 27m BB HiSense 21.3m video 3.8m video DirecTV 29m BB 5.2m BB $3.4bn $16.5bn Fubo Samsung Sky Universal 15m subs $2.4bn $500bn (Bought DreamWorks Liberty for $39bn) 600k video 20m smart TVs in US WWE Global 30% of smartphones in US ITV Studios Banijay RTL $14bn Gray TV $3.5bn Philo $10bn $9bn $2.2bn LinkedIn $500m ITV Yahoo! Endemol 600m users Starz 1m video $7bn CMG BBC Endemol Apollo Tegna Shine Fremantle AOL $5bn $25bn $4.1bn Xbox Lionsgate EW Scripps ION (estimate) LG 30-40m Fox MLBam $3bn $2bn Roku Studios $24bn All3Media Nexstar Sinclair $239bn Microsoft $1.2bn $6bn $1.2bn 43m active Marvel ABC Mattel $1.78tn Lucas +stations Showtime Viacom/CBS users Pixar Disney $7bn UK 30m subs $27.6bn Paramount $324bn Paramount+ MTVnets, Comedy, BET, Office 365 105m D+ subs SVoD Nick, Awsomeness 38m subs ESPN Disney Ch 18m subs eOne PBS 12m subs FreeForm Pluto CBS 83m PTV FX, NatGeo stations $3bn Playstation Sundance TV WETV 40-50m GitHub (estimate) Electronics Hotstar History A&E VICE BBCA AMC Zoom 25m subs $15bn (est) Hulu Acorn, IFC $97bn CloudDrive 40m subs Lifetime A&E AMCN Music Shudder Sony Netflix $2bn Fox Sports1 $126bn $227bn Pictures/TV Fox stations Fox News Crunchyroll 210m subs Funimation TNT, TBS, CNN, tru Verizon Fox Ent Fox Tubi Cartoon/ASwim $240bn Food Warner Bros, $21bn T-Mobile Clubhouse 152m mobile HgTV DC $173bn IHeart Audacity $1bn Discovery 4.2m video 100m mobile Group $3bn $700m DAZN Nine Warner NPR AT&T $4.1bn $100bn Ringer $3bn Discovery+ $130bn Gimlet Betty iPhone 15m subs Pandora Univision 166m mobile Sirius 60% of Discovery, TLC, HBO Max Spotify $900m Animal, ID, Travel $25bn Stitcher smartphones 44m subs $46bn in US 33.7m subs Crown Media AWS 155m subs Epix Fire $1.8bn AppleOne MGM 50m users Legend Circle size = market cap IMDB WaPo l Content platform l Social l Apple Studio l Gaming Beats l MVPD l Tech/hardware $2.23tn Prime Whole Foods l Telecom l Local TV l Audio l Holding company Twitch Audible Designed by Evan Shapiro @ESHAP Amazon Apple TV+ Apple Music $1.77tn Wondery Market cap figures as of June 2021 Sources: Macrotrends, Yahoo! Finance, Leichtman ? subs 72m subs 150m Prime members

14 � France but, in a media business majority stake to private-equity-backed increasingly dominated by global Asacha Media in late June. The deal ­players such as Facebook and Google, will allow the indie, chaired by show- traditional competition rules look runner and writer Tony Jordan, to increasingly irrelevant. access Paris-based Asacha’s network Weeks after the TF1-M6 announce- of European producers for local adap- ment, RTL announced a separate deal tations and co-productions. These that would see it merge its Dutch busi- include companies in the Middle East nesses with Big Brother producer John and eastern Europe – Jordan created de Mol’s Talpa Networks. The deal will the drama Besa for Serbian channel create a broadcasting and production Prva and the soap Al Mirath for MBC. group boasting a combined annual The race to scale up and to secure content spend of €400m and joint access to premium content is far from revenues of €909m. over, and has thrown up some surpris- “The new cross-media group will ing plays. In January, Apple paid a Evan Shapiro have the size, resources and creativity whopping $25m for the worldwide to compete with global tech platforms rights to CODA, a much-anticipated in the Netherlands when it comes to remake of the award-winning 2014 investing in premium content, offering French film La Famille Bélier. Specula- the most advanced addressable adver- tion surrounds the iPhone maker’s tising opportunities, and expanding acquisition strategy – might it bid for Videoland, the leading national 92% gaming company Electronic Arts or streaming service for Dutch viewers,” CHANCE OF APPLE sports network DAZN? says RTL Group CEO Thomas Rabe. While many media businesses envy In early July, it emerged that Euro- OR NETFLIX Netflix’s high market capitalisation, it pean production giant Mediawan & would be difficult to imagine Comcast’s Leonine Studios had taken a majority BUYING LIONSGATE CEO, Brian Roberts, AMC boss Josh stake in UK indie Drama Republic. The Evan Shapiro Sapan or Warner Bros Discovery’s CEO, French and German outfit, formed last David Zaslav, embracing such a debt- year as a joint venture by Mediawan heavy, loss-making business model. and Leonine, has acquired a 51% share advertising, the core of their current Indeed, Disney is the outlier among in Drama Republic, producer of Doctor business models. the legacy media giants, and has taken Foster, sold in more than 100 territories, In the UK, Google, Amazon and big risks and incurred the losses needed and The Honourable Woman. Samsung are facing a regulatory over- to pivot so quickly to a streaming model. The shift of audiences and advertis- haul that will guarantee the promi- Shapiro has ranked the probability of ers to streaming services has under- nence of public service broadcasters the next 10 big media mergers/acquisi- mined commercial broadcasters’ (the BBC, ITV and Channels 4 and 5) on tions. The top ones are those with con- business models. This makes them smart televisions and devices. tent assets. He rates Twilight and Mad Men more vulnerable to being bought, This rule change should strengthen producer Lionsgate as a buy for either which is why European broadcasters the broadcasters’ power in their nego- Apple or Netflix, with a 91.7% probability. want to partner or merge to scale up tiations with platform operators and Disney buying what it doesn’t already their businesses. device makers in a key battleground own of producer/broadcaster A&E Net- In the UK, All3Media has also been for attracting audiences. works is given an 88.9% probability, in buying mode again. It recently com- Clearly, a crucial driver of value and while Shapiro predicts that Spanish-­ pleted the acquisition of Nordic Enter- kudos for production companies these language broadcaster Univision has an tainment Group’s Nent Studios UK, days is how many successful shows 85.7% chance of being sold to either producer of the Connie Nielsen and they have on the big streamers. Bristol-­ Disney, Apple or, perhaps, Google. Christopher Eccleston drama Close to Me. based natural history producer Silver- “The acquisition of Lionsgate by Nent Studios UK was formerly back Films was purchased by All3Media Apple makes a lot of sense because it known as DRG and has 10,000 hours of in late 2020 at an enhanced value. The would get Twilight and Mad Men, and content, including the licensing rights success of the Netflix series Our Planet, the Starz streaming service has 15 mil- to Doc Martin and Catchphrase. All3Media narrated by Sir David Attenborough, lion subscribers,” says Shapiro. “Apple CEO Jane Turton says: “There has never was a crucial factor. has been in the television business for been more demand for high-quality IP.” Streaming success may be driving as long as Disney but has a fraction of Similarly, the tech platforms are values but UK indie producers are the subscribers because it has a fraction continuing to look for opportunities to keen to talk to potential partners or of the content.” secure the content they need to stand acquirers based in Europe. Even online TV platform and device out in the increasingly competitive Since Brexit there has been a big company Roku has been touted as an streaming business. question mark over whether British acquisition target. Speculation rose after Not only that, but most of the tech productions will continue to be consid- the service posted an unexpected profit players are seeking to diversify their ered “European works” and thus retain in the first quarter, driven by a 35% revenue streams. Google and Facebook access to European production funding. year-on-year jump in subscriptions. face tightening regulations over how A case in point is Death in Paradise Expect the deal-making season to they control user data and targeted producer Red Planet Pictures. It sold a continue for the foreseeable future. n

Television www.rts.org.uk July/August 2021 15 One year after UK broadcasters announced their new diversity initiatives, Marcus Ryder gives his verdict on their impact

hen Television approached me to assess the success, or otherwise, of the British TV industryW policy announcements related to diversity over the past 12 months, I was going to resort to a standard jour- nalistic approach: pick a few of the big announcements, look at what they promised to deliver and then conven- iently conclude by saying something like “...but careers take longer than 12 months to build and systemic racism cannot be dismantled in a year. So, it is still a case of ‘wait and see’.” But as I looked through them, I real- ised that there were two key points I wanted to get across: we need clearer policies and a more grown-up conver- sation around diversity. Let me explain. In the past 12 months, after the mur- der of George Floyd and the Black Lives Matter protests, British television broadcasters have rightly announced a number of promises and policies. Here are four of the most prominent:

n Sky announced a £30m racial injus- Misan Harriman tice fund, and a “redoubling” of efforts to increase black, Asian and minority ethnic (BAME) representation, both on-screen and behind the camera; n Channel 4 committed to being an “anti-racist” organisation, doubling Making black “the number of BAME-led independ- ent producers that we commission from by 2023”, and announced “Black to Front”, a day dedicated to black representation on both sides of the lives matter camera; n ITV made various commitments, including increasing general diversity BBC has set itself a mandatory target However, we all were a little cautious, at management level, increasing the – 20% of off-screen talent must come because nearly all the announcements diversity both behind and in front of from under-represented groups” in the had two points in common: a lack of the camera, and creating a more inclu- next three to five years. detail over programme finances being sive culture that better understood At the time, I and many others wel- used to address the lack of diversity, issues around racism; comed these announcements, espe- and a lack of specificity about whom n The BBC announced it would be cially since they were going beyond they were targeted at. “investing £100m of its TV budget over the usual “we’re rolling out more So, how has this played out, you ask? a three-year period to produce ‘diverse unconscious-bias training” or “we’re Let’s take the first commonality – pro- and inclusive content’”. And that “the introducing a new mentorship scheme”. gramme financing.

16 meet the criteria of “diverse and inclu- sive content”? We have no idea. Will the £100m be in addition to the current amount that is already invested in “diverse and inclusive content” or will it include existing commissions? We simply do not know. The bottom line is: what is the addi- tionality of this new investment? The BBC is still not clear, despite the announcement having been made more than a year ago. By way of contrast, here is an exam- ple of what a clear, grown-up commit- ment involving programme finance looks like. Just a year earlier, in Febru- ary 2019, the BBC launched the BBC Scotland digital channel to address specific concerns around regional diversity. In the press materials proceeding the launch, the corporation said the Scot- tish channel would have a budget of £32m a year. Approximately £13m would be taken from the BBC Scotland division’s existing budgets and £19m would be additional funding. Surprisingly, “grown-up” conversa- Small Axe: Mangrove

BBC tions are incredibly easy to understand compared with conversations at the As someone who has worked in both implying that programme funds had “children’s table”. addressing regional diversity and ethnic been separated from other commis- And there was a complete lack of diversity, the difference in approach is sioning funds for exclusive use on any mention of programme finances in stark. When it comes to money, it feels diverse-content programming. But this ITV’s statements around its Diversity as if the conversation around finances is not accurate. Acceleration Plan, published on 9 July and ethnic diversity is relegated to the Why? Well, I had the opportunity to 2020, at the height of the Black Lives “children’s table”, while discussions publicly ask the BBC’s head of creative Matter protests. around regional diversity take place diversity, Miranda Wayland, about the If someone asked me how much the between “grown-ups”. £100m at the Edinburgh International BBC values increasing its Scottish pro- To illustrate why this matters let’s take Television Festival in August 2020. Her gramming, I could have answered very the BBC’s announcements, because they response – the BBC’s corporate easily: £19m a year more than it did really were the ones that elicited the response – was unequivocal; “This is previously for the indefinite future. most excitement in the industry, due not ring-fenced money”. There is the possibility that the BBC’s to the potential scale involved. So what does “investing” money £100m diverse content fund over three While the £100m “diverse content” mean if it is not “ring-fencing”? We years might be the equivalent of an fund may sound impressive, in reality currently have no idea. And, having additional £33.3m a year. But it may it has remained very difficult to work had multiple private conversations literally mean the equivalent of zero out what this policy really means in thereafter with other industry insiders, extra funding. I suspect the answer is practice. I am still none the wiser. somewhere between zero and £33.3m, For instance, Ofcom, in its annual And this lack of clarity leads to some but, for a publicly accountable organi- diversity report, said that the BBC had fundamental questions: how much of sation, it has been incredibly opaque “ring-fenced” £100m over three years, the BBC’s existing productions currently about where the real number lies. �

Television www.rts.org.uk July/August 2021 17 � The BBC is far from being the only around the term BAME, as it enables broadcaster that is less than clear companies to enact policies that do about its programme finance com- not address their specific concerns mitment in its policy announcements while at the same time announcing following the global Black Lives Mat- that they are fighting racism. ter protests. The only exception was Channel 4’s For example, while Channel 4 said it “Black to Front” day, about which I would double the number of diverse-­ should confess a vested interest. As led indies it commissions from, it gave the head of external consultancies for no indication as to whether there the Sir Lenny Henry Centre for Media would be a doubling in programme Diversity, I advised Channel 4 on its spend on the diverse-led indies. Black to Front day and recommended Whether you have made the cake that it focus on black representation, Blackstage

bigger or are simply dividing the origi- BlackStageUK as opposed to broader “BAME” diver- nal cake up among more people is sity, in response to Black Lives important (as my five-year-old son under-representation. Productions are Matter. would point out from the children’s able to be classified as “diverse con- So, how do I answer Television’s table). tent” if they meet criteria around seemingly simple question: How And there was a complete lack of socio-economic diversity, disability effective have the broadcasters’ any mention of programme finances and non-white representation (of responses to the Black Lives Matter in ITV’s statements around its Diver- which black is obviously just a part). protests been over the past 12 months? sity Acceleration Plan, published on 9 This means that it would be possi- It would be churlish of me not to July 2020, at the height of the Black ble for all the production companies recognise and applaud the fact that Lives Matter protests. to meet the criteria set out by the BBC the vast majority of them rolled out Now to the second commonality for “diverse content” without employ- new policies. There seems to be a – and the other reason to be cautious ing a single black person – for genuine desire to shift the dial when about the announcements – they instance, by meeting socio-economic it comes to diversity in general, and were not specifically targeted at black diversity behind the camera. Again, there has been a substantive change people. George Floyd and the Black while this is as unlikely as the £100m in the level of conversation around Lives Matter protests had a very spe- fund meaning zero additional fund- diversity. cific focus; anti-black racism. These ing going into additional diverse However, most of the policies have were not protests about inequality in ­content, it serves to highlight the been unclear about the most impor- general, or even general racism. And wooliness around the policies. tant aspect of the television industry yet, while all the broadcasters It also seems to highlight the broad- – programme finance. And the poli- acknowledged the importance of the casters’ lack of understanding of what cies are not focused on the funda- reaction to George Floyd’s death, in the 2020 protests were really about. mental issue raised by the protests instigating their policy announce- And it reflects the current dissatisfac- – anti-black racism. ments they did not seem to recognise tion that many black people have So, I guess I will need to resort to the this central point. journalistic cliché of “we will have to We see this in Sky’s policy wait and see” after all, because I hope announcements, for example. All of ‘WHETHER YOU this coming year will see the wooli- its three stated policy goals – to ness removed, the grown-up conver- improve black and minority ethnic HAVE MADE THE sations begin, and clarity provided. representation at all levels, to make a CAKE BIGGER Only then can these policies begin to difference in communities impacted be effective in ensuring what the press by racism, and to use the power of OR ARE SIMPLY releases purported they would be Sky’s voice and platform to highlight DIVIDING IT UP – making sure Black Lives Matter. n racial injustice – address issues broader than anti-black racism and AMONG MORE Marcus Ryder is the head of external black under-representation. PEOPLE IS consultancies at the Sir Lenny Henry Similarly, the BBC’s £100m fund was Centre for Media Diversity and Chair not targeted at addressing anti-black IMPORTANT’ of RADA.

18 Do you need £4,000 for a history of ­television project?

Grants will be given to assist in the long-­standing member of the Apply now for ­completion of new or unfinished RTS. The Shiers Trust grant is now projects, work or literature specific in its 21st year. the 2021 Shiers to the objectives of the Trust. Trust Award ‘Literature’ is defined as including Application procedure audio-visual media such as DVDs Applications are now invited and and websites. It is essential that The Trust can make a should be submitted to the applicants read all the conditions Trustees by 31 October 2021 on grant of up to £4,000 and criteria, which can be found the officialapplication ­ form. towards publishing online at the address below. work on any aspect George Shiers, a distinguished www.rts.org.uk/ of TV history US television historian, was a shiers-trust-award

Image: Barbara Blake-Hannah, the first black female reporter on British television, who worked on Thames Television’s Today, in 1968 © Shutterstock 1970 Love Island ITV Bouncing back from lockdown Four RTS bursary scholars recount how their careers have taken off after being derailed by the pandemic

least! The day after I submitted my Charly Humphreys final assignment, I jumped on a plane to the location for one of my favourite ifteen months ago, if someone shows. I was so excited to see the had told me I’d be working in secrets of its success from the inside. Mallorca on one of the world’s Initially, I was one of a team of chape­ biggest reality shows, I’d have rones at a beautiful resort in Mallorca, Frolled my eyes and said, “You’ve got to looking after two wonderful contribu- be kidding!” tors. Inevitably, things were different In my final year studying live events this year due to the Covid restrictions. I and television production at the Uni- was responsible not only for supporting versity of the Arts London, and with the contributors’ general well-being but Covid-19 still rearing its ugly head, I also for making sure that coronavirus told myself to stop worrying too much guidelines were adhered to at all times. about the future and focus instead on The job was an absolute dream after my degree. The virus had imbued me my old student life in London, where with a strong sense of how unpredict- I’d spent so much time isolating since able life could be. the start of the pandemic. Travelling Then, a couple of months ago, I and meeting new people are two of received an offer to work on Love Island. my favourite things. It’s been such a My mentor, the brilliant Lauren Evans at positive feeling to experience that part ‘THE JOB WAS ITV, had passed on my CV to the team of life again. AN ABSOLUTE that makes Love Island. Lauren is the Soon after beginning my chaperone talent manager at ITV Entertainment. gig, I switched roles and moved to the DREAM’ I was thrilled and ecstatic, to say the production base to assist with admin,

20 production and location duties. I worked closely with the production Mahnoor Akhlaq co-ordinator, from whom I learned so much about what it takes to make Love nce they’ve completed uni- Island the show we love. versity, every student’s big- I acted as the line of communication gest worry is “What’s next?”. across departments. This suited me I experienced that feeling down to the ground. I met and made Obut, coincidentally, my interview for friends with a lot of the Spanish and the BBC Len Tingle placement – a English production staff. two-month paid internship at BBC I thrive in busy environments buzzing Yorkshire – took place on the same with lots of people and felt completely day I handed in my final assignment. in my element. This role gave me such Tingle was BBC Yorkshire’s political an in-depth insight into how each editor for 17 years until he died, aged department operates – and how much 63, in 2018. collaboration goes into making factual I was really hoping I would get the entertainment shows such as Love Island. placement as it was the perfect step I feel very fortunate to have been after completing my journalism degree able to experience working on Love at the University of Leeds. Subject to Island. I’ve watched every series and Covid-19, I still hope to be studying ‘I’M PASSIONATE never missed a single episode. abroad in September, which is why ABOUT SHARING My involvement has provided me I didn’t apply for any graduate jobs with an incredible footing for whatever this year. LOCAL STORIES’ my next job is, and made me much It was the third time I had applied more confident in my ability to succeed for the placement, so I had high hopes. The networking opportunities in TV. During my first year at uni, I made it helped me to build my confidence, I owe huge thanks to my mentors and through to the interview stage. I didn’t contacts and gain a better understand- to the RTS for supporting my journey, get the placement, but I was told to ing of how the industry works. I also and for all the invaluable advice, tips and apply again the following year. Which met my mentor, the BBC journalist guidance that has got me to this point. I did but, due to the pandemic, the Mobeen Azhar, who has been amazing Coming from a small town near placement was cancelled. and supportive throughout my final Birmingham, with no creative connec- When I received the phone call to year and gave me invaluable advice for tions whatsoever, I might not have had tell me I’d been accepted I almost my interview for the placement. the opportunities or confidence to couldn’t believe what I was hearing. I I chose journalism as a career allow me to begin my postgraduate was over the moon! because it allowed me to combine my career with a such a bang. Without the Royal Television Society’s creative skills with my interest in cur- I have no doubt whatsoever that all support, I probably wouldn’t be in the rent affairs. I was also more driven of the workshops, networking events, position I’m in today. The RTS has after I learnt about the lack of diversity panel discussions and peer catch-ups supported me in so many different in the industry, which needs to change. that the RTS bursary scheme opened ways. I am a Pakistani woman born and the door to have all encouraged me to I can’t put into words how grateful raised in Bradford, a city that does not recognise my strengths. I’m so excited and lucky I am. The bursary helped always get the best representation in to see what comes next. me to pay for equipment, such as a the media. I want to help change that laptop, camera and microphone. It also narrative. I think it is important that Charly Humphreys worked on Love Island supported me while I undertook cities such as Bradford keep talent in this summer. unpaid work experience. the city, which is why I do not want to relocate after I graduate. I am lucky to be joining the industry at a time when more opportunities are emerging in the North. I am excited to be working in regional news in York- shire as I am passionate about sharing local stories about the place where I live. Due to the pandemic, half my degree took place virtually. As a result, I did not gain the same practical experience. Being able to work across TV, digital and radio, with an amazing team, will help me brush up and develop these skills. I will be making the most of the next eight weeks. BBC Yorkshire report contributed to by Mahnoor Akhlaq Mahnoor Akhlaq is on the Len Tingle

BBC journalism placement at BBC Yorkshire.

Television www.rts.org.uk July/August 2021 21 assumed they were referring to the financial side of the bursary. True, that was a massive part of it, but it was not the main support that was given to me. In my three years of study and after graduating, the RTS has supported me with various opportunities to peek into an industry that, frankly, would other- wise have been unattainable for some- one like me. I was invited to attend an RTS Patrons’ dinner and meet the movers and shakers of the TV world. I was invited to the Cambridge Convention, where I listened to panels discuss the latest developments in the TV sector in the UK and overseas. I was given a mentor in the industry who was amaz- ing at giving me career advice. Shout- out to Margaret Emsley! All these opportunities contributed in ways both small and large to my career progression, but it was as a guest judge at the RTS Yorkshire Pro- gramme Awards that I made a key BBC Sport studio

BBC connection. As a student studying news, to say I had a case of imposter syndrome was Kyle Shiels an understatement as I sat and debated the merits of actual TV news alongside n the middle of summer 2014, in people who had been doing it for years. the living room of a modest But I gave my honest views and was two-bedroom house in the north lucky enough to meet Ruth Pitt, one of of Leeds, an easily distracted the masterminds behind bringing I18-year-old was trying his hardest to Channel 4 to Leeds. We kept in touch. concentrate while his little brother A year or so after I’d graduated, she gamed on his PlayStation. gave me a place on her mentorship At any other time, he’d have given scheme, Under the Moon. up on what he was doing and joined in The programme matches “rising the shooting game, but today he stars” with commissioners. Once again, decided to stick with it and move his I had to fight off the imposter syn- stuff up to his room where he could drome as I sat at a table with the other work undistracted. mentees. They just happened to be Almost seven years later to the day, executive producers, directors and that was the first step towards him every other kind of person who could achieving his dream. have been my boss’s boss. I’m sure it’s obvious by now that it I got Channel 4’s head of sport, Pete was me who was the easily distracted Andrews, as my mentor. Months later, teen. I’m happy to report that I’m now he would coach me through the pro- an easily distracted adult. cess of applying and interviewing for a The reason that day was so signifi- staff role at BBC Sport, my dream job. cant was because I managed to finish This easily distracted adult is eter- my work. The work? Putting together a nally grateful for the leg-up the RTS last-minute application for an initia- has given him. My message to both ‘THE RTS WILL tive I’d been sent that closed that night: current and future bursary scholars UNLOCK THE the RTS bursary scheme. The next few – and young people in general – has years would fly by. I was accepted on and will always be: the RTS will unlock DOORS FOR to the scheme, which allowed me to the doors for you, but you have to walk YOU, BUT YOU attend university and study broadcast through them yourselves. Take every journalism. chance you can get, and never forget HAVE TO WALK As everyone involved in making the where you’ve come from. THROUGH THEM scheme possible told me, the RTS would support me throughout my time Kyle Shiels is working as a researcher at YOURSELVES’ at uni and beyond. At the time, I BBC Sport.

22 Bangers and Cash UKTV

Coincidentally, I had just accepted a Jake Smith role as set designer at uni, when the RTS organised a webinar with production study film-making at the Northern designer Duncan Howell. Thinking of Film School and live in Barnsley, my new role and my film based in the South Yorkshire. I was introduced South Yorkshire of the 1980s miners’ to film and TV production at strikes, I asked Duncan if people were IBarnsley Sixth Form College. It was generally willing to move their cars for this course, together with my love of a period film to be more credible. all things 1980s and a little magic from The combination of 1980s cars, set the RTS, that led to me having a paid design, Yorkshire and RTS connections post this summer as a technical assis- could only lead to one place. Some- tant at Air TV. thing clicked in the mind of RTS bur- When I applied for the RTS bursary, saries manager Anne Dawson. A few I did not in a million years expect it to emails later I was talking to Andy open the doors it did for me. Like Joynson, director of Air TV and execu- many students, I took a while to settle tive producer of Bangers and Cash. into full-time study, but lockdown He invited me to meet the team gave me plenty of time to think and at their head office and have a look reflect on my future. around. I thought I would, at best, be I gave myself a talking to and decided offered some work experience but, to make the best use of the time I had ‘I AM SO PLEASED amazingly, I was offered a paid post while everything was on hold. The RTS TO … GAIN SUCH over the summer. I am so pleased to was a huge part of this renaissance in have this opportunity to gain such my life; I got a fantastic mentor, Fergal BRILLIANT brilliant hands-on experience. I now McGrath, who gave me the confidence HANDS-ON work at Air on Bangers and Cash as a to push myself into the industry. technical assistant. The people at Air I have a fascination with classic cars, EXPERIENCE’ have been extremely warm and wel- old cameras and have been described coming, I cannot thank them enough. as an old man in young man’s clothing. can’t manage the same type of projects. It’s fantastic to have a foot in the door I became interested in production From there, I became interested in old before my second year has finished. I design while working on a short cop cameras. Gradually, I acquired a number am proud of myself for making the film of my own, set in the 1980s. of 35mm film cameras on eBay, and most of my opportunities – and for that I developed a liking for all things retro started to play around with them to see little touch of magic the RTS provided. through helping my dad restore old cars. how they worked. I bought a roll of film Unfortunately, he broke his back and, and shot it (it cost me nine quid to Jake Smith is working as a technical although he still does what he can, he develop, but I really enjoyed it). ­assistant on Bangers and Cash.

Television www.rts.org.uk July/August 2021 23 Here we go again Channel 4 Privatising Channel 4 is once more on the Government’s agenda. But this time it feels different and the momentum is quickening, saysTorin Douglas

n 18 November 1996, Whittingdale was not the first to “With a fast-evolving media landscape, Hansard noted a par- suggest privatising Channel 4, which is increasing competition and changing liamentary question owned by the state through Ofcom but audience habits… moving Channel 4 from John Whitting- commercially funded. Nor is he alone: into private ownership and changing dale, MP for Maldon: the move has been mooted half a its remit could help secure its future “Will my Hon Friend dozen times by ministers – and fought as a successful and sustainable public congratulate Channel 4 on its success off every time. But he is the most per- service,” said the Government in a press inO avoiding recourse to the ‘safety net’ sistent, and the last attempt occurred release. “More than 90% of Channel 4’s and on making a profit last year of on his watch as Secretary of State for revenue comes from advertising and £128m? Does that not demonstrate Digital, Culture, Media and Sport. this makes it particularly vulnerable to that it is possible for Channel 4 to meet Little wonder that Enders Analysis market fluctuations and the decline in its remit and to operate commercially? headed its analysts’ report last month linear-TV advertising spend”. Will he therefore consider its privatisa- “Here we go again” and The Economist Options for the new ownership tion at the first opportunity?” wrote, “Viewers who moan about structure could include a flotation, a Fast forward 25 years to 30 June repeats on television must have rolled sale to a private buyer, the sale of a 2021, and Whittingdale, now the min- their eyes”. But this time, it feels differ- minority stake or a mutual ownership ister in charge of broadcasting, is still ent and the momentum is quickening. model. But opponents of privatisation on the same subject, addressing mem- A public consultation on the sale point out that Channel 4 holds few or bers of Voice of the Listener & Viewer of Channel 4 was launched on 6 July, no ownership rights over its hit shows, (VLV), which represents citizen inter- ahead of a white paper on the future such as The Great British Bake Off and ests in broadcasting. “The Government of broadcasting in the autumn. Unlike Gogglebox, and that its remit “to be has made it clear that we are minded previous privatisation proposals, little different” would prevent it from mak- to move to an alternative ownership mention is made of the money the ing significant profits. If that were model because we are very conscious Government might raise from the sale. changed or it were allowed to make its of the constraints that public owner- Instead, it focuses first on the threat own programmes, it could damage the ship places on Channel 4,” he said. from Netflix and other VoD streamers: many independent production

24 companies that are responsible for hits – creatively, digitally and in terms looked at the regional newspaper making them. of its remit to be different – was It’s a industry, which was not allowed to A VLV questioner asked the minister: Sin, the drama about a group of gay consolidate and was swept away by “Are there any existing red lines in the friends growing up during the HIV/Aids the internet, and I don’t want that for remit that couldn’t be changed by a crisis. The proposal was turned down our broadcasters. new owner?” He replied: “The remit is by other public service broadcasters “I think you can have the best of part of the consultation and there is no but became Channel 4’s biggest drama both worlds in private ownership, as question in my mind of abandoning launch and drove its streaming service with Royal Mail and BT, which have the remit – indeed, we may strengthen All 4 to record growth. social responsibilities and licence con- it in some areas.” Speaking at the Banff World Media ditions but can operate and consoli- So what would be the benefit of a Festival last month, its creator, Russell T date in the private sector.” sale? Public ownership “prevents Chan- Davies, said that privatising Channel 4 This view was countered by Stewart nel 4 from having access to the markets would be “a great crime” that would Purvis, a former CEO of ITN and to borrow money”, Whittingdale said. “It doesn’t have an owner that is likely to be in a position to invest in it and it is entirely dependent on advertising reve- nue, which is very limited.” He said the move was “to strengthen Channel 4”, prompting one sceptic to recall a quote from Ronald Reagan: “The nine most terrifying words in the English language are: ‘I’m from the Government, and I’m here to help.’” Critics of the plans have been quick to point out that, far from needing help, the company delivered a healthy finan- cial surplus of £74m at the end of 2020, including significant digital growth. Publishing Channel 4’s annual report, its Chief Executive, Alex Mahon, said: “We’ve always got to be careful of It’s a Sin doing anything that might be irreversi- Channel 4 ble, that could damage some of those things that we do for the sector and for result in series like his not being made. Ofcom official who edited Channel 4 the UK. At the moment, we don’t seek The channel’s remit “which is to make News and was a Channel 4 board to make a profit, so all of that advertis- shows like It’s a Sin” would change if it member: “After a most demanding ing money we take is ploughed back were to be sold. “Come back in 10 years year, Channel 4 has come through with into the creative sector. We don’t make and you’ll see,” he said. a record surplus, so clearly it is sustain- a profit but the profit is made by many, But others agree with Whittingdale able. And my experience is that it is not many small and medium-sized­ busi- and his boss, culture secretary Oliver only resilient but innovative. The model nesses across the UK – and we’re help- Dowden, that the media landscape is is constantly being flexed and new ing them to deliver profits and growth changing too fast for Channel 4, and the ideas are being brought in, so it is actu- and to flourish. If we were under a other UK PSBs, to remain as they are. ally across all the new developments.” different structure – and I’ve run com- Former Channel 4 CEO Michael Both sides are now flexing their mercial businesses – we would nor- Grade came out in favour of privatisa- muscles ahead of the consultation. mally have different priorities.” tion in 2015, as Maggie Brown records At the VLV event, John McVay of Pact Some have suggested that the Gov- in the second volume of her history of asked whether a market impact ernment may have more political Channel 4: “Hosting a Broadcasting assessment would be published. He motives. Tory MP Craig Mackinlay told Press Guild lunch at Pinewood film was told that this would not happen the MailOnline website that Channel 4 studios, he said the channel had been a until the Government had reached a had “sealed its own fate” with years of brilliant experiment, but it needed to be conclusion. VLV Chair Colin Browne “one-sided” news coverage. Tom Har- freed up: ‘What you would gain from said: “Surely this should be made rington of Enders Analysis said the privatisation is you could build a really available before the favoured option proposal was “potentially spiteful”. The big media business around Channel 4. I is decided, rather than afterwards?” Guardian cited two possible factors: a think the channel needs to be freed up Whittingdale was asked whether the MacTaggart lecture by former Chan- really to move ahead. The fact is, the status quo remained an option. “We nel 4 head of news Dorothy Byrne, in world has changed dramatically.’” think there is a strong case for an alter- which she publicly called Boris John- Andrew Griffith MP, a former Sky native ownership model but that does son a liar, and the channel’s decision, Group chief operating officer, told not mean we have absolutely decided,” in a TV debate on climate change, to Radio 4’s Today that the UK broadcast- he said. “Otherwise, we wouldn’t be replace the Prime Minister with a ing industry looked “a little bit frag- having a consultation.” melting ice sculpture. mented” when there were “huge tech It’s going to be a busy summer and One of Channel 4’s biggest recent giants on the doorstep”. He said: “I autumn. n

Television www.rts.org.uk July/August 2021 25 the BBC’s Pooch Perfect, which tests the talents of dog groomers, agrees: “Lock­ down certainly put more focus on how important dogs were in people’s lives, and there are plenty of lovely shows about that. The Dog House on Channel 4 is almost First Dates for dogs – it’s a heart-warming series.” Dog shows have long been a staple of TV schedules. The BBC first broad­ cast Crufts in 1950 and was still screening the competition in 2008. But today’s programmes devoted to man’s best friend are much influenced by tropes that originated in other types of popular factual TV. And many programmes that have aired in the current cluster were com­ missioned long before the pandemic. Paul O’Grady: For the Love of Dogs on ITV, which sees the presenter go behind the scenes at Battersea Dogs and Cats Home, began in 2012. Channel 5’s The Dog Rescuers is in its tenth series. But these shows, and others like them, have managed to pull in solid audi­ ences despite intense competition for fans of canine capers. Pooch Perfect, a kind of Bake Off for dog groomers hosted by Sheridan Smith, brought in an average of 2.5 million viewers on BBC One when it launched earlier this year. 12 Puppies and Us, which follows the first few months of families and their new pets, pulled in an average audi­ ence of 1.3 million over six episodes on BBC Two. This puts it on a par with its

The Dog House Channel 4 previous incarnation, 10 Puppies and Us (with 1.7 million, but across four epi­ sodes in 2017). On Channel 5, Dogs Behaving (Very) Badly averaged 1.8 million across eight episodes of the last series (up 13% on Pooch perfect the slot average), while The Dog Rescuers averaged 2.5 million for the three epi­ sodes that have aired to date. Shilpa Ganatra leads us through TV’s This suggests that, however many dog programmes are on television, obsession with man’s best friend there’s a strong audience of loyal dog lovers ready to lap them up. f television’s role is, in part, to year, we’ve become more obsessed It’s understandable: we have a vested reflect social trends, it has with dogs in the UK,” says Daniel Pearl, interest in dogs’ welfare and root for certainly risen to the chal­ VP, commissioning editor, Channel 5, them as steps are taken to better their lenge when it comes to dog whose shows include The Dog Rescuers. lives – or their looks. Many pro­ shows. It will surprise abso­ “We’ve been looking to them for com­ grammes also give dog owners tips lutely no one to learn that dog fort, love and a distraction at this diffi­ about training. And don’t forget the ownershipI has surged over the pan­ cult time. And walking your dog has cuteness overload that makes pups demic. Estimates suggest there are now become almost the only thing we’re all extremely watchable. 12 million pet dogs in the UK, up about allowed to do. So there has definitely With the trend in full flow, a key 3 million in 12 months – and program­ been an amplification of our national question is whether the market for dog mes about our four-legged friends have pastime.” programmes is saturated. Pearl believes also become more “pup-ular”. Damon Pattison, creative director at it is not, thanks to each show’s unique “It’s totally clear that over the past Beyond Productions and producer of approach.

26 Dogs Behaving (Very) Badly Channel 5

“They all feel slightly different, and Williams says that for advice and mental-health crisis and may lose their it’s important that they do feel differ­ training methods that do make it to air, pet, it wouldn’t feel right showing that ent in tone and in feel,” he says. “For the approach should follow industry unless they gave you consent. We have example, the core of The Dog Rescuers is standards. “Many do, but some pro­ to be mindful when we film, and think following RSPCA rescuers and officers. grammes don’t look into the ethics of through the impact it will have on those That gives the stories a dynamic, beat­ the advice they’re giving, so they’re people’s lives.” ing heart. That doesn’t mean any of the delivering messages that are poten­ Doggie programmes have proved other ideas are worse – it’s just the tially damaging to the welfare of ani­ popular during the pandemic, but it show’s USP.” mals,” she says. is anyone’s guess what the long-term As heartening as these programmes An example is when programmes future may be for these shows. can be, they often have important suggest that puppies can be kept out of Pearl, for one, is confident that the points to convey, says Jane Williams, their owner’s bedroom at night and left trend will outlast the health crisis: “We secretary of the Animal Behaviour and to cry until they get used to it. know people like watching shows about Training Council (ABTC), which repre­ “That isn’t helpful – the puppies are dogs. And we know that more people sents animal trainers. “Anything that not doing it because they’re being are dog owners than ever before. They raises awareness of the issues around bloody-minded, they’re just terrified of have a lifetime of dog ‘parenting’ ahead being a responsible pet owner is wel­ being left. We suggest that this process of them– I don’t see anything changing.” come,” she says. “And then there are happens gradually, because moving Pattison, however, feels we may see a lots of things that we’re lobbying gov­ into a new home is traumatic enough dip before another resurgence. “Cer­ ernment for, in order to make change for a puppy.” tainly, now is a rich time for dogs, and for the better. Television is a good When it comes to duty of care on I know Channel 4 has a couple of dog vehicle for that.” The Dog Rescuers, Pearl says: “It is about programmes in development, but sub­ However, with that power comes the duty of care towards dogs. Obvi­ ject matter in television is fairly cycli­ responsibility to give the best advice ously, dogs don’t consent in the same cal. In a year’s time, will there still be available, and that is where some pro­ way as human beings, but we consider so many dog shows? I don’t know. But grammes can fall down, she suggests. it in terms of taste and being respectful then they will rise up again in a couple “So many people are new to dog own­ towards other sentient animals. of years’ time.” ing that programme-makers have a “The other side is about the people The show business adage may be to huge responsibility not to put out who are losing their dogs. Sometimes never work with children or animals, unrealistic messages right now. There’s we identify them, sometimes we don’t. but the reality is that our four-legged not a lot about how much it costs, or Sometimes people are being prose­ friends are too appealing to stay off how we go about selecting a suitable cuted and there’s a public interest ele­ television. So don’t expect a “paws” in puppy to suit the owner’s lifestyle.” ment, but, if someone’s having a their popularity for too long. n

Television www.rts.org.uk July/August 2021 27 Wall and ceiling-mounted LED screens provide a virtual forest ARRI This revolution will be televised

echnologies have always for everyone.” Milham’s “imagination been central to the evo- An RTS panel predicts tax” becomes evident when the cam- lution of the programme-­ that virtual production eras roll in a studio set surrounded by making process, but we wall of LED screens as opposed to one have a revolution on our will have a profound hung with an inert fabric green screen. hands with the advent impact on how TV Now, actors can see, moment by ofT virtual production. moment, what they are interacting Virtual production is the ability to shows are made with, and lighting directors do not have augment TV and film sets with walls of to guess exactly where the light sources LED displays that show a virtual loca- industry-­leading practitioners dis- in a scene should be. tion, whether that’s faraway planets cussed at a recent RTS event. Milham added: “We’re currently (used in The Mandalorian) or the tennis “We’ve all seen things that claimed doing a show with Ewan McGregor, courts of Wimbledon 2021 (apparently to be a revolution but, in fact, they just who is reprising [the role of] Obi-Wan overlooked by the BBC’s virtual studio). made one department’s life a lot bet- Kenobi, whom he played on a big, However, virtual production is vastly ter,” said Ian Milham, the virtual pro- blue-screen set nearly two decades more than an upgrade of the familiar duction supervisor at Industrial Light ago. Now he’s playing him again on green or blue screens that have long & Magic. The company helped to make one of these [virtual] sets. been used to capture live action that Disney+’s The Mandalorian, a pioneering “You can see his joy in the compari- can later be combined with location programme in this field. son: he has already talked about how footage or computer-generated imagery. “This is one of those [developments] much better [the virtual set] is for him. The screen imagery can match the where, if it is used correctly, it’s a win For special effects, you can actually camera’s viewpoint in real time and for everyone,” he said. “For anyone add fog and smoke. Lighters can add also provide suitable lighting for the who has done green-screen or blue- real light. With costumes, [in the past] real-world set. screen work, you don’t realise how maybe they’d want to avoid something The all-encompassing experience of much work you’ve been doing on what reflective. Now: go for it. If anything, it the LED surround screens has a big I’ve been calling the ‘imagination tax’. makes the whole thing better.” impact on many aspects of the pro- In many ways, having everything really The reflective armour of The Mandal- duction process, as a panel of be present is just a tremendous relief orian’s central character naturally

28 picked up real reflections from the “You can use its benefits for drama of its success. “Everyone that goes on images on the surrounding video wall. at any budget. It is still expensive to that set, and everyone that I know But in a green-screen studio, his rent a large volume, or certainly to that’s ever worked on a digital trans- armour would have picked up green build one, but, when you start to com- formation, is doing so for the benefit of patches that would have needed labo- bine it with other virtual production their customers, the business, or that rious post-production work to prevent techniques, it works pretty well,” he particular piece of beautiful creativity. the background leaking through. said. “For example, I’m looking at So, yeah, we’re humans and make Milham described the collaboration doing the big wide shots on blue things messy. But at the same time, needed from all departments as a “sea screen using SimulCam [which super- humans can come together and make change”, because, “rather than input imposes real world actors and objects great things.” virtual effects at the end of the process, on to a virtual world]. Looking to the impact it will have it’s [done] right at the start, and each “Then I’m flying in LED panels for in the future, Sky Studios is focusing department can influence the look and the medium close-up work. So you the application of virtual production feel of the production”. can use this stuff in combination. Well on its drama slate, before moving on to The technology began life in the computer games industry, where development and game-play platforms such as Unreal Engine and Unity matured until they were ready to be repurposed for the film and television industry. Now, stepping into a “vol- ume” – the programmable space in which filming takes place – is akin to stepping out on location, but with a fraction of the effort. Neil Graham, head of virtual produc- tion at Sky Studios, said the new tech- nology supported a number of strategic goals set by Sky Studios, such as financially de-risking projects by planning ahead, reducing their carbon footprint, improving efficiency on set, and allowing the previsualisation stage to happen in real time, and collabora- The Mandalorian set used wall and ceiling-mounted LED screens tively. “So it gets [us] away from [the Disney+ traditional] linear process, and that drives innovation,” he said. planned, it can be faster and better, comedy, entertainment and the arts. Previsualisation allows the various and you can make it stack up.” Its potential will grow as the tech- departments to understand a director’s The elephant in the Zoom room was nology continues to develop and the intent well before principal photogra- addressed: does this mean crew are at range of already-created volumes phy starts. But the possibility of being risk of losing their jobs? increases, which is likely to make able to stand inside a variety of virtual “I think the fear is the disruption and rental prices more affordable. “It feels locations or “sets” before any con- change, which is undeniable. It doesn’t to me like virtual production is still in struction takes place now allows the really change the core thing we’re its infancy. There’s been amazing work director and department heads to doing,” said Milham. “If you’re a gaffer over the past couple of years but the discuss the implications of each others’ or someone who is used to working tools are getting better all the time,” creative ideas at a very early stage. on a set, [you might think,] ‘Here Graham said. “So it does feel like that There is a cost-saving aspect as well. comes this guy with his computers who impact will grow exponentially.” “Part of our metric for success is that thinks he’s going to take over’. Well, we The best news is that, as far as tech we need to be able to bring the location are still dealing with the physics, emo- goes, it is easy to dip your toe into it to the stage cheaper than to take the tion and craft of lighting something. and explore the possibilities. “You can crew to the location,” said Milham. “You might be lighting with an iPad literally replicate the brain bar [the “There’s physical construction, less instead of a physical instrument, but informal term for the virtual produc- moving in. We’ve seen the same crew we also still use physical instruments. tion team on a project] by using Unreal get up to 30% faster on a volume stage There are all kinds of exciting possibil- Engine, a PC and some TVs,” said Jelley. than on a traditional stage.” ities, so someone who can navigate the “It’s very accessible, much more so Steve Jelley, co-founder of Dimen- tricky waters of that change can find a than most film-making equipment… sion, a cutting-edge virtual production version of their job that they like more.” There’s really no barrier to entry.” n studio, gave an example of how it Kate Gray, the head of product man- works in practice. It recently filmed agement at NTT Data (“part of NTT, Report by Shilpa Ganatra. The RTS event Fireworks, a new indie short from two- which is most likely the largest tech ‘TV’s production revolution: The rise and time Oscar-winning VFX Supervisor company that no one’s ever heard of”), rise of virtual production’ was held on Paul Franklin, who won for Inception explained that, with all tech develop- 28 June. It was chaired by journalist (2010) and Interstellar (2014). ments, human adoption is at the heart Kate Russell.

Television www.rts.org.uk July/August 2021 29 Wanted: more staff, studios and gear Tara Conlan investigates how the pandemic and the demand for content have led to acute shortages hitting UK TV production

ist fight” and “a perfect have ensuring rigorous Covid protocols autumn and the start of 2022 come storm” are how produc- are in place.” back into production”. ers are describing the Magris adds: “There’s also cost infla- Her team has been helping produc- current scarcity of crew, tion and logistical challenges. Encour- tion companies ensure they have the kit, studio space and agingly, out of the hundreds of titles right teams for shows: “It may mean talent in the British TV we deliver each year, only a handful tweaking, sharing of personnel and ‘industry.F The situation has arisen pri- are experiencing minimal delays. making some calls ourselves... but it marily due to the pre-Covid-19 content We’re proactively managing the situa- usually works out.” boom driven by the expanding stream- tion and working closely with our Although ITV successfully aired big ing market and the post-lockdown commissioners to mitigate these risks.” shows, such as I’m a Celebrity... Get Me rush back to production. And it is put- ITV head of entertainment commis- Out of Here!, last year despite the pan- ting production schedules under strain. sioner Katie Rawcliffe says she has demic, Rawcliffe says that this year has As BBC Studios Productions’ acting noticed “a lack of experienced show not been as easy as some had COO, Sonia Magris, says, while this “is runners as the bigger shows for the expected. The Masked Dancer producer great news for TV content makers, the Bandicoot (which also makes The sector is undoubtedly feeling the pres- Masked Singer) had to quickly find a sure that comes with it, and BBC Stu- different studio because its usual one dios Productions is not immune to this. ‘SOME PEOPLE was already occupied by a new ITV “One of the biggest challenges is that WALK OFF MID- show, Starstruck. But for Rawcliffe, “our there are not enough people in the biggest battle is still Covid... we had an market to supply the current demand, SHOOT BECAUSE international shoot halted this week which means our production teams THEY’VE HAD A due to overseas guidelines”. are working harder than ever. This is in According to a recent survey of addition to the added pressure they BETTER OFFER’ employers by the TV industry training

30 body ScreenSkills, 82% say recruit- the same budget while carrying extra ment is a problem while two-thirds Covid-related costs. She says broad- believe the health crisis has exacer- casters have been sympathetic but bated it. often “they are tightening their belts, so Nicky Ball, the senior high-end TV you’re trying to achieve the same kind new entrant manager for ScreenSkills, of creative ambition while everything says part of the reason is that former costs more – and it’s not just crew, it’s production managers or co-ordinators facilities, it’s equipment. People are have moved into the newly created saying, ‘There are no dollies until Octo- roles of Covid supervisors. “The ber’, and having to find a way around it.” demand is phenomenal. I’ve never Burstall agrees that “there’s a mas- known anything like it,” she says. sive national and international scram- Bandicoot’s parent company, ble for equipment. We’ve been Argonon, also owns Leopard Pictures, bringing equipment from Liverpool which is currently shooting Worzel down to London… from Northern Ire- Gummidge. Argonon CEO James Bur- land to Manchester.… That does cost stall says: “At the moment, it is a per- money. At some point, we’re going to fect storm.… There is a massive and have to pay for these things. chronic shortage of talent, space and “Therefore there are difficult, ongoing studios. To be honest, it’s a complete conversations with commissioners fist fight really for people to get their – who are being pragmatic – about hands on the best talent and studios, how these things are going to cost more and the best product, budgets, sched- money. As an industry, we’re going to ules and teams. have to come up with solutions.” The Masked Dancer

“It’s a good problem to have… ITV Part of that is recruitment. Recently, because we are this hub of expert tal- BBC Studios launched a film* called ent in the UK, but it does mean that “virtually everything out... and for Inside the Screen on BBC Bitesize to show budgets are being squeezed. Costs are 20 weeks. Those big, long-running children the range of behind-the-cam- going up enormously. We’re having to juggernaut series such as Reported Miss- era TV careers available. Argonon is also start pre-production a lot earlier.” ing are back and taking stuff as they encouraging children from different He notes that big streamers such as need to plan and have two crews backgrounds to look at TV careers via Netflix and Amazon have been putting working in isolation, etc.” the charity Speakers for Schools. studios and talent on retainers, “which The Kit Room’s manager, Robin With help from the High End TV is great for talent but, at the same time, Weaser, explains that there have been Skills Fund – which drama, comedy it means the marketplace is now over- delays in getting new kit due to the and factual productions pay into – stretched. It’s impossible to go into lack of computer chips from Chinese ScreenSkills has also been recruiting production quickly on high-end shows.” factories closed because of Covid. new people at every level via the First According to DV Talent Managing “Added to that, there’s the complica- Break, Trainee Finder and Make A Director Matt Born, job postings aimed tions caused by Brexit” – equipment Move schemes. Last year Ball was at freelancers on The Talent Manager that could previously be ordered from worried about getting enough work for website are running at almost double Germany with next-day deleivery, can trainees, but 116 productions are using their usual level. This year, searches on now take two weeks to arrive as it is her people: “It’s fantastic… but we need the site are up 75% on the same period held up at borders or in warehouses. to make sure we really support and last year, to 140,000. Momentum Television, which makes nurture those individuals, whether He says: “A lot of people are strug- BBC One comedy Ghosts, has just started they be new entrants or [those] step- gling to find production managers and filmingMurder in Provence for BritBox, ping into a more senior role.” co-ordinators. There’s this boom in starring Roger Allam. Some filming is One bonus is that the drive to get productions but you need people who needed in France and, hopefully, will be more people into TV may be boosting can run them properly, especially with happening towards the end of its sched- diversity. Searches on DV Talent’s diver- tighter budgets and more complicated ule once travel restrictions are relaxed. sity search engine are up 594%, com- schedules thanks to Covid.” Co-executive producer Alison Car- pared with the previous year to date. Born believes many production penter describes the situation as “a sort Carpenter argues that there is also an managers have left the industry due to of Wild West. Rates have gone up. opportunity to address industry-wide stress and lack of flexibility. Rawcliffe Luckily, it hasn’t happened to us yet but work culture issues: “One of the things calls them “unsung” heroes because, [some] people [have been] walking off I’m proud of is that crews come back on top of their normal workload, they mid-prep or mid-shoot because they’ve to us saying they’ve had a lovely time have had “to navigate their way had a better offer. Which is sort of working with us. That feels really through guidelines, innovating and understandable because people lost important, not just in terms of reten- implementing safe practice, and bal- such a chunk of their income last year.” tion but at a time when we’re all talk- ancing that with the financial fall-out”. Carpenter highlights the problem of ing about bullying in the industry.” n Kit is an issue, too. Born says DV shows that were budgeted and financed Talent’s subsidiary The Kit Room has pre-pandemic now having to film on * www.bbc.co.uk/bitesize/articles/z6x67yc

Television www.rts.org.uk July/August 2021 31 OUR FRIEND IN THE EAST

A-listers are heading

t’s no secret that Norfolk has to Norfolk for both of Hunstanton beach made the early hosted many well-known TV films and TV series. starts that much easier. I am already and film titles over the years. looking out for an excuse to return.” Think of classic British shows Claire Chapman Our Norfolk Screen service also such as Dad’s Army, blockbust- hosts an online directory, where ers Shakespeare in Love, Jack the explains the appeal locally based creatives and companies Giant Slayer, Stardust and Aveng- of Nelson’s county involved in film and TV production ers: Age of Ultron, and British features can register their services for free. I45 Years, Yesterday, The Souvenir (1 and 2) to producers In our first year we are thrilled that and Alan Partridge: Alpha Papa. the not-for-profit Norfolk Screen has The region boasts the most won- received endorsements from such derful, diverse landscapes – from industry bodies as the British Film breathtaking beaches, beautiful big Commission, ScreenSkills and the skies and gorgeous stately homes to BFI. We are also a Creative England: a medieval city, outstanding market Filming in England partner. towns, world-class architecture and Our advisory board includes such miles of waterways. luminaries as Golden Globe-winning While you may not see Iron Man or producer Debra Hayward, RTS Thor wandering around Norfolk, what award-winning director Julian Jarrold you will find is a stunning variety of and producer Hilary Bevan Jones, the some of the best backdrops for film- recipient of Emmy, RTS and Bafta ing in the UK. Increasingly, this awards. unspoilt county gem is recognised Norfolk is a unique county that has

not only for its incredible locations Norfolk Screen much to offer any production. Who but as a growing creative powerhouse could sum it up better than Norfolk of talent, services and facilities. These high-­profile productions such as: Spen- legend Stephen Fry, who says: “It’s include several built spaces and stu- cer, starring Kristen Stewart as Diana, not just the glorious vistas, the dios, such as the recently expanded Princess of Wales; the comedy drama famous skies, the coastline, the mar- Raynham Hangar Studios (4,600m2) Good Luck to You Leo Grande, starring ket towns, and the sheer variety of and Epic Studios (930m2). Emma Thompson as a widow seeking landscape and location that the To help spotlight the region’s pro- sex; and Sky’s This Sceptred Isle, starring county of Norfolk offers – it’s some- duction infrastructure, Norfolk Screen Kenneth Branagh as Boris Johnson. thing else, something to do with the was established by development Spencer’s UK producer, Paul Webster, authentic continuity of character and director Craig Higgins and myself last says: “Filming in Norfolk was such a difference that has run through the November. Our aim is to provide a wonderful experience. Norfolk Screen people and the place that lends Nor- one-stop, screen-friendly service was instrumental in helping us source folk its uniqueness, charm, quirkiness, showcasing Norfolk’s locations, talent, our local crew who worked tirelessly beauty and grandeur. services and facilities, and to supply and with unending enthusiasm. “I’m prejudiced because I grew up an information and advisory service “Everywhere we went, we were here and live here still, but I’m more to those considering or intending to supported and made to feel so wel- prejudiced because I’ve filmed here shoot here. This includes helping link come. We also had excellent access to and I know that there’s no experience productions with local authorities to world-class, unspoilt locations – from like it.” n make it easier to organise film permits. winding country roads to the stunning This year we have already welcomed North Norfolk coast. Claire Chapman is Managing Director of an array of A-listers working on “Watching the sun rise on the sands Norfolk Screen (www.norfolkscreen.co.uk).

32 Vick Hope and Siobhan Greene hosted the awards ceremony streamed on 25 June

Host Vick Hope and (inset) Awards Chair Siobhan Greene RTS RTS Student Television Awards 2021 Sponsored by Undergraduate Animation Undergraduate Non-Scripted Undergraduate Scripted My Favourite Hill Man, Beast and the Heart to Win Paper Round Boy Chris Childs, UWE Bristol Hal Bartlett, Will Eastwick-Field, Dave George Stickley, Anastasija Pcelinceva, ‘The dialogue was hilariously deliv- Jones, Ross Charette, Jamie Doughty Ted Box, Millie Bennett, Richard Skull ered and crafted. An interesting and and Peter Dixon, Falmouth University and Brandon Thompson, University of enjoyable commentary on working ‘A beautifully shot documentary Gloucestershire life, as well as a lovely tribute.’ imbued with… personality and com- ‘A sweet, big-hearted film, with a Nominees: pelling storytelling.’ witty and original script. Beautifully ◗ Husky, Darragh Scott, The National Nominees: shot and designed, with a wonderfully Film School, IADT ◗ Canada’s Keepers, Mia Frank, Monica nostalgic, almost retro tone.’ ◗ Last Week, Jamie Walsh, University of Athnasious, Seila Lalou, Minori Iwahashi Nominees: Central Lancashire and Karyan Au-Yeung, University of Leeds ◗ Cease, Aisling O’Regan Sargent, Philip ◗ Spellbound, Amelia Parker, Beth Ryan ◗ Staying Sane (During a Global Emo, Dylan Keenan, Cormac Campbell and Team, Arts University Bournemouth Pandemic), Dorothea Scarleta Sterian, and Keen Murphy, The National Film University of Salford School, IADT �

Television www.rts.org.uk July/August 2021 33 ◗ Future for Our Children, Cameron Jones, Iulia Nistor, Christos Panagiotou, Harry Tye, Amer Hasan, Aislin Plaistow and Jessica Mistry, Sheffield Hallam University ◗ Yard Kings, Billy King and Vasco Sancho, Middlesex University Undergraduate Camerawork Paper Round Boy Ted Box, University of Gloucestershire ‘Nice lighting and framing really helped to bring this story to life. Very well shot.’ Nominees: ◗ Man, Beast and the Heart to Win, Dave Jones, Falmouth University Yard Kings, Jakub Rogala, Middlesex University Undergraduate Editing Staying Sane (During a Global Paper Round Boy, Undergraduate Scripted, Undergraduate Camerawork Pandemic) and Undergraduate Production Design

Dorothea Scarleta Sterian, University of Gloucestershire University of Salford ‘There wasn’t a wasted shot. The edit- My Favourite Hill, ing was incredibly tight and very Undergraduate accomplished.’ Animation Nominees: ◗ Spellbound, Olesia Sizikova, Arts University Bournemouth ◗ Yard Kings, Aiden Tobin, Middlesex University Undergraduate Production Design Paper Round Boy George Stickley and Richard Skull, ­University of Gloucestershire ‘Great costumes combined with the art department [to make] a very impressive-­ looking film.’

Nominees: UWE Bristol ◗ Spellbound, Amelia Parker and Beth Ryan, Arts University Bournemouth Yard Kings, ◗ Yard Kings, Miriam Abdulameer, Undergraduate Middlesex University Sound Undergraduate Sound Yard Kings Zazanna Pencak, Middlesex University ‘This on-location sound recording was very impressive. A compliment to the skill of the designer.’ Nominees: ◗ Husky, Darragh Scott, Geoffrey Perrin and Rhyss Davies, The National Film School, IADT ◗ Staying Sane (During a Global Pandemic), Dorothea Scarleta Sterian, University of Salford Middlesex University

34 Undergraduate Writing Staying Sane (During a Global Pandemic) Dorothea Scarleta Sterian (University of Salford) ‘A very impressive bit of screenwriting behind a very challenging and intrigu- ing film.’ Nominees: ◗ Canada’s Keepers, Mia Frank, University of Leeds ◗ Paper Round Boy, George Stickley, University of Gloucestershire Man, Beast and the Heart to Win, Postgraduate Animation Undergraduate Non-Scripted The Song of a Lost Boy

Falmouth University Falmouth Daniel Quirke, Jamie MacDonald, Brid Arnstein, Emma Langguth and Team, National Film and Television School ‘This film [had a] unique style and its message of acceptance [was] told in such an interesting and original way. A lot of deep thought had gone into the design and materials chosen.’ Nominees: ◗ Between Us, Niancao Yang, Lite Zhu, Tim Steemson and Yali Shen, London College of Communication at the University of the Arts London ◗ Something Borrowed, Micky Wozny, Nathan Hardisty, Andrew St Maur, Twan Peeters and Gabe Robertson, National Film and Television School Staying Sane (During ◗ The Fire Next Time, Renaldho Pelle, a Global Pandemic), Kerry Jade Kolbe, Yangling Wang, Fabio Undergraduate Editing Mota, Robin Whalley and Team, National and Undergraduate Writing

University of Salford University Film and Television School Postgraduate Entertainment Other Nature Alex Cartlidge, Olympia Christofinis and Team, National Film and Television School ‘A rounded story that had viewers hooked from the start. It was well cast, well acted and very well done.’ Nominees: ◗ What’s in a Name, Nathalie Maher, Harriet Erskine Still and Leni Jaeger, The Song of a Lost Goldsmiths, University of London Boy, Postgraduate ◗ Who Murdered the Maid?, Wendy Yee Animation and Man Wong, George Burns, Alix Li, Wilson Postgraduate Foo Yong Sheng, Benjamyn Bird and Guy Production Design

National Film and Television School National Film and Television Dowsett, Arts University Bournemouth ◗ Wild Cooks, Rohit Karan Baidya, Sebastien Duchateau and Team, The RTS Student Television Awards The winning films from each RTS National Film and Television School � 2021 reward outstanding work ­centre, along with all postgraduate ­produced during the 2019/20 aca- entries, were then judged nationally demic year. Undergraduate entries in April 2021. were first judged at a regional level by their local RTS centre in the winter You can see a selection of the of 2020. students’ films at bit.ly/xxxx

Television www.rts.org.uk July/August 2021 35 Postgraduate Natural History Zágon, Secrets of the Salamanders Postgraduate Madelaine Westwood, Nathan Small, Non-Scripted Waltteri Vanhanen and Constance Bran- nick and Team, National Film and Tele­ vision School ‘Strong visuals [and] a great use of archive footage, with a great voice and tone. A strong opening captured your attention and great photography throughout kept it.’ Nominees: ◗ Life on the Rocks, George Pretty, Oli Bauer, Will Turner, Andrea Lo Priore, Breen Turner and Team, National Film and Television School ◗ Red or Dead, Archie Wilson, University of the West of England ◗ Wild Therapy, Bobby Hardy, University of the West of England Postgraduate News The Reproduction Revolution Freya Chappell, University of Salford ‘An excellent reporter-led portfolio of films, [which] showed great technical

flair [and a] range of voices presented College of CommunicationLondon in a balanced and informed way.’ Nominees: Secrets of the ◗ Rugby Union: The Invisible Injury, Salamanders, Matthew Leon, Cardiff Metropolitan Postgraduate University Natural History ◗ The Currency of Culture, Nabil Mehdinejad, City, University of London ◗ When Sex Games Go Wrong, Caitlin Kelly, Katie Dennison and Victoria Hudson-Grant, City, University of London Postgraduate Non-Scripted Zágon Mateo Villanueva Brandt, Luke Kulu­ kundis, Vincent Zágon, Zack Bottoni, Amy Douglas-Morris, Gabriel Ware and Martyn

Ware, London College of Communication School National Film and Television at the University of the Arts London ‘Brilliant, beautiful, clever, incredibly Other Nature, positive.… The way the art forms inter- Postgraduate twined was captivating.’ Entertainment Nominees: ◗ Bringing Home the Blubber, Molly Adams, Ujuunnguaq Heinrich, Maalat Heinrich, Aili H Platou and Joel Jørgensen, London College of Communication at the University of the Arts London ◗ Inside a Marriage, Ben Cheetham, Margred Pryce, Ed Rousseau, Adam Speck and Team, National Film and Television School ◗ Short-Term Sister, Philipp Lippert, Maximilian Schürmann, Alina Kay Kolosova and Zak Allum, Goldsmiths, University of London National Film and Television School National Film and Television

36 Postgraduate Scripted Who Goes There? Astrid Thorvaldsen, Leah Bethany Jones, William Gillies, Graham Boonzaaier, Armiliah Aripin and Team, National Film and Television School ‘Who Goes There? felt big and cinematic [and] genuinely scary! Everything from costume to production design was impressive.’ Nominees: ◗ City of Lost Children, Misha Vertkin, Jesse Romain, Brid Arnstein, Pep Bosch and Team, National Film and Television School ◗ One for the Road, Eileen Tracey, Milena Bolouri and Julia Sander, Who Goes There?, Goldsmiths, University of London Postgraduate Scripted

National Film and Television School National Film and Television ◗ Stratum Deep, Lian Meng Rose, James Bowsher, Nathan Hardisty, Nathalie Pitters, Andrew Merrison and Team, National Film and Television School Postgraduate Camerawork Life on the Rocks George Pretty, National Film and Tele­ vision School ‘The style of camerawork significantly contributed to the success of the film. 1 2 3 4 The sense of loneliness… and the bleak environment were captured wonder- fully and contrasted superbly with the interviews. A triumph.’ Nominees: ◗ City of Lost Children, Pep Bosch i Calvo, National Film and Television School ◗ Who Goes There?, Graham Boonzaaier, National Film and Television School

5 6 7 8 Postgraduate Editing Short-Term Sister

RTS Philipp Lippert, Goldsmiths, University of London Life on the Rocks, Postgraduate ‘The excellent standard of the editing Camerawork and Postgraduate Sound massively contributed to, and embel- lished, the production of a very sensi- tive subject.’ Nominees: ◗ City of Lost Children, Edward Coltman, National Film and Television School ◗ Who Goes There?, Armiliah Aripin, National Film and Television School �

Award recipients: 1 Peter Dixon, 2 Astrid Thorvaldsen, 3 Olympia Christofinis, 4 Max Tobin, 5 Madelaine Westwood, 6 Millie Bennett, 7 Freya

National Film and Television School National Film and Television Chappell, 8 Daniel Quirke

Television www.rts.org.uk July/August 2021 37 Postgraduate Production Design The Song of a Lost Boy Steven X Haber, National Film and Television School ‘The sense of fun really came through the production design and provided a visceral visual experience.’ Nominees: ◗ City of Lost Children, Anna Wołoszczuk, National Film and Television School ◗ Who Goes There?, Peter Coulthard, National Film and Television School Postgraduate Sound Life on the Rocks Breen Turner, National Film and Tele­ vision School ‘The sounds of the environment were captured brilliantly.… The film used the sound design to breathe, which really Short-Term Sister, contributed to the success of the piece.’ Postgraduate Nominees: Editing and Postgraduate ◗ The Fire Next Time, Jose Pablo Writing

Ramirez Leiva, National Film and of London University Goldsmiths, Television School ◗ Who Murdered the Maid?, Guy Dowsett, Arts University Bournemouth Postgraduate Writing Short-Term Sister Philipp Lippert, Goldsmiths, University of London ‘Guiding the viewer through a story so close to the narrator’s heart cannot have been easy, yet the writing allowed the viewer to be taken on a real jour- ney from start to finish. Brilliant.’ Nominees: ◗ One for the Road, Liam Lemkin The Reproduction Revolution, Anderson, Imogen Radwan and Eileen Postgraduate News

Tracey, Goldsmiths, University of London of Salford University ◗ Something Borrowed, Nathan Hardisty, National Film and Television School Young Filmmaker Award I Will Despise You Max Tobin, Ed Whyte, Joe Luk, Oli Thomas and Almir Datoo ‘An impressively made and ambitious short drama. The script was a triumph and the comedic elements worked well. The film showed great planning and vision in terms of creating the look and feel, using multiple locations and filming under extremely chal- lenging conditions.’ Nominees: ◗ Badgirl$ – ‘Next Up II’, Krishan Sharda, Nathaniel Turner Caralho, Courtney Bennett, Sam Holding and I Will Despise music by Badgirl$ You, Young Filmmaker ◗ , Cian Desmond and Jack Three Hikers Award

Desmond n The Messenger Shoot

38 Kinetic Content sponsored the RTS Student Television Awards 2021

In August 2020, Chris Coelen, the Emmy nominated founder/ CEO of Kinetic Content, and German/UK based Red Arrow Stu- Indios, August announced 2020, Chris a new Coelen, joint venture the Emmy in Los nominated Angeles focusingfounder/ CEOon developing of Kinetic Content, high-end and scripted German/UK TV series based with Redglobal Arrow appeal Stu- dios,for theannounced US marketplace. a new joint Melissa venture Myers in Los was Angeles recruited focusing from WMEon developing to head the high-end new company, scripted tapping TV series into with her global international appeal scriptedfor the content US marketplace. knowledge, Melissa as well Myers as Coelen’s was recruited and Red from Arrow WME to head theStudios’ new company, existing relationships.tapping into her international scripted content knowledge, as well as Coelen’s and Red Arrow The creative aim Studios’of the company existing isrelationships. working with gifted creators and discovering new voices/worlds to focus on premium high- Theend, creative English-language aim of the company scripted TVis working series with with both gifted domestic creators andand discovering international new appeal voices/worlds – as well as to leaningfocus on into premium our parent high- end,companies English-language strengths: Kinetics’ scripted hit TV marriage, series with relationship both domestic and socialand international experiment brand,appeal serving – as well the as US leaning scripted into market our parent while companiesutilizing Red strengths: Arrow Studios’ Kinetics’ tremendous hit marriage, international relationship reach. and social experiment brand, serving the US scripted market while utilizing Red Arrow Studios’ tremendous international reach.

Chris Coelen’s Kinetic Content slate includes the Emmy Melissa Myers, previously a partner at WME, spent Nominated, Netflix smash hit, LOVE IS BLIND, as well as more than 20 years at the agency, spearhead- showsChris Coelen’s in every Kineticnon-scripted Content genre: slate ground-breaking includes the Emmy ingMelissa the International Myers, previously Scripted a partner Department at WME, while spent socialNominated, experiments Netflix like smash MARRIED hit, LOVE AT ISFIRST BLIND, SIGHT as (Lifewell -as buildingmore than a renowned20 years at TV the roster agency, of writers, spearhead directors- time),shows THE in every SPOUSE non-scripted HOUSE (TLC);genre: highly-rated ground-breaking docu- anding the talent International while specializing Scripted in Department packaging globalwhile seriessocial experimentsLITTLE WOMEN: like MARRIEDLA, LITTLE AT WOMEN: FIRST SIGHT ATLANTA (Life- content.building Hera renowned clients at TV WME roster included of writers, British directors pro- andtime), LITTLE THE SPOUSE WOMEN: HOUSE DALLAS; (TLC); cooking highly-rated competitions docu- ductionand talent outfits while Leftspecializing Bank Pictures in packaging (THE CROWN, global THEseries TASTE LITTLE (ABC), WOMEN: hidden-camera LA, LITTLE hitWOMEN: BETTY WHITE’SATLANTA OUTLANDER),content. Her clients Big Talk at WME Productions included British pro- OFFand LITTLETHEIR ROCKERSWOMEN: DALLAS;(NBC), weight-loss cooking competitions competition (CRASHING,duction outfits FRIDAY Left BankNIGHT Pictures DINNER), (THE Riff CROWN, Raff MYTHE DIET TASTE IS BETTER(ABC), hidden-camera THAN YOURS (ABC)hit BETTY and WHITE’Sgame ProductionsOUTLANDER), (JUDE Big TalkLAW), Productions Red Productions (YEARS showsOFF THEIR GEEKS ROCKERS WHO DRINK (NBC), (SyFy) weight-loss and YOU competition DESERVE &(CRASHING, YEARS, HAPPY FRIDAY VALLEY) NIGHT etc, DINNER), while representing Riff Raff ITMY (ABC). DIET ISCoelen BETTER has THAN longtime YOURS international (ABC) and ties. game As a internationalProductions (JUDE artists LAW),including Red SJ Productions Clarkson (ANAT (YEARS- partnershows GEEKS at UTA, WHO he created DRINK and (SyFy) ran and the YOUAlternative DESERVE and &OMY YEARS, OF A HAPPY SCANDAL, VALLEY) SUCCESSION, etc, while representing JESSICA InternationalIT (ABC). Coelen TV Departments. has longtime Heinternational left UTA to ties. become As a internationalJONES), Anthony artists Byrne including (PEAKY SJ BLINDERS),Clarkson (ANAT Ben- thepartner founding at UTA, CEO he createdof the North and ranAmerican the Alternative arm of British and TaylorOMY OF (SEX A SCANDAL,EDUCATION, SUCCESSION, CATASTROPHE), JESSICA productionInternational company TV Departments. RDF Media, He whichleft UTA ultimately to become was FrancescaJONES), Anthony Gardiner Byrne (SUCCESSION), (PEAKY BLINDERS), Sally Ben boughtthe founding by Banijay, CEO ofwhere the North he produced American WIFE arm SWAP, of British SE- WainwrightTaylor (SEX EDUCATION,(GENTLEMAN CATASTROPHE), JACK, HAPPY VALLEY), CRETproduction MILLIONAIRE company and RDF DON’T Media, FORGET which ultimately THE LYRICS. was TobyFrancesca Haynes Gardiner (UTOPIA, (SUCCESSION), BLACK MIRROR), Sally Jane Inbought 2010, by Coelen Banijay, founded where Kinetiche produced Content, WIFE subsequently SWAP, SE- FallonWainwright (TEACHERS), (GENTLEMAN and many JACK, more. HAPPY VALLEY), acquiredCRET MILLIONAIRE by Red Arrow and Studios. DON’T FORGET THE LYRICS. Toby Haynes (UTOPIA, BLACK MIRROR), Jane In 2010, Coelen founded Kinetic Content, subsequently Fallon (TEACHERS), and many more. acquired by Red Arrow Studios.

Television www.rts.org.uk July/August 2021 39 RTS NEWS especially via short films. These help people obtain new skills, but it’s nothing like getting that half hour on telly, which is a huge psychological­ leap.” Executive producer and training manager Sara Har- kins said that many people in Scotland didn’t regard TV as a potential career. To overcome this, it was important for TV people to get into schools, primary as well as secondary, so students, teachers, parents and carers learnt about the sector “as a proper job”. She added: “People not only don’t know about it, they’re also nervous because they don’t know or see people in the industry like them.… We need to get across that it’s a Black and Scottish

BBC proper job that people can make a career from.” Discussing disability, the panellists stressed the impor- Role models on screen tance of emphasising skills and abilities, not disabilities. They referenced the work of Steve Clarke learns there is no shortage of diverse the Ability Academy, formed by Nigel G Honey, who was

RTS Scotland television and film talent north of the border told he would never become an editor because of his dis- he importance of can come across as a bit jar- writer and performer Robert ability, but went on to edit positive role models ring.… It feels a bit more like a Florence, both said their expe- successful films. to create a genuinely tick-box exercise. But when riences of working in theatre Raise the Roof Productions inclusive workforce, I’m contacting them, I am had been much more suppor­ talent manager Jeannot Twhether those are people of more interested in the stories tive than they’d found on the Hutcheson praised a recent colour or those who are dis- they want to tell and what average TV set. Channel 4 disability network- abled, was emphasised during they want to create. I can also “TV production can some- ing event: “We didn’t have an RTS event in June, “The relate to them as I’m from an times be a wee bit cold,” said conversations about people’s future of off-screen produc- ethnic minority background.” Florence. “Often, you start as disabilities but about their tion diversity in Scotland”. The Bafta-nominated film- strangers… and quite often skills and abilities. I came Black Scottish director and maker, who made Black and you stay strangers throughout away with five new people. producer Stewart Kyasimire, Scottish, set up Scotland’s first the course of the production.” Where can I find them a job?” MD of Create Anything, said all-BAME indie. His latest He said broadcasters and There was optimism that there was no shortage of film,Bash the Entertainer: Behind indies should rely less on attitudes to minorities were diverse TV and film talent. It the Smile, also for BBC Scot- hiring people they’ve worked changing in Scottish TV, but was, however, important to land, tackles social media, with before: “Low-budget a more caring and flexible approach workers sensitively racism and mental health. shows are an opportunity to attitude was needed so that and for people from BAME He told the RTS that he was throw caution to the wind successful and long-lasting backgrounds to see people amazed at the response he and hire new people, and give careers could be forged. like themselves working on received when he advertised people from diverse back- “Black Lives Matter has both sides of the camera. for staff; he was sent more grounds a proper opportunity. been a kick up the backside “Sometimes,” he said, than 500 CVs in three days: Diversity has to be aggres- to everyone,” said Harkins. “when you have white people “They came from all walks of sively pursued.… “It’s galvanised people to contacting people of colour life and from across the UK.” “BBC Scotland is great at think, ‘We need to stop talking who want to get into TV, it He and a fellow panellist, supporting people online, about it and get on with it’.” n

40 eading football commentators­ and reporters offered the inside track on their Ltrade at an RTS Cymru Wales event in early June. “The evolution of the foot- ball reporter” was part of “Expo’r Wal Goch” (“The Red Wall Expo”), an online festi- val exploring Welsh football’s social, cultural and political impact. It offered two panels: one in English (hosted by sports broadcaster/producer Steffan Garrero) and one in Welsh (chaired by S4C com- mentator Nic Parry). Wales vs Switzerland, Euro 2020

BBC Radio Wales sports PTI presenter Ian Hunt told Gar- rero that he began as a print news journalist but, having stepped in for a sick colleague From fan to professional at the Western Mail to cover Swansea City, realised “there was no going back to the Matthew Bell discovers how football commentators bread and butter news stuff”. Freelance broadcaster Cymru Wales and reporters turned their passion into a job Abigail Davies took a very different route into broad- nine that I wanted to be a I’m a Sheffield Wednesday Laura Kenyon, assistant casting. For her, football football commentator. I fan,” said Premji. “I have cov- editor at BBC Sport in Cardiff, offered an escape. “I was a wasn’t good enough at foot- ered Sheffield Wednesday so who also reports for Final 15- or 16-year-old girl in an ball so, if I couldn’t play it, I much on Five Live and Final Score and Match of the Day in-patient eating disorder was going to talk about it.” Score, and even when they’re Wales, offered some advice to unit with a very bleak out- Law began as a teenage getting absolutely battered, youngsters hoping to break look on life,” she recalled. commentator on hospital which was quite a lot this into commentary and report- “My uncle took me to a foot- radio covering Wrexham. “[It season, I have to keep it ing. Increasingly, she sends ball match and, from there… I was] a brilliant training ground together, even though inside all-rounders to matches, so saw football as my route out.” – no one was listening… you I’m cursing every away goal that they can write reports, A decade or so later, Davies could make mistakes without that’s going in. You have to shoot video, cover press is reporting on matches for any real repercussions.” be ultra-professional [to conferences and commen- Sky Sports. Jordan Jones founded the avoid bias] – your emotions tate: “Accumulate as many At university, freelance local football website Y Clwb have to be in check.” skills as you possibly can.” reporter Naz Premji, who can Pêl-Droed. “The mainstream Law is currently working Davies suggested: “Volun- often be seen on the BBC’s media weren’t doing enough for Leeds United channel teer at your local football club.” Final Score, was studying finan- to cover domestic Welsh LUTV and pointed out that She gained experience at cial services when he entered football; [it] was always about “Leeds fans don’t want a Cardiff Metropolitan Univer- a local radio competition to Cardiff City and Swansea City neutral commentary”. sity FC, learning to self-shoot find a new sports reporter. He and understandably, because He recalled commentating and edit, and interviewing didn’t win, but did land they have massive fan bases,” on a crucial game at Swansea players and managers. behind-the-scenes produc- he explained. “Our website when Leeds scored in the “We all start at the lowest tion work at the station, and, has prompted the mainstream 89th minute: “It was the goal level,” said Premji, “but the after graduating, was offered media to do more coverage.” that was probably going to buzz and the joy is exactly a trainee news and sport job. It should go without saying send Leeds back to the Pre- the same as long as I’m at a Bryn Law, who worked at that football commentators mier League after 16 years out game, whether I’m down the Sky Sports for two decades, love the game, but do their of it, so it got the sort of com- parks or… at Molineux – I did said there was “no tried and club affiliations ever affect mentary treatment… that it the final game of [last] sea­son, tested route” into broadcast- their objectivity? deserved – I went mad, Wolves against Manchester ing. “I decided at the age of “I don’t hide the fact that basically.” United.” n

Television www.rts.org.uk July/August 2021 41 RTS NEWS

It can be a lengthy and labyrinthine process, with the vast majority

Thames Valley of ideas failing to last the course, but thousands of TV programmes still make it to air every year. At an RTS event in June, “From idea to screen”, co-hosted by The Production Guild of Great Britain, production experts offered the inside track. Chloe Seddon, head of development at factual indie Parable, which made Our Baby: A Modern Miracle for Channel 4, advised: “You need to think like a broad- caster; know what’s on telly, what’s doing well, where the gaps are and what audiences Gangs of London aren’t being served.” Sky Talent or “access to an interesting place” can help to going to be a negotiation get a programme commis- between the creative, the sioned. However, she added: Piloting ideas budget and schedule.” “You do need the stars to align Lyndsay Duthie, CEO of [even]… for a standout idea. The Production Guild of You’ve got to keep plugging Great Britain, who chaired away and eventually some- to the screen the event, asked the panel- thing will come off.” lists to pick the most fulfill- Bianca Gavin, head of pro- workflow. Even when they’re director’s vision. In order to ing parts of their jobs. duction at Pulse Films, which shooting, you need editors do that, to the best of our “The excitement of a brain- makes Sky Atlantic’s Gangs of in place.” ability, we have to get storm… when you [realise] an London, looks at “budgets, Dee Allen, a visual effects involved upfront early.” idea is great,” said Seddon. schedule and talent packag- expert based in New York, Previsualisation – the visu- “Turning a creative idea into ing” when a project looks like where he is vice-president alising of complex scenes a reality,” added Gavin, while it could be commissioned. for artists and client relations before filming – “is a key part Redfern identified “seeing Karen Redfern was post- at Company 3/Method Stu- for a lot of projects, not just the finished product”. production supervisor on To dios, said: “Visual storytelling film, but TV now”. He added: “The future is the best Olivia, a British film about has changed so much” over “Directors who you’d see in part,” said Allen. “The way writer Roald Dahl and movie two decades in the business. film are now switching to TV, that technology changes, it star Patricia Neal. Despite her “We create environments, but what they’re bringing with just lends itself to what we job title, “normally we come characters and worlds that them is that [film] sensibility. do for storytelling to get [on board] in pre-production, complement the story… “There’s so much involved better and better.” to [work out] budgets and we’re there to support the in VFX, but there’s always Matthew Bell

Empowerment coach exciting projects they’re Pamella Bisson offered working on… give the con- RTS Futures the experience of her Boss your own life versation time to develop.” 20-plus years working across Bisson concluded: “Con- the media industry at an RTS said, “is a skill that you must nurturing relationships. At an tinue to develop yourself Futures advice session in continue to develop” to get industry event… small talk is – don’t stop, don’t stagnate.” June. The CEO of training on in the TV industry – and good. Don’t go straight into But, she added: “Never com- company Boss Your Life in life. It will help a person to your elevator pitch…. Use promise your well-being. If covered emotional intelli- “communicate assertively your emotional intelligence to anything doesn’t make you gence, dealing with challeng- and be able to address con- read the room and ask [peo- feel good… you don’t have to ing people and building flict” in an industry where ple] questions – find out why stay there. Bossing your life career opportunities during work can be stressful. they’re here and what inter- means that you are working her presentation. On networking, Bisson ests them.… When you natu- on your terms.” Emotional intelligence, she advised: “Keep building and rally get to work, ask what Matthew Bell

42 Terry Stanton 1940–2021

Long-standing RTS Midlands those 50 years and Terry has committee member Terry been at the forefront of it.” Stanton has died at the age Terry’s interest in TV began of 80. In 1992, Terry was at an early age, when his awarded the RTS Midlands’ father bought a Marconi set Baird Medal to mark his out- to watch the funeral of King standing contribution to tele- George VI in 1952. vision. He also served as Chair His first job at Alpha gave Terry Stanton (right) was honoured in 2018 for 50 years’ service

of the centre for four years. him a good grounding in Jenny Wilkes Terry’s 50 years’ service to television engineering and the committee was recognised he went on to found Second analogue or digital. There was Terry organised many of in June 2018, when he was City Broadcast Facilities in not a video reel or ancient the technical lectures for RTS presented with a certificate Birmingham, which provided video cassette that didn’t Midlands, ensuring the centre from (then) Midlands Vice- technical services to the BBC spark a smile when yet enjoyed speakers from the Chair Dorothy Hobson. and ITV for programmes that another, seemingly impossi- cutting edge of technology. At the time of the presenta- included The Sky at Night. ble-to-retrieve format landed In recent years, Terry tion, RTS Honorary Secretary Paul Davies, MD of Vyka in his lap organised events with the David Lowen said: “50 years (formerly Television Junction), “Terry never said no, and Institution of Engineering and ago, television was a box in recalled working with him always made time to explain Technology (IET) in Birming- the corner of the room; it had when Terry was at Second his craft. He was known ham. He was a regular horizontal and vertical hold, City: “My small independent, throughout the region as the attendee at IBC Amsterdam and was probably showing Television Junction, like many go-to expert on 40 years of and shared his experiences black and white programmes. others, relied on his expertise TV gold-dust – material that, with the RTS Midlands There’s been an enormous to get ‘old-fashioned’ tape without him, may never have committee. change in our industry in formats converted to modern been seen again.” Matthew Bell

not to over-prepare,” she said. “Especially for junior Make your mark and entry positions, people tend to give me the answers they think I want to hear.” in interviews She added: “Don’t over- talk in an interview or talk A two-part session things that you can do that over the interviewer. featuring Stellify Media will make your own luck.” “Your application has got director of operations The first is, “you can take you to the interview. What

RTS NI RTS Futures Vikkie Taggart and control of more than you we’re doing in the interview leadership communications think”. Second, Robinson [is assessing] you as a per- coach Sheila Robinson suggested, “It’s helpful to think son.… let your personality offered useful advice on how of an interview in a broader shine through… That’s what’s to stand out in interviews. way – it’s about making pro- going to win you the job.” “In your working life, who- fessional contacts.… It could Outlining who she looks to ever you are and at whatever be that they say, ‘You’re not recruit, Taggart said: “Some- stage it is, things will go right for this job, but I know body who is motivated, against you and there’s abso- somebody who needs some- enthusiastic and has a pas- lutely nothing you can do body just like you.’ sion for the role.” The person, about it,” said Robinson at “Talking about yourself she added, “has to be inter- the RTS Futures Northern can be quite difficult,” she ested in the role, not after Ireland event, “Getting added, urging practice. any job, and somebody who ahead: Making your own Taggart offered stories, good is a team player – it takes a luck and making your mark”. and bad, about interviews she team to build a company”. Vikkie Taggart

Stellify Media Stellify But, she added: “There are had conducted. “Be careful Matthew Bell

Television www.rts.org.uk July/August 2021 43 Northern Ireland is different in Northern Ireland back open for the busi- than if you live in Shepherd’s ness of making TV and Bush. It’s those tonal quali-

Northern Ireland film. That was the ties that are interesting.” overriding message from an “It’s very much full steam RTS discussion, “2021 and ahead,” echoed Simon Clemi­ beyond: Next steps for pro- son, head of news and pro- duction”, last month. grammes at UTV. “We’re Since reopening in June filming, shooting and produc- 2020, after the Covid-19-­ ing in a Covid-secure way. induced shutdown, 117 proj- Safety was the number-one Northern Ireland-shot Derry Girls ects across all genres, Channel 4 priority.” There were oppor- including Irish-language tunities to pitch, particularly shows, TV drama and large- for 2022. He was “wide open” scale films – with three of to ideas of broad appeal to them being made by major Open again “old, young, families”. US studios – have been shot He explained: “We want to in the province, according to bring everyone together and Northern Ireland Screen. for business enjoy shared stories and “We’ve bounced back things that are in and of a bigger and harder than any- place. I am interested in body was expecting,” said lot of property. I’m never not channels and the streamers. what celebrates and con- Andrew Reid, the organisa- going to take a property pitch “I don’t want ‘me-too’ pro- nects to Northern Ireland.” tion’s head of production. but it’s going to have to stand grammes,” stressed Street. “I All genres, except drama and “It feels really exciting that out,” she explained. want to have the show that soaps, would be considered. people are making stuff,” “We have to encourage gets imitated elsewhere.... We The controller of BBC said Jo Street, Channel 4’s people to innovate round the all have to be a bit braver. Three, Fiona Campbell, who head of daytime and fea- edges. In daytime and fea- “Where are the next chaired the event, revealed tures. She encouraged pro- tures we never fully reinvent trends? The power of devel- the channel’s partnership ducers in Northern Ireland to the wheel. We tinker and oping in Northern Ireland with Northern Ireland Screen develop ideas for specific super-size something.” [instead] of London, the had led to The Fast and the Channel 4 slots, rather than An essential requirement influences are different.... The Farmer(ish), a tractor-racing recycling ideas already was to provide audiences life experiences are different. competition filming this pitched to rival outfits. with shows that were differ- The trends are different… summer. “At the moment, we have a ent to those offered by other “Family looks and feels very Steve Clarke

YouTube. The sheer uninhib- Seventy per cent of the inaugural Postgraduate Natu- ited joy of these normally presenting team are disabled ral History Award. Everyone The straight-faced men was genu- and, in a smart move, for the loves expensively shot and inely the stuff of great live TV. duration of the competition expertly narrated wildlife UPSIDE Also, good to see more More 4 will become a dedi- shows but the films nomi- females involved in the cated team sports channel. nated for this award demon- broadcasts. On ITV, Emma Meanwhile, the broadcast- strated that there is another, Hoarse supporters Hayes, manager of Chelsea er’s Paralympics microsite is more cost-effective way to Women, has won wide- to feature 16 live streams and produce fare of this kind. And leap for Lions then… spread praise for her insight over 1,000 hours of action. all without compromising­ the The great TV summer of and analysis. conservation message. sport just keeps on getting better and better. Thank you, Gareth South- Inspiring wildlife gate’s magnificent Young … go back to being sagas on a budget The coronavirus Lions, for cheering up the armchair athletes creative dividend nation after 16 months of The RTS Student Television wretched Covid restrictions. Bring on the Olympics – and Awards are always a heart- Staying with the student If you didn’t catch Gary the Paralympics, where Chan- warming event, where new awards, the ebullient jury Lineker, Alan Shearer and Rio nel 4 is again pushing the talent is celebrated. Chair, Siobhan Greene, was Ferdinand celebrating in the envelope. It is hosting over It was particularly good to on fine form. This year, she studio as Raheem Sterling 300 hours of round-the-clock see them encouraging inno- said, Covid had made the scored for England against Paralympics coverage from vative takes on the natural students’ achievements all the Germany, check it out on Tokyo, Leeds and London. history genre, with the more impressive. Hear, hear.

44 RTS PATRONS RTS Principal BBC Channel 4 ITV Sky Patrons

RTS A+E Networks International NBCUniversal International International Apple TV+ Netflix Patrons Discovery Networks The Walt Disney Company Facebook Viacom International Media Networks Kinetic Content WarnerMedia Liberty Global YouTube

RTS Accenture Deloitte ITN STV Group Major All3Media Enders Analysis Korn Ferry The Journalists’ Patrons Amazon Video Entertainment One KPMG Charity Audio Network Finecast netgem.tv The Trade Desk Avid Freeview NTT Data UKTV Banijay UK Fremantle OC&C Vice Boston Consulting GB News Pinewood TV Virgin Media Group Gravity Media Studios YouView BT IBM S4C Channel 5 IMG Studios Sargent-Disc

RTS Autocue Grass Valley Lumina Search PricewaterhouseCoopers Patrons Digital Television Group Isle of Media Mission Bay Raidió Teilifís Éireann

Who’s who Patron Chair of RTS Trustees CENTRES COUNCIL Education at the RTS HRH The Prince of Wales Jane Turton Lynn Barlow Graeme Thompson Phil Barnes Vice-Presidents Honorary Secretary Fiona Campbell RTS Futures David Abraham David Lowen Tony Campbell Alex Wootten Dawn Airey Agnes Cogan Sir David Attenborough OM Honorary Treasurer Stephanie Farmer RTS Technology Bursaries CH CVO CBE FRS Mike Green Rick Horne Simon Pitts Baroness Floella Kully Khaila Benjamin OBE BOARD OF TRUSTEES Tim Marshall AWARDS COMMITTEE Mike Darcey Lynn Barlow Will Nicholson CHAIRS Gary Davey Julian Bellamy Stephen O’Donnell Awards & Fellowship Greg Dyke Mike Green Jon Quayle Policy Lord Hall of Birkenhead Yasmina Hadded Edward Russell David Lowen Lorraine Heggessey David Lowen Fiona Thompson Armando Iannucci OBE Jane Millichip Craft & Design Awards Ian Jones Simon Pitts SPECIALIST GROUP Anne Mensah Baroness Lawrence of Sinéad Rocks CHAIRS Clarendon OBE Sarah Rose Archives Programme Awards David Lynn Jane Turton Dale Grayson Kenton Allen Sir Trevor McDonald OBE Rob Woodward Ken MacQuarrie Diversity Student Television Gavin Patterson EXECUTIVE Angela Ferreira Awards Trevor Phillips OBE Chief Executive TBC Stewart Purvis CBE Theresa Wise Early Evening Events Sir Howard Stringer Heather Jones Television Journalism Bursaries Manager Awards Anne Dawson Simon Bucks

Television www.rts.org.uk July/August 2021 45 Page 46

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