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December 2020 -January 2021

Shondaland’s debut

Television www.rts.org.uk September 2013 1 DRAMA Heartfelt confessions and last-minute reprieves. Big reveals and characters in crisis. Discover a world of drama through music and bring your story to life.

SEND US YOUR BRIEF DISCOVER MORE [email protected] audionetwork.com/discover Journal of The Royal Society December 2020/January 2021 l Volume 58/1

From the CEO Farewell, then, to 2020, and a more recent remote encounter Do read our report of the recent a year that we will all with a mystery entrepreneur’s butler. “Can TV save the planet?” event and find hard to forget. was delighted by the inspirational this issue’s Our Friend column, writ- What better guide to and heartfelt message from the RTS’s ten by the new RTS Midlands Chair, the past 12 months royal patron, HRH The of , Kuljinder Khaila. Both have important than the always bril- to the TV sector’s production workers, messages for our challenging times. liant Sir Peter Bazal- delivered at last month’s RTS Craft & Finally, a happy new year to you gette. His review of 2020 might make Design Awards. all. I hope you get some proper down- you laugh and cry, as he eloquently HRH’s belief that the TV workforce time after a difficult year. Take care of sums the year of Covid-19 and will rebound stronger than ever from yourselves and your families. Black Lives Matter. these challenging times is one we Baz also recalls a tense moment on should all take to heart. We carry a full the Central Line, where he helped list of all the winners and nominees. create the Changing Rooms format – Congratulations to every one of them. Theresa Wise Contents Cover: (Netflix) Kate Ward’s TV Diary RTS Digital Convention: Culture shock There are no noisy Christmas parties to attend but, for YouTube’s Cécile Frot-Coutaz describes her journey from 5 Kate Ward, working from home is very far from quiet 20 TV creative to Europe’s foremost player in digital video Comfort Classic: and Wise The non-fiction Netflix? Steve Clarke on why the duo’s Christmas shows remain Discovery+ is a late entrant to the global streaming 6 unsurpassed 22 market, says Kate Bulkley. Can it still punch through? Ear Candy: My Life in TV PSB: Time for a radical reset Kate Holman hears celebrities ‘bin, binge or bring back’ As a Government review of public service broadcasting 7 shows that were important to their TV journey 24 starts, Torin Douglas outlines the key issues Working Lives: Visual effects supervisor PSB: In defence of truth and impartiality Russell Dodgson, the VFX supervisor behind His Dark A joint RTS and Media Society panel asks if the UK public 8 Materials, talks to Matthew Bell 26 service broadcasters are facing a fight for their lives Lace and lust PSB: ‘Out with the old thinking’ Shilpa Ganatra explores how has Media grandees assess how the UK’s public service 10 reinvented period drama in Bridgerton for Netflix 28 broadcasters are responding to the streamers’ success to all that Can TV save the planet? A year of severe challenges has given British TV A stellar panel tells RTS Futures that television companies 12 its finest hour. looks back on 2020 30 have a vital role in combating the climate crisis Our Friend in the Midlands The political interview unwrapped Kuljinder Khaila urges broadcasters to celebrate An RTS Christmas special event reviews gems of the 15 black voices from and beyond 32 genre from the 1950s to the present day Standing up for the marginalised RTS Craft & Design Awards 2020 Matthew Bell discovers there’s a mission behind the The ceremony, presented by Mim Shaikh and 16 company that brings us RuPaul’s Race UK 34 Anne Mensah, was streamed on 23 November RTS Digital Convention: Start with the story A tribute to the television workforce Gary Davey explains ’ approach to HRH The Prince of Wales praises the commitment and 18 commissioning hits such as and I Hate Suzie 42 ingenuity of TV production workers, reports Steve Clarke

Editor Production, design, advertising Subscription rates Printing Legal notice Steve Clarke Gordon Jamieson 3 Dorset Rise UK £115 ISSN 0308-454X © Royal Television Society 2020. [email protected] [email protected] 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 December 2020/January 2021 3 Corrie_RTS_2.indd 1 10/12/2020 17:55 TV diary

There are no noisy Christmas parties to attend but, for Kate Ward, working from home is very far from quiet

his week heralds the want to be aware of the whole story. a socially distanced walk with Kelly final week of lock- Today, I saw some fantastic report- Webb-Lamb from in our down 2, a week that ing on extreme fans and fan culture local park. would normally be from the Vice world news team, a I bring along my sleeping baby for the start of the satanic true-crime documentary a blast of fresh air as we trade tips on Christmas party series from Vice Studios, and While what we’re watching. The day zips by . But this year’s the Rest of Us Die: Secrets of America’s in a flurry of Zoom calls and I reflect end is eerily quiet. Quiet, assuming Shadow Government from Vice TV. on the fact that this is the longest Tyou don’t count the dulcet tones of my Drink about 10,000 cups of tea. My period in my career that I haven’t WFH co-workers: a six-month-old, a toddler asks me if I “made any mov- travelled. three-year-old and my wonderful (but ies ”. No pressure… very loud) husband. So far, so 2020. ■ Strategic planning for next year is The day begins with a catch-up with ■ A call with our distribution team wrapping, and I’m presenting to my our team in India. I first got to know and final sign-off on the renewal colleagues on the Vice leadership the Indian TV market over a decade of our partnership with SBS in team. I present a deck that could ago, when I helped launch MasterChef . We have been working do with some design (one there. Today, it is a big priority for the together successfully for two years, of those “I made it myself” affairs) world’s streamers, as they compete for but this allows us to expand and but which contains some exciting the attention and subscriptions of an deepen our relationship. thoughts on how we begin to drive audience of over 1 billion. It’s a big commitment. Today, we deeper collab­oration across the I joined Vice Media Group in spend an equal amount of time on whole Vice Media Group and capi- November 2019 and was in India the operations and workflows as we talise on our IP. before the end of that year. We have do on the content pipeline. Early on We start every meeting talking an incredible team there, with several in my career in TV sales, I was told: about what Vice content has inspired big, ambitious shows in production. it’s not just what you do, but how you us this week. It is a great reminder of do it. That’s so true. the breadth of what we do, from our ■ Today is entirely blocked off for advertising agency, Virtue, through to the pleasure of viewing. This is ■ Over lunch, I read the inevitable our digital brands. something I try to do monthly. I article about the best high-street I pick out i-D’s 40th anniversary catch up on all the latest episodes Christmas sandwich and fleetingly issue, which I’ve been reading. We are that Vice Studios is distributing or consider Deliveroo-ing Pret to my developing a show with its editorial producing globally. I am still a total house. Come to my senses and team. It has been an incredible expe- TV addict, so this is the part of my decide against it. But only just. rience, because they really are at the job where I have to pinch myself cutting edge of culture and taste form- that I’m paid for the pleasure. ■ Lockdown is over and the first ing – i-D’s motto is: “Fan, not critic”. I It’s very time consuming but it’s Covid vaccine is approved for use. think that’s a great rule to live by. important to watch multiple epi- Feels like a huge moment and an sodes, not just episode 1 or a teaser. opportunity to fleetingly dream Kate Ward is President of Vice Studios at When I speak to one of our teams, I about a return to normal. Meet for Vice Media Group.

Television www.rts.org.uk December 2020/January 2021 5 COMFORT CLASSIC Steve Clarke on why remain unsurpassed as popular entertainers

n those far-off days, when colour TV was still something of a nov- elty and viewers were restricted to a trio of TV channels, the two funniest people on the box were, without question, and . INot for nothing was Morecambe voted the funniest person of the 20th century, ahead of such other greats as Tommy Cooper and , in an internet poll taken in 1999. Morecambe’s with Wise began when the two were teenagers, in 1941. Their quick-fire routines sought to “imitate the cross-talk and rapid one-liners of US double acts such as Abbott and Costello,” observed Simon Blackwell, whose credits include Peep Show, The Thick of It and . Thirty years later, the pair had become the pre-eminent TV entertainers of the The Morecambe era and, on Christmas Day, half the nation would gather round the TV set to laugh out loud at their TV special. By this time, had and Wise developed something that was unique – albeit much imitated by other, lesser double acts – by reinventing the style of comedy that had inspired them. Christmas Show They had honed their act in the decidedly unglamorous and unforgiv- ing world of British post-war variety theatre. When TV emerged in the 1950s, this style of was put on

notice by the magic box. BBC Unlike many of their peers, the duo had the good fortune to find a writer and Wise’s celebrated Christmas shows, man to Eric’s tomfoolery and fast talk- who could bring out the best of them in including the 1977 edition, watched by ing, but their shtick transcended the the very different setting of the TV stu- almost 28 million viewers, a record-­ normal parameters of comedy duos. dio – Eddie Braben, a workaholic per- breaking audience. There was sexual innuendo and fectionist who understood the deadly These Christmas spectaculars were debunking aplenty as some of the big- serious business of scripting comedy. a mix of sketches, musical routines, gest stars of screen and stage queued The idea of pairing Eric and Ernie quick visual gags and usually a play up to join in the fun. But there was with Braben came from BBC enter- apparently written by Wise and featur- nothing to offend granny or that you tainment chief , who put ing a TV star. would feel uncomfortable watching them together after they joined the Wise once described their style with a six-year-old. corporation in 1968 from ITV. of comedy as “naughty schoolboy , not someone appar- It was Braben who wrote Morecambe humour”. Yes, Ernie was the straight ently given to suffering fools, appeared

6 Ear candy in not one but two Morecambe and Wise Christmas specials and happily agreed to be gently humiliated by the . A regular on the show was the late Des O’Connor, at the time widely regarded as British TV’s “Mr Nice Guy”. The ubiquitous and always dapper Des appeared completely comfortable as the foil for Eric’s teasing. In the 1977 Christmas special, , one of the world’s biggest stars, gets lost in the labyrinth that is Tele­ vision Centre. At one point he bumps into Dad’s Army’s Captain Mainwaring – who calls him a “stupid boy” – and only gets to perform “after the show has finished”. His audience consists of two cleaning ladies – played, of course, by Eric and Ernie, like two dejected dames from the panto. Despite being ­ a rock star used to playing to audiences

My Life in TV Des O’Connor with Eric and Ernie ITV BBC

of tens of thousands, John is delighted efore Alison Ham- hilarious interviews with to be sent up by Morecambe and Wise. mond starts her new stars such as Harrison Ford and Ryan In the show’s big production number, gig on This Morning in Gosling, and her enthusiastic (though a pastiche of There Is Nothin’ Like a Dame, January, the presenter, unsuccessful) attempt to get Meghan Eric and Ernie’s supporting cast is stud- reporter and actor is Markle’s attention on her first official ded with TV personalities from the era taking listeners on a outing with Prince Harry. This later – Barry Norman, trip down memory went viral. and Eddie Waring, to name three. lane with some famous faces for ITV’s Emily Atack shares memories of “Broad is usually the term for bawdy, Bfirst branded podcast,My Life in TV. The staying up late to watch female come- basic humour, which theirs certainly weekly pod invites celebrity guests to dians such as Kathy Burke and Victoria wasn’t,” once said. discuss their own lives on television, Wood. There’s also her career-changing “But they had broad appeal… something from favourite TV moments to their stint in the jungle. While Olivia Attwood, which all , from the age of six childhood on-screen inspirations. another guest, talks about the reality TV to 60, could enjoy and identify with.” The likes of , Emily Atack shows that inspired Olivia Meets Her In our more divided age, it is hard to and AJ Odudu choose the shows they Match, and Joel Dommett discusses imagine TV comedy that can unite the would “bin, binge or bring back” and learning on the job and his disastrous nation during the stresses and strains share their personal career journeys in audition for . of a family Christmas. Morecambe and television. Hammond’s own path to Hammond’s infectiously positive Wise did that and so much more. n success started with a much-loved outlook on life and comforting TV stint in the house, after anecdotes deliver the perfect nostalgia- The Morecambe and Wise Christmas which established herself as a fest to lift your spirits on a dreary Mon- Show 1975 is on BBC Two on Christmas permanent fixture on daytime TV. day morning. n Day. The entire series is available on DVD. The ITV regular is known for Kate Holman

Television www.rts.org.uk December 2020/January 2021 7 WORKING LIVES

His Dark Materials BBC Visual effects supervisor

ussell Dodgson won both 18 months to two years of my time – for architectural developments in the an RTS Craft & Design it’s a big investment, so you have to Middle East. I directed the lifestyle and Award and a Craft Bafta love your job and the project. visual-effects parts, and supervised the this year for the special effects in post-production. effects in BBC One’sHis How did you get into VFX? I then landed a job at Framestore in Dark Materials. By trade, he I studied editing at university – my London to build a department based is a VFX supervisor, but is also creative cousin is a natural history and docu- around the VFX software Nuke. directorR of television at the visual effects mentary editor, and I was amazed at and animation studio Framestore. how he pieced together stories from What was the first big project you animal footage. I also loved movies as worked on? What do you do as a VFX supervisor? a kid. I then took a detour and became At Framestore, I worked on commer- I’m responsible for all the visual effects a breakdancer for five years – I’ve cials for a long time. My first big in a show, which comes down to two always been fascinated by physical non-commercials job was as one of main things: helping the production movement and also spent most of my two compositors on the storybook get the best creative use of their money youth doing martial arts. sequence, “The Tale of the Three on screen; and, during filming, ensuring Then, I saw a DVD extra on the visual Brothers”, for Harry Potter and the Deathly the correct material is acquired to allow effects inBlack Hawk Down. That seemed Hallows. Commercials, because of the all the brilliant VFX artists to do their job. more my thing than editing, because of range of work they offer, are such a its connection to movement and ani- great training ground – you have to When are you brought on board a mation. So, I went to Bournemouth make the effects look as good as they production? University and took a master’s in VFX. can, often without the resources you Increasingly, we start right at the begin- ideally need. ning with the script, and work through What were the first effects you Eventually, I found myself wanting production and post-production. produced? to move towards longer narratives and, I took another detour, and started a at the time, TV drama was really com- That sounds like a long job? company with a friend who is a director ing of age. I became creative director One series of His Dark Materials takes of photography (DoP) to shoot movies of Framestore’s new TV division and

8 my first show was Mars, Ron Howard’s Brothers” for Harry Potter and the Deathly paper can fall apart when it’s used in docu-drama for National Geographic. Hallows, and the animation on His Dark anger: when filming, not everyone has I then worked on the “USS Callister” Materials. The latter has film-level crea- the desire to be bogged down by tech- episode of . tures throughout, performing alongside nology. It’s why we use puppets rather actors, delivering plot and emotion. than more technical ways to represent Which other people and departments His Dark Materials is a grounded fan- creatures on set – puppets offer some- do you work with closely? tasy and the visual effects have to serve thing for the actors to perform with. VFX talks to everyone. We start with the story – your job is not to upstage the script team, advising them where the actors. What advice would you give to some- to be brave with effects and where to This means getting the movement one wanting to work in VFX? hold back. On His Dark Materials, we put and performance of the creatures to sit You have to love creating art. Watch a lot of resources into animating the well with the actors’ performances, films actively, not passively, and think

‘The Tale of the Three Brothers’ in Harry Potter and the Deathly Hallows Warner Bros Pictures Bros Warner polar bear, Iorek Byrnison, who appears about why a particular shot affects throughout the series – you wouldn’t ‘YOUR JOB IS NOT your emotions. Buy a camera, take throw in a high-value creature asset photos and work out what you like. If for just one sequence. TO UPSTAGE THE you are coming from a science back- We also work with: the camera crew, ACTORS’ ground, make sure the televisual or DoP and director; the riggers, who put filmic output of your work justifies up the green screens, and the gaffers, your science knowledge. who light them; costume; the stunt rather than feeling like a stuck-on teams; the production design and art visual effect. That’s the kind of work Art or science? departments; and the actors – they I’m proud of, not making big things VFX is such a broad area, so you can be have to know how to interact with the explode. entirely artistic and not worry about digital creatures. the science. You can also be entirely But when there’s a need for explosions science-driven and write VFX software. What do you bring to work with you? – do you prefer real or digital? I come more from an arts back- The script and boxing gloves – at Wolf A real explosion, always, unless it’s ground, other colleagues at Framestore Studios in , where we shootHis unrealistic or unsafe. are pure physicists. Personally, I love Dark Materials, there’s a gym next door. storytelling and VFX offers me a way What are the best and worst parts of of telling stories. What makes a good visual effects the job? supervisor? The best is being around people who What would you love to work on? Soft skills – you have to know how to are brilliant at what they do; the worst Before His Dark Materials, I would have work with people, how to read a room, is that it takes me away from my family. said that, because I loved the books. and when to hold back and when to , it’s enough for me to work with jump in. Are there any tricks of the trade you talented people. n can share with us? Which work are you most proud of? Technical solutions aren’t necessarily Visual effects supervisor Russell Dodgson Artistically, “The Tale of the Three best – what sounds bulletproof on was interviewed by Matthew Bell.

Television www.rts.org.uk December 2020/January 2021 9 Lace and lust Bridgerton Netflix

s television’s great dis- genre, but the show delves deeper to ruptor, if Netflix is to Shilpa Ganatra uncover relatable stories: the frustra- take on a Regency explores how Netflix tion of illicit love, family tensions and period drama, expect it the constraint of circumstance are all to try and reinvent the has reinvented period unpicked. form. Enter Bridgerton, That’s a forte of production company the streaming service’s Christmas drama in Bridgerton, the , set up by Shonda Rhimes big-hitterA and a fresh take on the dec- (the mastermind behind Grey’s Anatomy, first fruit of its tie-up ades-old style. and How to Get Away with Murder). For all the show’s traditional draws, with Shonda Rhimes Bridgerton is the first production to such as the opulence of the debutante emerge from Shondaland’s reported season, high-society scandal and Bridgerton is inspired by Julia Quinn’s $150m (£112m) deal with ­Netflix. growls of “I demand satisfaction”, a best-selling novels, which follow the “With Bridgerton, you get a daring modern-­day sensibility has been courtship fortunes of eight well-to-do take on love and relationships in smartly woven throughout. siblings. This series focuses on Daphne 19th-century London, but you also get “I love a good period piece, but Bridgerton (Phoebe Dynevor), who is everything that comes along with being they’re often considered a little con- singled out as Queen Charlotte’s (Golda a Shondaland show,” says Van Dusen. servative. So, from the beginning, I Rosheuvel) pick of the debutantes. “These are smart, funny, tortured char- wanted to make the period show I’ve When that doesn’t have the intended acters figuring out who they are.” always wanted to see,” says the series effect on her desirability, Daphne forms Much about the show stays true to showrunner Chris Van Dusen. “The a pact with a steadfast bachelor, the Regency history. An etiquette advisor themes we’re exploring are set in the Duke of Hastings (Regé-Jean Page), in was on set to get the details right, and 19th century, but the stories and the the hope it will attract other suitors, location shooting included Bath, Lon- characters are universal, which is how including Prince Friederich (Freddie don, and . we get to explore some modern, relat- Stroma). But things don’t go to plan. But the tone and pace are . able issues on the show.” The set-up might sound true to its There are tongue-in-cheek one-liners,

10 and the series shows off a reimagined wardrobe (every piece was made ­specifically for the show, with Ellen Mirojnick leading the costume depart­ ment). The soundtrack includes classi- cal versions of hit songs from and , among others, because, “when Daphne Bridg- erton walks into a big ballroom and hears a song and is filled with excite- ment and spirit, I wanted whoever’s watching to feel the very same thing”. A key update to the genre is the of the cast, most visually in its ethnic make-up. Following on from films such asThe Personal History of David Copperfield, Bridgerton has pro- gressed from the idea that period pieces require an all-white cast. “We knew we wanted to make the show reflect the world that we live in Bridgerton today,” says Van Dusen. “We wanted Netflix modern audiences to see themselves reflected on screen, no matter who it. We worked with Lizzy Talbot, an glamorous ballrooms imaginable until they are. incredible intimacy coordinator, and the early-morning hours. “Having worked in Shondaland ever her insights were invaluable. I’m so “Also, the power of the written word since Grey’s Anatomy, it’s what we do glad that this role is becoming more is something we explore through Lady there. But I don’t refer to the casting as and more commonplace on sets.” Whistledown (the anonymous news- colour-blind – that would imply that Certainly, the female viewpoint that letter writer, narrated by Julie colour and race aren’t considered. runs throughout the series is bang up Andrews). She’s our one-woman They’re a part of the conversation, just to date. Up until now, period pieces Regency tabloid, and we see how she like class and gender. showed feminism through the creation shifts public opinion and affects peo- “This is a reimagined world. It’s not of feisty ladies and strong matriarchs. ple with her stories, just like tabloids a history lesson, and there weren’t any But, more realistically, Bridgerton por- and social media do today.” actual real Bridgertons in 1813. But I trays the stifled ambition of the women Reinventing the genre didn’t come became aware of a Queen Charlotte of that era: the ones who are shunned without its challenges, as each tradi- being ’s first queen of mixed for unfair reasons (such as the Feather- tional element of TV period pieces was race, and many historians firmly ingtons’ pregnant cousin, Marina singled out, interrogated and reinter- believe there’s evidence for that today. Thompson), the ones who plainly see preted, if needed, with precision and “It made me wonder, what could the injustice of their inequality (the subtlety. that play out like? What could have academic Eloise Bridgerton), and, most It took three years from the moment happened? Could she have elevated painfully, the ones who try to make the Shonda Rhimes first turned Van Dusen other people of colour in society and best of the limited parameters that on to Quinn’s stories, to Bridgerton’s given them titles and lands? The idea society offers them, like Daphne Brid- release, and “there was nothing easy of the Duke of Hastings was born out gerton and even her rival, Cressida about the show”, he says. But airing it of that.” Cowper. on Christmas Day makes a bold state- Another update is an unapologetic “What we’re really exploring here is ment about how much of a disruptor attitude to sex. While the female plight, and we’re seeing Netflix is, since the day is normally was largely a family-friendly watch, how women of all ages have been reserved for failsafe linear shows such and the 1995 adaptation of Pride and strategising ways to assert themselves as EastEnders, Britain’s Got Talent, Strictly Prejudice proved steamy as Colin Firth and find their agency for generations,” and, indeed, The Queen’s Christmas exits a lake in fine style, neither can says Van Dusen. “Women were literally Broadcast. prepare us for Daphne’s sexual awak- tied into these corsets, but they still “I think it was a very smart move ening midway through Bridgerton. wanted to bust out of them and find on Netflix’s part,” says Van Dusen. “With the intimate scenes, we their agency, just as they do today. The Shondaland partnership will approached them from the female gaze “Underneath all the glamour, there is continue to bear fruit in 2021 with first and foremost,” says the showrun- a modern commentary about how, in , a 10-part series about ner. “Then, it was much like an action the past 200 years, everything has the Russian con artist who duped sequence: the scenes were heavily changed, but nothing has changed. high-flyers in New . choreographed, heavily rehearsed, “I think that goes for both women And while it’s yet to be confirmed, and involved lots of conversations. and men. We’re exploring things such it’s a sure bet that another of the Bridg- “It was about making sure actors felt as family, relationships and dating. erton books will turn into a series 2 in comfortable and leaving it up to them Instead of Tinder and dating apps, they due course. Someone please pass the with however far they wanted to take just swipe left and right in the most smelling salts. n

Television www.rts.org.uk December 2020/January 2021 11 Goodbye to all that March: ‘Go home. Stay home’ Shutterstock

JANUARY MARCH “Great fears of the Sicknesse here in Things begin to move fast. At ITV, the City, it being said that two or three Covid-19 and the Carolyn­ McCall recommends home houses are already shut up. God pre- murder of George Floyd working on 12 March and makes it serve us all.” The very first mention of mandatory on 17 March. We’re being the plague in The Diary of Samuel Pepys, presented the TV sector told advertising may fall by 40% in on 30 April 1665. Fast forward 355 years April (and it does). The worst ever and there’s this on 11 January on the with severe challenges monthly fall up to then had been 17%, ITV News site: “Health authorities in the but led to its finest hour. at one point in 2009. This is a national central Chinese city of Wuhan are shock. reporting the first death from a new Peter Bazalgette looks But as we work through these type of coronavirus.” back on 2020 doomsday scenarios, we have a much Pepys had a sense of foreboding, greater concern, along with our PSB but we’re gloriously blithe about this. colleagues. Can we keep our news and Another Sars or Ebola, something that Sajid Javid remains as Chancellor, daytime shows on air? Can we ration happens to folk elsewhere. It’ll be which is a plus since he understands our soap transmissions to maintain another six weeks before the truth media. But only for five minutes, as them in the schedule for as long as begins to dawn, even though the virus he refuses to let possible? (Yes and yes.) is already silently among us. choose his Spad. Then, on 23 March, Britain’s total The greatest disruption to our lives At DCMS, is made lockdown is announced. We have to since the Second World War will Secretary of State. Does he watch promote essential public messages. severely challenge the broadcast sec- , Fleabag, , The York- We must continue to scrutinise an, at tor. But also give rise to our finest hour. shire Vet and Chernobyl? We have no times, faltering government perfor- idea, but many politicians only watch mance. And perhaps most important FEBRUARY the news… when they’re on it. of all, we need to give the nation the The Government conducts its post-­ The interesting appointment is shot in the arm it is expecting from our election reshuffle. The Kremlinologists Whitto, back as media minister. A man drama and entertainment. We manage seek clues as to future policy direction. who really does watch TV and under- all of this. And Clap for Carers starts on Nicky Morgan retires from DCMS (a stands PSB. 26 March, becoming a recurring live loss) and, alarmingly, gives the reason They say he has a pipe dream of event for TV. that female politicians are trolled so privatising Channel 4 and taking away Memo to Westminster: programmes viciously online that they fear for the BBC’s exclusive use of the licence made by us, about us and for us. It’s their families. fee. What can it all mean? called public service broadcasting

12 and it turns out that it’s a distinctly 21st-century concept.

APRIL Everyone’s at home and the gentle erosion of live viewing speeds up in a matter of days. Good for Netflix but also for iPlayer, ITV Hub and . For instance, it’s in April that the BBC’s Normal People is streamed 22 million times in a week. But “live” also shows some resilience: ITV gets almost 5 mil- lion viewers for a Virtual Grand National. And we learn Zoom one-upmanship. A cacophony of , dogs, Hoovers and kids are paraded. Some folk, it is said, are suddenly buying books by the yard to furnish their intellectual cre- dentials. But my prize for effortless insouciance goes to the entrepreneur I’m on a video call with, whose butler silently prepares his lunch in the back- ground, entirely unacknowledged. We’re all front-of-camera now. MAY Britain Get Talking is one of ITV’s May: Black Lives Matter in the UK social-action campaigns, aimed at PA promoting mental health. We’ve long been planning a drive to coincide with bottom of our organisations? We know a day per person. Yet this could take Mental Health Awareness Week. the answer is no. ITV shortly responds more than £250m out of TV advertis- But our special advertisements, by being the first FTSE 100 company to ing. This is money that ITV and others spearheaded by Ant and Dec, encour- put someone on the management invest in news and entertain­ment. aging us all to reach out to people board specifically charged with access We have campaigns for healthy eat- outside our inner circles, take on a and diversity policy. And all broadcast- ing, we promote the message in our whole new significance. Britain is ers will celebrate Black History Month daytime shows and soaps. We believe locked down. Will you overcome your imaginatively later in the year. But we we’re part of the answer, not part of natural reserve and talk to that neigh- have a long way to go. the problem. Sigh. bour who lives on their own? Has that pensioner, too frightened to go to the JULY AUGUST shops, got anyone delivering food for The death toll from Covid rises, month This is the month that the BBC bites them? Britain does indeed get talking. by month. It becomes clear that people the bullet and ends free TV licences for And then, on 25 May, in a far away who are obese are particularly vulner- the over-75s. There’s a chorus of disap- American town, a man is killed by the able. The Prime Minister’s prior admis- proval from politicians, though they police. The death of George Floyd in sion to St Thomas’s underlines this. know full well that , Minneapolis turns out to be the second He’s emerged admirably determined then Chancellor, specifically gave the unheralded event of the year that to increase Government efforts to BBC the latitude to decide this. It affects us all… combat obesity. becomes open season on the BBC’s Unfortunately, this soon descends to funding generally, a full seven years JUNE gesture politics and the Government before the current Charter expires. Black Lives Matter protests take off in announces its intention to ban so-called­ It may be that the licence-fee system the UK. There are flashpoints, such as HFSS ads (for food and drink high in fat, is out of place in the streaming digi- the pulling down of Edward Colston’s salt or sugar) from TV before 9:00pm. sphere. Other possibilities are a house- statue in Bristol. But something more Multiple studies, some carried out by hold media levy or monies directly profound occurs in all workplaces. , have demonstrated that banning from taxation. People of colour are empowered to ads won’t move the dial (lengthy and But, whatever we finally settle on, say how they feel about years of casual determined intervention with deprived let’s ensure that the BBC receives discrimination. And perhaps we listen families is the answer, but has always hypothecated funding: voluntary properly for the first time. been on the too-difficult shelf). ­subscription will diminish it. Surely, This is more acute for broadcasters. The Government’s own “evidence”, it would be a positive thing for our We say our programmes reflect the such as it is, suggests that a ban will only society to commit to such a confident nation. But do we really, from top to deliver a reduction of about 1.7 calories investment in critical social content? �

Television www.rts.org.uk December 2020/January 2021 13 Thursday evenings: clapping for carers

SEPTEMBER If we want to find more new for- to hitherto obscure cable channels � I learn about an augmented-reality mats we need shrewd briefs from Newsmax and One America News app for children being developed by commissioners, willing creative Network. There, Trump has always the Natural History Museum and the teams and scary deadlines. In 1995, “won” the election. And they also Science Museum, which they plan to (the controller of desert and Facebook where, launch the following month. The kids BBC Two) challenged me to do for albeit belatedly and ineffectively, they can care for dinosaurs, and even cre- interiors what we’d done for food are qualifying Trump’s baseless asser- ate their own robots to do the work. with . tions of electoral fraud. They find a The museums are continuing to serve I and Ann Booth-Clibborn then got home at Parler and Rumble, sites their audiences, even as they’re forced on the Tube with an idea to pitch at the with no such scruples. to remain closed. BBC. I asked: “Does this format suck?” Welcome to confirmation bias in The project has funding from UK She said, “Er, actually, yes.” I said: “We the internet age. Trusted and reliable Research and Innovation (on whose have eight stops to think of something public service news, anyone? The board I sit), overseen by Andrew Chitty, else.” At Holland Park, out of sheer next front is anti-vaxxers… formerly of Granada and the BBC. And panic, I asked her, “What would it the app is produced by Factory 42, be like if we got neighbours to swap DECEMBER by John Cassy, late of Sky. Thus two houses to do up a room next door?” And so we come to the end of this expats from tellyland are helping the I wonder whether I’ve imagined plague year. Charmingly, the House screen industries define their future. all this. But Ann and I are still in of Commons holds an adjournment The funding comes from the Creative touch and she tells me those febrile debate to mark the 60th anniversary Industries Sector Deal. It’s good to be exchanges on the Central Line really of . So they do watch reminded that the reimagining of our did happen. the soaps! wider sector is full of rich possibilities. Production of drama and other NOVEMBER location-based shows had completely OCTOBER I love a general election (I’ll even ceased for many months. But 85% are Channel 4 announces that it is reviv- watch reruns of the 1955 election now back shooting. Advertisers return, ing Changing Rooms. This is not my in black and white on iPlayer… all too – the soothsayers in the City and first “drowning-man-flashback” expe- 12 hours of it). So I’m glued to Ameri- media gulch are currently predicting a rience, as formats that I had a hand in can media on 3 November. It’s dis- decline of around 10% to 12% for the long ago, in the pre-Covid 1990s, get tressing how the crooked enterprise year. Unprecedented, but a recovery pulled out of cold storage. Ready Steady that is the Trump presidency, ably from that 40% figure in the spring. Cook and Food & Drink have already amplified by Fox News, has lured CNN A happy Christmas bubble to you all. risen from the grave. and into being just And let’s hope for a post-vaccination It’s more and more difficult to launch as polemical against Donald Trump. economy in 2021. n new formats (hats off toThe Repair Then, when Fox tries to go straight Shop, a notable exception). So, recog- by calling Arizona (correctly) for Peter Bazalgette is Chair of ITV and a nised brands are much in demand. Biden, Trump’s cult followers peel off UKRI board member.

14 OUR FRIEND IN THE MIDLANDS

Kuljinder Khaila arring an unexpec­ The BBC wants a better representa­ – but probably urges broadcasters tion of diversity in its productions. unsurprising – large to celebrate The Midlands can offer meaningful asteroid impact, the solutions. Steve McQueen’s Small Axe most tumultuous black voices from was partly filmed in Wolverhampton. year in mem­ Tiger Aspect’s Man Like Mobeen was ory is finally limping Birmingham and shot in Birmingham. to its end. At this time of year, we beyond Both benefited from initiatives to Bwould normally compile a review or find diverse crews, but much more two but who wants to relive 2020? work in this area is necessary. Forging It seems the biblical equestrian partnerships between the production quartet has been riding roughshod sector and broadcasters around oppor­ for months; countless losses and the tunities for greater diversity will begin unending upheaval of the ; in early 2021. acts of violent racism; raging wild­ Throughout the past year, the Mid­ fires, floods and even a locust plague lands screen sector has been stub­ in East . As a result, we’ve all bornly growing. RTS Midlands will changed this past year. renew its support for fledgling, but In our impatience to get back to ambitious, new independent produc­ the world we left, we shouldn’t forget tion companies such as Leicester­ those events that forced us to rethink, shire-based Matriarch Productions, re-evaluate and, at times, reset. founded by Hannah Walters and Ste­ I was fortunate enough to be able phen Graham; or ’s new pro­ to make time during lockdowns to duction outfit in Birmingham that

explore how we work, the missed Khaila Kuljinder will be working on new perspectives opportunities and note which impor­ in unexpected genres. tant issues have been overlooked. The team has already begun work Like many independents in the As the incoming Chair of RTS Mid­ on a new-entrants-to-the-screen region, they want to tell stories that lands, I have a renewed sense of pur­ initiative. The aim is to help young are often overlooked and made by pose. My inbox already has pressing people navigate a much-changed talent who need a to shine. questions to answer: landscape. Their ambitions define the Midlands. n How do we help the generation We are fortunate to have a sister And I haven’t even mentioned two of future storytellers who have seen school to Birmingham Ormiston of the most impactful recent develop­ their opportunities washed away Academy, the BOA Stage & Screen, ments in the Midlands: Create Central, while singing happy birthday twice? opening in 2021. It will be the latest the collective voice of the screen sec­ n How do we ensure black voices of several measures addressing the tor, which aims to drive investment from the region are not only heard region’s screen-skills gap. in the region, and the exciting, Steven but highlighted and celebrated? Building bridges with tomorrow’s Knight-led studio development that n Why are working-class stories in talent via regional colleges, universi­ could prove to be a game changer. the Midlands passed by as we march ties and – just as importantly – youth As we bid a profanity-laden farewell towards the old red wall in the North? groups, has become an RTS priority. to the past year, we begin to look n How can we become more robust, It is to collectively embrace forward with an invigorating level so that our good intentions are not rhetoric concerning race and class of optimism. Bring on 2021. n lost in talk? without a plan to make a real differ­ The RTS Midlands Committee is ence. Working with the BBC’s director Kuljinder Khaila is executive producer an erudite and vibrant bunch, which of creative diversity, June Sarpong, is of the BBC Young Reporter journalism reflects a wide range of views from a the first step towards addressing the and media project and incoming Chair very diverse region. concerns raised in the region. of RTS Midlands.

Television www.rts.org.uk December 2020/January 2021 15 Standing up for the marginalised Matthew Bell discovers there’s a mission behind the company that brings us RuPaul’s UK

elevision glitter should lift many spirits brought low by this year’s Christ­ mas comedown as RuPaul’s Drag Race UK returns for a second seriesT in January. Good news for fans of the raucous and rude BBC Three show – and for the people that make it. Randy Barbato and Fenton Bailey met at NYU film school in the mid- 1980s, performed as a gloriously camp electro-pop duo, The Fantastic Pop Tarts, and went on to found World of Wonder Productions in 1991. Many of its early productions, such as Channel 4’s fondly remembered The Show, were made from its offices in , south London. But World of Wonder began to focus on the American market and its success has been built on the back of the phenom­ enal – and multiple Emmy Award-­ winning – RuPaul’s Drag Race in the US. Are TV and drag the perfect match? Bailey thinks so. At an RTS event in London late last year, he persuasively argued that drag queens and the telly go together “like peanut butter and jelly”. A year later, from his base, he says: “The thing about the small screen is that you want to make a big impact. That is definitional to drag; it is about walking into a crowded room and turning heads. It is about compel­ ling people to watch you.” Judged by the longevity of RuPaul’s Drag Race, which completed its 12th series in the US earlier this year and is growing overseas, Bailey is clearly on to something. The reality competition RuPaul

show has brought glam and glitter to VH1

16 Thailand, Canada and the , cruel indifference to the Aids epidemic,” “We try to make what we want to and will shortly add . says Barbato. “Now that we [have watch in the hope that enough people RuPaul’s Drag Race began life on a US been] in the same situation again with will want to watch it. And, because of gay pay-channel, before graduating to Trump and Covid, Wojnarowicz’s voice that, we are freed of the nightmarish entertainment channel VH1 – and then and work deserves amplification.” pursuit of trying to be all things to to other mainstream channels world­ Despite the success of its SVoD plat­ all people.” wide. “While you can never predict form, World of Wonder remains com­ WOW Presents Plus, he continues, what will connect with an audience, mitted to linear-TV. “We love that we “is our way of creating an extended we always hoped it would, because we can work with broadcasters alongside family of like-minded souls. It’s also firmly believe that the appeal of drag is our own offering – with many viewers been a place where we can experiment universal – young and old, gay and finding their way to WOW Presents Plus and incubate things.” straight,” says Barbato. through discovering our shows on their As befits a company whose origins “We have been thrilled to see lie in managing Bailey and Barba­ the [show] grow both in the US to’s 1980s band, World of Won­ and internationally, and shine a der’s portfolio extends beyond TV. light on the culture of drag that Earlier this year, it launched a exists in every country.” theatrical extravaganza, RuPaul’s But there is much more to World Drag Race Live! Las Vegas, at the of Wonder than RuPaul’s Drag Race. city’s Flamingo hotel and casino; The SVoD service WOW Presents this month, it releases the first Plus, which launched in November from The Frock Destroyers, 2017, offersDrag Race and its spin- who are Divina de Campo, Blu off shows,UNHhhh, Fashion Photo Hydrangea and Baga Chipz from RuView, Werq the World and God the first series Shave the Queens. The latter, a doc­ of RuPaul’s Drag Race UK. “We like umentary series about the tour to experiment,” says Barbato. that followed the first outing of “There’s always the chance of Randy Barbato (left) RuPaul’s Drag Race UK, began its first falling flat on our faces, but it and Fenton Bailey run on BBC Three last month. of Wonder Movi/World does make life interesting.” WOW Presents Plus, which Next up, after a coronavirus-in­ claims to be the world’s leading regular, go-to broadcasters in their duced delay, is the return of RuPaul’s LGBTQ+ streaming platform, “is going respective countries, and then expand­ Drag Race UK. With the same team of gangbusters”, says Bailey. “We have ing their World of Wonder journey regular judges, , Alan doubled our subscribers year on year. through the platform,” says Bailey. Carr and – and more [It] enables us to have a creative space, If they were prepared to sell, World queens and episodes – World of Won­ as well as housing all our shows in of Wonder would presumably make der is hoping to repeat the runaway one place.” Bailey and Barbato a heap of dollars, critical and ratings success of the first Beyond its drag output, World of but the duo are not tempted to cash in. series. The BBC is clearly optimistic, Wonder makes documentaries about “What we love most of all is being able having already ordered a third series. serious subjects. Out of Iraq tells how to do exactly what we want to do. We Shooting on the second series of a US Marines translator and an Iraqi like being able to roll the dice and take RuPaul’s Drag Race UK was suspended soldier found love during war, while risks. It’s really what keeps things during the spring lockdown, “With Stonewall Outloud recounts the story interesting, so I don’t think we would closed borders, international quaran­ of the 1969 riots when patrons of a sell,” says Bailey. tines and national lockdowns, it was Manhattan gay bar, the Stonewall Where do they see World of Wonder an interesting challenge, spanning the Inn, fought back against the New in 10 years’ time? Peering into his better part of eight months,” recalls York police. ball, Barbato says: “One of Ru’s Bailey. “I think this period has been Barbato rejects my suggestion that favourite words is ‘stick-with-it-ness’, difficult for everyone and we hope its documentary output is somehow and that ability to keep going and season 2 will make everyone feel more worthy than its drag shows: refuse to go away is what gets us out ‘much betta’ as Baga would say.” “Please don’t misunderstand: drag is of bed in the morning. So, in 2030, we Summing up the secret of the show’s serious. Fun, yes, but serious fun. It hope people will be watching Drag Race success, Bailey adds: “From Shakespeare attacks prejudice and raises up the Uranus, assuming that humanity hasn’t to the pantomime, drag has always had marginalised. And that’s very much succeeded in wiping itself out – which a strong tradition in the UK. But, of our mission in life.” is, admittedly, a big assumption.” course, it’s not just in the UK. We have World of Wonder’s most recent doc­ More seriously, Barbato believes that found that, all over the world, there are umentary, produced by Barbato and World of Wonder’s independence gives armies of queens ready to bewitch and Bailey and directed by Chris McKim, it an edge in a TV landscape increasingly bedazzle audiences with their talents. chronicles the life of New York artist dominated by big producers. “While “It’s about the courage, perseverance, David Wojnarowicz. “Less well-known algorithms are great for the ‘McDonald­ and conviction of the queens, and than Warhol or Mapplethorpe, artists sification’ of content, the more things that appeals to everyone’s capacity for whom we have also made documenta­ become the same, the more people empathy and compassion. Well, almost ries about, Wojnarowicz was an out­ crave something different – and that’s everyone [except] the loser of the spoken critic of the US government’s why we’re here. recent US election.” n

Television www.rts.org.uk December 2020/January 2021 17 RTS DIGITAL CONVENTION 2020

his is my perfect job.” Dur- ing more than 40 years in television, Gary Davey has worked across the board – from taking charge of all content and creative ser- vices at Sky Germany, to being the CEOT of Hong Kong-based Star TV. But it is only now, as CEO of Sky Studios, that he feels like he is in his dream role: as “the gamekeeper turned poacher – having been a broadcaster all my life and now being a supplier”. Davey was in conversation with journalist Kirsty Wark as part of the RTS Digital Convention 2020. Wark had provoked his admission by asking if his current role appealed to him because “you get to work with small companies, vision stuff, but you also get to be that small-time creator who looks at a script”. Davey agreed that his remit was ideal, but he also noted the unique and unforeseen situation: “I couldn’t have picked a more challenging year to do it in!” The Covid-19 lockdowns have seen many people turn to on-screen enter- tainment to pass their time stuck inside, Gary Davey

with a surge in both linear-TV and Sky streaming compared with last year. Davey admitted a few of the guilty pleasures he had discovered during lockdown, including some from com- petitors, such as Netflix’sThe Queen’s Gambit. “And of course, It all starts that everybody’s currently obsessed about, HBO’s .” Reflecting on some of Sky’s newer programmes, including the comedy Brassic and drama Gangs of London, with the story Davey acknowledged some hesitation following the success of the award-­ winning series Chernobyl. It was, he said, Gary Davey, CEO of Sky Studios, outlines his such a “tough act to follow. I mean, I approach to commissioning standout shows such remember trying to pitch the idea to my bosses. It was like – you want to as Chernobyl, Gangs of London and I Hate Suzie make a drama out of the Chernobyl nuclear disaster? Really? But, having and Sky shows, because it’s all about out that “Netflix­ has signed Harry and read the script, I mean, Craig Mazin just the customer experience, right? And Meghan [Markle], and we have Amazon created a masterpiece with that script.” so, Sky shows have to compete… and and Phoebe [Waller-Bridge].” Wark wondered if he had shared her the customer decides. Davey said that Sky Studios had not early concern about how viewers “It’s the most incredible, powerful, done any deals with on-camera talent would find anything on the streaming dangerous democracy that God ever at all – out of choice, because he services that have taken the world by created and it’s brutal. Our customers believed that “the idea of a talent deal storm: “I remember when this was will abandon shows quickly if they is dangerous”. kicking off, and it was, ‘Oh, people will don’t like them. So, it really keeps us “What matters first is the story,” never be able to find their way between on our toes, both in what we’re choos- Davey insisted. “Then, finding the right Amazon, Netflix, Peacock and Sky.’” ing to make and how we make it.” people – the writers, producers, direc- Davey said he welcomed the com- However, predicting the popularity of tors, cinematographers and [only then] petition: “We present Netflix shows in a show is far from easy. Big names can on-camera talent to fit the story. It our user interface, alongside BBC, ITV help attract audiences. Wark pointed might be an old-­fashioned approach,

18 both been getting nervous about the I Hate Suzie supply of sound stages for their grow- ing needs – and, indeed, about the availability of craft skills in general. “We think that there’s going to be a significant deficit in all of the crafts, all the way from painters, carpenters, elec- tricians, grips… So, we will be investing in full-time employment and… to make sure that we’ve got a pipeline of young people coming through in all of the crafts – it’s really important.” Wark said that this had been a really tough year for freelancers and Davey agreed. When the coronavirus crisis struck, Sky Studios suspended 29 pro- ductions. “If you take that 29 and ­multiply it by the hundreds of people who are typically attached to a series production, it’s an enormous number of people.” Some shooting recommenced in June. “We’re back in full ,” said Davey. He expected the very detailed production planning that made that possible to remain a strong feature of the way that TV was made from now on. He accepted that “there may be some negative by-products of that, because,

Sky sometimes, the true genius of produc- tion comes out of thinking or seeing but I think it’s the one that works best.” something [on set] that you might not He continued: “We much prefer an ‘THE IDEA OF A have done in a planning meeting.” organic approach to development, He also expected technology to con- where we start with the story outline TALENT DEAL IS tinue transforming production, with and spend an enormous amount of DANGEROUS’ “studio walls of LED screens showing time getting scripts right, working backgrounds generated by a games closely with great writing teams.” engine. You will be able to have mobil- Davey enthused about actor Billie in . “We had a very simple ity inside a virtual world, which opens Piper being a “perfect match” for I Hate motivation. It’s called proximity. Sky up almost infinite creative opportuni- Suzie writer ’s vision for [does not have] the right to stop them ties for spatial creation.” her show, but said he would not have from doing what they think makes But Davey brought the focus back wanted to start from a position of “hav- sense for their company. However, we to the human element in production ing to find a project for Billie – it just have a proximity to the Bad Wolf team – and particularly the mental health doesn’t make sense to me”. He said he that is really helpful to both of us.” challenges that many currently face. would rather find the right actor for a Wark asked if Sky had a first-look “We will have a rethink about how brilliant story. deal with Bad Wolf or other indies. we deal with our freelance commu- Davey explained his view on “the “Only in a very vague, soft way.… They nity,” he said. “When you say to a really tricky balance” of creative free- are independent companies that need young person, look, you need to go dom: Sky might have many conversa- to make shows for everyone. And we home and self-isolate for 14 days, tions at the script development phase, want to encourage them to be success- because someone you were working but, once production had started, “you ful.” Davey clarified that Sky Studios with has had a positive test – what have to have enormous trust in your was not actively seeking more such happens to them? Who’s taking care director and the rest of the team.… I relation­ships, “but never say never. We of them? That is still a gap that we very rarely visit sets – I don’t think it is are highly opportunistic”. have yet to address.” n constructive.” Which is not a word that could be While Sky did not do talent deals, used to describe its commitment to Report by Omar Mehtab. Gary Davey, Wark noted that it had taken stakes in build a 11-hectare studio complex in who is retiring as CEO of Sky Studios in independent producers, such as Bad Elstree, . The 12 sound summer 2021, was in conversation with Wolf, maker of His Dark Materials. Davey stages will open in 2022 and support Kirsty Wark. The event was part of the explained that Sky Studios “took a very, some 1,500 production jobs. Davey said RTS Digital Convention 2020, sponsored by very small equity piece” alongside HBO that Sky and its owner, Comcast, had YouTube. The producer was Helen Scott.

Television www.rts.org.uk December 2020/January 2021 19 RTS DIGITAL CONVENTION 2020

écile Frot-Coutaz, head of YouTube, EMEA, has urged broadcasters to form more partnerships with the Google-­owned platform, which this summer was revealed to be the third most-watchedC video service in the UK after the BBC and ITV. Speaking at the RTS Digital Conven- tion, the former Fremantle CEO emphasised that her company had plenty of evidence to show that legacy platforms seeking young audiences would be smart to cement their ties with the video-sharing platform. She recalled the challenge of relaunching American Idol in the US on ABC in 2017, when she was at Fremantle, which also makes The X Factor. “We had a 360-degree social media strategy, which led to more young people than ever watching the show,” Frot-Coutaz said. Cécile Frot-Coutaz

Her interviewer, Jane Turton, CEO of RTS , posed the question: should ITV and the BBC embrace the platform and work with YouTube? Most definitely, Frot-Coutaz replied, referencing data that showed an unnamed French broad- caster boosting its audience by around Culture shock 6 million 18- to 24-year-olds thanks to its presence on YouTube. “These young people don’t watch the service’s TV YouTube’s Cécile Frot-Coutaz describes her channel,” she explained. “Those num- journey from TV creative to Europe’s bers are not about to change.” She added: “There are markets, not foremost player in digital video the mature ones, where YouTube is used very much as a VoD service for join the Google-owned platform, made progress if you haven’t aligned cross- ­ long-form content. it clear how, after leading a TV produc- functionality.” “I’d encourage broadcasters to exper- tion company, being employed by Within any Google-owned company, iment by launching series on YouTube YouTube came as something of a cul- teams containing experts from different and examine the data so they under- ture shock. “In a vast number of ways, disciplines collaborate. Frot-Coutaz said stand what works.” it’s very different to working in TV.… this approach delivered a high level of Sixty per cent of the audience that YouTube speaks a different language.… creativity because it was essential to watched the Eifel Grand Prix in Octo- The first thing that hits you are the listen to colleagues’ viewpoints: “It’s ber, when it was streamed live by You- acronyms.… quite tough when you come in from Tube in seven European countries, were “What strikes most people when outside, because those structures are young people, she said, adding: “My they come in from outside is how not necessarily visible immediately. It message to broadcasters is, ‘See what collaborative the culture is. Collabora- takes a little while to understand how works for you on YouTube. Try it out.’” tion is almost hardwired into the to operate in what is quite a fluid and Over this fascinating session, Frot- structure, but also the tools.… For any ambiguous environment.” Coutaz, who left Fremantle in 2018 to given initiative, you can’t make any She said it took her 18 months to

20 feel she was no longer a newbie, partly these authorities and to get health because of the company’s size and messages to a younger group of users. complexity: “You can become a little “During Covid, we’ve played a big impatient. ‘Do we really need to have role in relaying the messages of gov- another meeting with 10 people to ernments using creators, including discuss this?’ It can take longer to get musicians and artists.” to a decision, but I believe you get to a Few would deny the benefits that better outcome.” YouTube has brought users since the On the other hand, during a crisis, platform launched 15 years ago but YouTube can move quickly, she concerns remain that the website is explained. And, unlike TV, where it’s still not vigilant enough in removing not unusual for shows to launch before harmful material. they are fully completed in order to “Safety is one of our biggest priori- gauge how audiences will respond to ties,” stressed Frot-Coutaz. “It’s where Jane Turton them, YouTube operates in “a culture RTS we’ve probably invested most heavily, of constant iteration” driven by data. in machine learning [to detect poten- Moreover, the workforce is signifi- make that connection as rich and tially harmful videos] and in people. cantly younger than in TV and a lot interactive as possible.” “You invest a lot [in safety] but it’s of transparency is required from You- She praised the platform’s young never going to be perfect. It’s super Tube’s leaders. content creators, such as the UK’s important but, if you quantify it, it’s “There is also a different lens on beauty influencer Patricia Bright, actually a small problem. The content what ‘good’ looks like,” Frot-Coutaz for “the richness of their creativity”, that you would describe as bad is less added. “In traditional media, there is emphasising the high levels of engage- than a fraction of 1% of what’s on some growth, but they are mature ment between them and their followers. YouTube.” businesses. However, these are start- “They are digital-first creators, and Decisions over which videos to ups.… The bar is very different.” they might do something for TV, but it remove were not always straightfor- She said the best way to describe is not their goal. Broadcasters still try ward. The AI that analyses the material YouTube to those unfamiliar with the to be a big tent whereas YouTube crea- cannot, for example, distinguish platform was as “a giant video library”, tors are a bit niche,” noted Frot-Coutaz. between a piece of neo-Nazi propa- searchable from any digital device. Seventy per cent of YouTube views ganda and an educational film about “If you use it a lot, it’s going to get to come from mobile devices. However, the Holocaust. “That’s why we need know what you like,” said Frot-Coutaz. the platform was evolving as, increas- people to review potentially harmful “If you watch X, the algorithm will ingly, YouTube was being watched on material,” she said. “Also, there is misin- offer more of X but it might also offer big screens. “For us, the implications of formation that is completely harmless Y because somebody who watched Y that are interesting,” she said. and misinformation that is harmful. also watched X.” What kind of material was being “It’s complicated further by different It is estimated that 500 hours of video seen on TV sets – content produced by cultural attitudes in different countries. are uploaded to YouTube every minute PSBs or all sorts of things? “It’s a com- To the extent that it is possible, a global and that we watch over 1 billion hours bination.… During lockdown, we’re approach is essential because, if it is of YouTube videos a day, more than finding there’s a lot of family viewing.” too fragmented, you risk making Netflix and Facebook combined. Regarding news and information, not mistakes. Was YouTube a competitor to TV? “It surprisingly, health had come to the “The more bespoke the content and competes with anything that competes fore – fitness and well-being videos in the more nuanced it is, the harder it is for your attention… newspapers, gaming addition to films providing information even for the reviewers to do their job platforms, TV and radio. on serious illnesses such as cancer and, at scale.… It’s important not to make “It’s both an education and entertain­ inevitably, Covid-19. arbitrary decisions.” n ment platform. But, in lots of ways, it’s “We want to ensure that people find very different to TV because it’s a host- authoritative information on YouTube, Report by Steve Clarke. Cécile Frot-Coutaz, ing platform. At its core, YouTube is whether it’s working with the NHS in Head of YouTube, EMEA, was in conversa- there to enable the connection between the UK or government health authori- tion with Jane Turton, CEO of All3Media, the content creator in the widest sense ties overseas,” she said. “There’s an on 18 November, as part of the RTS Digital of the word and an audience. And to opportunity to link influencers with Convention 2020, sponsored by YouTube.

Television www.rts.org.uk December 2020/January 2021 21 has learnt from its and Euros- Iconic Discovery fare: port streaming services, suggests that Chasing Giants the reverse might be true. The broadcaster behind lifestyle channel HGTV and the Network is betting that subscribers will be attracted to Discovery+ because it will give them the ability to binge on the entire back catalogues of shows such as Gold Rush, Wheeler Dealers and 90 Day Fiancé. Subscribers will also find new, exclusive content, including the latest series from DIY stars Chip and Joanna Gaines. With typical bullishness, Discovery CEO David Zaslav told analysts earlier this month that Discovery+ could be “the non-fiction Netflix”. Internationally, Discovery’s sports rights will also find a home on the new venture. In the UK, where Discovery+ launched on 12 November, will be folded into the service some- time next year. Discovery owns the global digital rights to the Olympics to 2024, and the TV and digital rights to PGA Tour golf outside the US until 2030. In some Asian markets, Discov- ery+ will also have additional PGA Tour content, said Zaslav. The USP for Discovery+ is clearly that it packages both sport and enter- tainment in one subscription. “We have been holding back content from The [non-Discovery] platforms for several years now,” Zaslav told investors in November. “We think that, if we can get the right distribution behind us and we can get this to a global audience, non-fiction we will be a very different company.” Discovery will use its linear channels and pay-TV relationships as leverage to build up the new streamer. Unlike Dis- ney, which cannibalised some of its Netflix? existing revenues by pulling its channel brands from pay platforms such as Sky to launch Disney+, Discovery intends to Discovery is finally entering the global streaming continue working with pay providers. “This is a big moment for our com- market. Kate Bulkley asks if Discovery+ can pany,” said Zaslav. “This year, we will roll out Discovery+ in 25 countries but succeed in such a crowded space eventually it will be everywhere.… We

Discovery have a good relationship with and Amazon and we are confident that we’ll ictory is not always Having watched Netflix, Amazon be able to get deals done with them.” achieved by the first Prime and, more recently, Disney+ and In the UK, where Discovery operates out of the blocks or others enter the global streaming mar- six free-to-air and seven pay-TV chan- the fastest car into ket, Discovery+ will launch its own nels, Discovery+ launched at £4.99 per the opening corner. service in the US only in January. Some month. Its exclusives included: Faking Sometimes, steadiness observers have argued that it might be It: Jimmy Savile; Prince Andrew, Maxwell & ofV purpose and coming from behind is too little, too late. Epstein; and Joe Exotic: Before He Was King. more effective. That sums up the strat- However, a closer look at Discovery’s On 19 November, the service debuted egy that Discovery has adopted in the success in the US and the global pay- on Sky; subscribers get it free uber-competitive streaming wars. and free-TV markets, and at what it for the first 12 months.

22 “People have strong feelings about how they consume media,” says James Gibbons, Discovery’s general manager for the UK and Nordics. “Our business is not trying to change that – instead, we are trying to give them optionality.” Discovery’s annual spend on UK content – reportedly worth some £100m – will increase, with “a signifi- cant incremental budget for Discov- ery+ originals”, says Gibbons. Indeed, Discovery+ will be building on a strong base: lockdown viewing in the UK drove up both its audience share and share of commercial impacts (SOCI). SOCI increased from 3.5% in 2017 to 8.5% today across Discovery’s 13-channel portfolio. Most of Discovery’s 5.2 million web- streamed subscriptions are in non-US markets. This number is 225% up on 2018, when US research group Moffett­ Nathanson calculated that Discovery had 1.6 million streaming subscriptions. This suggests that, even with what might be described as a patchwork-­ Gold Rush quilt approach to streaming, Discovery Discovery has been growing the business. “Most of the streaming subscribers we have There are also plans to add personal- traditional pay-TV business is potentially gained [over the past several years] isation tools, including artificial intelli- the plan’s Achilles heel, particularly in have come from offering windows for gence-driven recommendations to markets outside the US. “Depending on content before it premieres [on linear Discovery+ and targeted ads in those the market, Discovery+ will include live channels],” explains JB Perrette, Presi- markets where the service will be feeds of its cable networks and free- dent and CEO of Discovery Interna- funded by advertisements. to-air channels,” said Nathanson. “So, tional. “Therefore, the incremental “The value of having linear channels how many subscribers within the content cost is zero. Plus, we have seen to use as promotion tools is also begin- [potential market of] 400 million inter- no cannibalisation attributable to those ning to be recognised,” said Zaslav in nationally will cut the cord, especially [streaming] subscribers. November. “Netflix bought a linear with Discovery+ including the Olym- “Of course, we see churn in the channel in not so long ago. pics and other sports programming?” entire ecosystem… but we can’t point Well, we already own 12 to 15 channels The proof, as they say, will be in the to evidence that [streaming] subscrib- in every country around the world.” pudding but, outside the US, where ers are driving cannibalisation.” Discovery is betting that the new Discovery has local-language services The streaming wars were further streaming business will generate a and known brands, it has a decent shot complicated in early December when 20% profit margin, which is only half at being the number two or number WarnerMedia announced that it would the margin of its traditional pay-TV three streaming brand behind Netflix release its entire roster of 2021 films on business. Importantly, however, the and Disney+. its HBO Max streaming service at the company is convinced that this 20% What could be decisive is top-notch same time as they debut in US cinemas. will be incremental income rather sport. “Once the Olympics comes back This is another new business model for than replacing money lost from its to Europe in 2024, for the first time in TV broadcasters (not to mention cin- traditional business. 12 years, that will be a huge deal,” says ema owners) to consider when design- Discovery believes that the potential Perrette. ing their own tactics. market for Discovery+ is big enough to He adds: “We are in a distinct lane Disney+ has proved to be a jugger- give it the flexibility to retain both its because, in the [direct-to-consumer] naut, picking more than 73 million traditional subscribers and grow its market, there are 15-plus scripted-­ subscribers worldwide since its US new, direct-to-consumer business. series services and probably the same launch in autumn 2019. The company estimates the number number of scripted movie services Zaslav has taken some pages out of of potential subscribers at 400 million – where the cost of entry seems to be the Disney playbook, including signing internationally, plus a further 70 million an unlimited chequebook. a US distribution deal with the telco in the US, before factoring in potential “We have a much more tailored and Verizon. The Discovery+ user interface subscribers from mobile and connected clearer proposition. highlights super-fan brands across devices. “We don’t need to compete on a food, DIY and motoring, echoing how But media analyst Michael Nathan- chequebook or scale level to have Disney highlights its , Marvel and son at MoffettNathanson worries that a hope of ever making any money. So, brands. cannibalisation of Discovery’s we feel pretty good about our hand.” n

Television www.rts.org.uk December 2020/January 2021 23 Time for a radical reset

Rt Hon Oliver Dowden MP Matt Standard Writtle/Evening

oogle the words “public advise the Government on the future service broadcasting” As a Government of PSB and what it should contribute and you’ll see that the review of public service to the UK’s economic, cultural and first few links relate to a democratic life. well-known band that broadcasting starts, They will explore: whether current has played at Glaston- funding and governance models are fit bury, the and Brixton. Torin Douglas weighs for purpose; the impact of technology ItsG first album was calledInform – Edu- on audience habits; the financial sus- the key issues that will cate – Entertain. tainability of broadcasters; and the Only after that will you find links to be debated structure of the TV market, including Ofcom’s page on public service broad- video streaming. casting and the Government’s new Pub- word ‘broadcast’ anyway, when much This month’s Ofcom report, the lat- lic Service Broadcasting Advisory Panel. is now narrowcast, one-to-one?” est in its ongoing review of PSB, will As the DCMS opened its review into Clare Sumner, the BBC’s director feed into their work. the future of PSB, an intriguing thought of policy, has called for a “change of Panel members include Sophie occurred. In years to come, might Pub- mindset” towards public service broad­ Turner Laing, whose experience lic Service Broadcasting – the band – casting and warned against using embraces big jobs at the BBC and be better remembered than the original “anachronistic” language when selling BSkyB and running Shine , concept of PSB and Lord Reith’s pithy the vision to the public. and Jane Turton, the CEO of All3Media, summary of the BBC’s purpose? And Lord Grade, former Chair of previously worked in senior roles Already, key players who will be BBC and ITV and CEO of Channel 4, at ITV. Also on the panel are John Har- involved in the review are distancing told Freeview’s “Outside the box” die, the former CEO of ITN, and Samir themselves from PSB’s traditional event in November: “We start with a Shah, ex-LWT and BBC head of current terminology. blank sheet of paper… you can’t pre- affairs and political journalism, who set Sir Peter Bazalgette, the Chair of ITV, serve the old definition of public ser- up Juniper Productions (which makes wants to ditch the name PSB, “to vice broadcasting in aspic. It’s a relic documentaries for the BBC and Chan- match the age we are living in”. Giving of the days of spectrum scarcity, when nel 4, among others). All are known to this year’s Charles Wheeler Lecture, he you had a BBC-ITV duopoly, and it’s be supporters of the PSB environment. said: “Even the name public service absolutely due for a review.” Intriguingly, another member of the broadcasting… seems otiose. Why Grade is one of 10 “broadcasting and panel is Facebook vice-president Nicola would you define it by its method of tech heavyweights” announced by the Mendelsohn CBE. distribution? And how relevant is that culture secretary, Oliver Dowden, to However, the former Labour minister

24 Lord Blunkett strongly criticised the five-year plan. It needs all content panel’s make-up in a letter to the Finan- providers to be invited into the ring, cial Times: “Two of the panel had senior to optimise the outcomes.” jobs as advisers to previous Conserva- Two other issues are “existential” for tive prime ministers. Baroness Bertin, a the PSBs, according to Peter Bazalgette. senior adviser at BT, was press secretary He says: “For the BBC to continue to to . Robbie Gibb was a do what it does, it needs hypothecated former director of communications at funding. By all means, debate its size No 10 for . Andrew Griffith, and responsibilities and the method another panel member, is a sitting Tory of funding – a licence fee, a household MP and a former chief operating officer levy, general taxation… all [are] possi- at Sky Group.” bilities. But, without a dedicated fund- Lord Grade, himself a Conservative ing stream, it will wither and die.” peer, defends the selections: “Along The second affects all PSB organisa- with Oliver Dowden and [culture min- tions, he says: “In the future, the inter- ister] , we’ve got a net will be the main means of TV seriously qualified panel and, hopefully, distribution, via a small number of we will come up with pragmatic and dominant, foreign-owned platforms. long-lasting solutions and redefinitions.” From their home screen, how far will On the political front, some in broad­ you have to dig to find any mention of casting have taken comfort from the BBC iPlayer, ITV Hub or All 4? departure of Dominic Cummings, who “The principle of prominence for has led “the war against the BBC”, PSB channels needs to be modernised according to Patrick Barwise of London to apply to all the new gatekeepers. Business School and social analyst They should have to carry the PSB Peter York in a new book of that name. services, give them prominence and And those outside the PSBs “club” pay fair value for all the viewers the Sophie Turner Laing maintain that you don’t have to hold Shine Endemol PSBs attract to their platforms.” a PSB licence to be of service to the This argument was amplified in an public. Sky says it produces original we should not have a news article in co-written by the British drama, comedy, entertainment, channel with its point of view, or that BBC’s Director-General, ; the documentaries and children’s pro- of the FT.” chief executives of ITV and Channel 4, grammes and claims the scale of its Grade is also worried about Chan- Carolyn McCall and Alex Mahon; and contribution is comparable to some nel 4, which he ran for nine years, as Maria Kyriacou, President of Channel 5’s PSBs. and Sky Arts are both ministers put privatisation back on owner, ViacomCBS UK. “It is funda- free to air and, in 2020, it won 12 Baftas the table. So, too, is Mark Thompson, mental to public service broadcasting including for Chernboyl, the most another former C4 CEO, who says it that it should be available to everyone, awarded show, in a single year. faces real difficulties unless it can har- however they choose to consume TV The panel of experts will not advise ness its “potentially ground-breaking content in the digital age” they wrote. on the level of the licence fee, but it is global digital brand”. “Prominence” and “universality” are expected to discuss the sustainability David Elstein, former Thames TV also two of Voice of the Listener and of the licence and what, if anything, and Sky TV head of programming and Viewer’s top concerns – but these might replace it – as well as the BBC’s Channel 5 CEO, is a long-term propo- terms highlight the need to update the size and scope. Grade said last month nent of subscription for the BBC. He “anachronistic” language of PSB. Sally that the BBC’s expansionist tendencies favours a much more radical approach Osman, who led communications at the must be curbed and it should redefine and says “PSB is not just about UK BBC, Sky, Channel 5 and Buckingham its basic purpose and think how it can content, but the provision of specific Palace, says: “‘Universality’ doesn’t reduce the range of its activities. types of output that the market cannot mean anything to most people. We For Grade, the key PSB issue is “the supply, either at all or in the desired need a new language to talk about the supply of British programmes made volume. It needs a strategic authority, BBC and PSB, which actually resonates by British producers with the British guaranteed funding, and a three- to not just with us in the business but with audience in mind – that is absolutely everyone who pays the licence fee and essential to keeping us in the forefront loves programmes.” of exporters of British content”. ‘THE PRINCIPLE OF Peter Bazalgette says: “The best Another is the funding and regula- replacement I’ve come up with for PSB tion of trusted news, and who should PROMINENCE FOR is ‘critical social content’, or CSC. You provide it, in an age of unlimited chan- can probably do better, but we do need nels and “fake news”. At the Freeview PSB CHANNELS a rebrand here.” event, he said that the licensing of NEEDS TO BE If you can do better, please let him news providers “seems a relic of a know – the future of PSB is in the bygone patrician age – I don’t see why MODERNISED’ balance. n

Television www.rts.org.uk December 2020/January 2021 25 Steve Hewlett Scholarship Event 2020

Are the UK public service broadcasters facing a fight for their lives? A joint RTS and Media Society panel scrutinises the evidence

Royal wedding 2018 BBC In defence of truth and impartiality

n the eve of the two Steve Hewlett Scholarship events, perfectly confident that all aspects of publication of hosted by the RTS and the Media Soci- PSB, not just the BBC, have a pretty Ofcom’s much-­ ety in early December, and chaired by good story to tell.” anticipated review former BBC and ITV journalist John Looking back over a year dominated of public service Stapleton. by the coronavirus pandemic, Chan- broadcasting (PSB), In November, culture secretary Oliver nel 4 CEO Alex Mahon said: “It’s been bigO names from the BBC and Channel 4, Dowden said it was time to “ask really a truly shocking and horrendous year past and present, discussed whether profound questions” about the role of on every front, but what is great is that British broadcasting was in crisis. public service broadcasters in the digi- the public have relied on, valued and Ofcom warned that PSB is unlikely tal age, adding: “And, indeed, whether cared about public service broadcast- to survive in the online world without we need them at all.” This sounded ers, perhaps more than they have done an overhaul of broadcasting regulation. “ominous”, suggested Stapleton. in decades. It said that the public service broadcas­ Damazer responded: “PSB matters “They’ve realised that they need us ters – the BBC, ITV, STV, Channel 4, for what it’s producing now, what it for informing, connecting and enter- and Channel 5 – could also fulfil means for Britain’s cultural industries taining them in this dreadful time.” their obligations online, and that the now, what it means for bringing the Mahon argued that Channel 4’s public service remit could be extended nation together on big occasions: model of being publicly owned but to the big streamers. Olympics, royal weddings, commemo- commercially funded had worked in Ex-controller of Radio 4 Mark Dama- rations of the world wars, local radio, 2020 – and that privatisation, “on the zer, however, argued that PSB “is alive information, news, drama, the lot. table”, according to culture secretary and kicking and attempts to write it out “So, when [Dowden] asks these ‘pro- Oliver Dowden, was unnecessary. “We of the script in favour of either the ide- found questions’, and it’s quite right had ratings up through the roof and ology of pure market forces or [because] that he asks them, if he’s open-minded revenues down through the floor, but it’s ‘out of touch with the people’ have about the evidence that he’s examining we made all our cuts, we made them been thoroughly disproved this year.” and doesn’t let any ideological predis- really fast, and we’re on track to book Damazer was speaking at the first of position contaminate the results, I’m the highest surplus in the history of the

26 PSB: An upbeat assessment

Audiences may be turning away from the PSB channels in favour of global streaming and online services, but Enders Analysis founder Claire Enders found cause for optimism. PSB, she said, ‘remains very significant. The share of audience is still extremely large. [It] remains, by far, the largest destination for most people in this country.’ Although broadcast TV viewing ‘has inexorably declined’ thanks to the growth of YouTube and the Channel 4 News

Channel 4 launch of streamers such as Netflix and Disney+, Enders maintained organisation,” she said. “And we’re up Mahon admitted: “We’re living in a that PSB viewing has remained on ratings, share and digital.… The flexi- kind of post-truth world, our shared ‘pretty robust’ for the over-35s in bility of the model could not be more identity is being challenged.” Nonethe- the face of growing competition. proven than it has been this year.” less, “the growth in the BBC and Chan- The Covid-19 outbreak led to an Former BBC Director-General Greg nel 4’s news this year has been off the ‘incredible revival and interest in Dyke argued that “the disappearance charts…. People want impartial, properly news’ and PSB news services: ‘We of Dominic Cummings” was “good sourced, regulated news – and that’s know that PSB fulfils an essential news for public service broadcasting what all the PSBs here are brilliant at.” mission of information.’ and the BBC. If you read the stuff he’s Dyke noted: “If you go anywhere in Enders ended her brief pres- written and said over the years, he was the world, they think the BBC is the entation on an upbeat note: ‘A year pretty hostile.” But he also sounded a most wonderful [thing] and that every of unprecedented crisis, [and an] warning: “The decline in advertising good programme that ever comes out existential crisis for PSB has been revenue for the commercially funded of Britain came from the BBC… they all replaced by a situation in which we PSBs could be a bigger [problem]. It wish they had it. We’ve got it and we can see… some hope that we will won’t happen overnight but it could have a Government that, half their all get through this well.’ happen over 10 to 15 years. time, seems to want to get rid of it. I “It gets harder and harder to sustain think it’s time they started valuing it the roots of public service broadcasting for what it does and what it is.” if your advertising revenue is in grad- Stapleton asked whether licence-fee PSB: The need ual decline.” funding was sustainable. “If anyone for prominence Stapleton pointed to Ofcom’s recently invented the licence fee today – to released “Annual report on the BBC”, have a television receiver in your which revealed that only 54% of adults home, you’ve got to pay 150-odd Channel 4 CEO Alex Mahon called see its news as impartial. Were the pounds – we’d all laugh, but it has for ‘an updated set of regulations’ panellists worried? survived… significant attempts to get covering the ‘prominence’ of public “At times of crisis, impartiality is rid of it. I personally wouldn’t die in the service broadcasters. difficult,” pointed out Dyke. “We’ve just ditch for it; I would die in the ditch for ‘The way content appears on been through one crisis with and public funding for the BBC,” said Dyke. your television is ruled by the 2003 I think Brexit did divide the population. “I agree with Greg that, if you were Communications Act and the belief I think it was John Simpson who said inventing it from scratch, you wouldn’t that everything would be reached years ago that, when Britain is divided come up with such a bonkers, peculiarly through an electronic programme that much, the BBC tends to get it in the British scheme,” said Mahon. “You’ve guide – that’s not how people find neck. I’ll be interested to see what the got to have something better if you programmes now,’ she said. figures look like in a year’s time.” replace [the licence fee], and I haven’t ‘If we don’t do anything in regula- Damazer said: “I have all kinds seen something better yet.” n tion, it will be too late, because on all of beefs with the BBC news machine those smartphones and flat-screen and I scream at Channel 4 News virtually Report by Matthew Bell. ‘British broad- TV… it’s whoever pays Amazon or every night for one reason or another, casting in crisis? The public service LG the most that works out where but I recognise that I’m getting a quality broadcasters’ was held on 7 December things appear. We need protection product from people who really care and produced by Phil Barnes, Rachel for public service content.’ about accuracy, truth and impartiality.” Crellin, John Mair and Jo Sampson.

Television www.rts.org.uk December 2020/January 2021 27 Steve Hewlett Scholarship Event 2020

‘Out with the old thinking’ Queer Eye, which ITV produces for Netflix Netflix Media grandees assess how the UK’s public service broadcasters are responding to the streamers’ success

t first glance, the out- to consumer) players was most pro- only 20% of their aggregate viewing, look looks less than nounced in the under-40s. “The concluded Enders. sunny for traditional launch of Disney+ in the spring was Bazalgette described the streamers as broadcasters faced the most successful the UK has ever “frenemies”. They were important cus- with competition from seen,” she noted. tomers for UK producers – including Netflix and the other The “insatiable demand for high-­ ITV Studios. Netflix was ITV Studios’ streamers.A Dig a little deeper and the quality drama” had put Netflix in the second biggest customer after ITV itself. situation looks a lot more nuanced. driving seat and “overwhelmed” the The ITV Chair noted that it was impor- That was the main takeaway from ability of UK PSBs to match the tant to draw a distinction between the second of two Steve Hewlett streamers’ investment in shows such Netflix and Amazon; the former was Scholarship debates, “British broad- as The Crown and The Queen’s Gambit. a service, he said, while the latter was casting in crisis?”, organised jointly by “PSBs were [already] struggling to a platform. the RTS and Media Society. meet audience demand for fresh He continued: “The real threat to A panel of heavy hitters – ITV Chair material,” continued Enders. “For the British broadcasters is the supra­ Peter Bazalgette, ex-BBC and The New past decade, it had been a race to the national monopolies that own platforms York Times supremo Mark Thompson, top for drama.” that, in the future, wish to be aggregators and Janine Gibson, assistant editor at Netflix recently announced that it of content. We need to get our signal the FT – responded to an introduction would invest $1bn in the UK next year. and programmes distributed on a fair by the analysts’ analyst, Claire Enders. This avalanche of funding was making basis with reasonable returns.” She set out some potentially alarm- life difficult for the PSBs, as “every part While the streamers were clearly ing statistics for the old guard who are of the production chain” was affected outspending companies such as ITV, it all attempting to up their digital game. by global inflation, not least talent and was important to remember that British Enders said that, so far during the screenwriters. broadcasters produced far more hours pandemic, aggregate UK viewing of Drama budgets had risen to as much of content than Netflix and other D2C online services had increased by almost as an astonishing $10m an hour. Thank­ companies. 100%. The stampede to the D2C (direct fully for the PSBs, drama accounted for Thompson made the point that,

28 Thompson called for policy-makers to be more imaginative. He thought it was retrogressive that so much of the policy agenda was set by the “old thinking” of British newspapers, them- selves challenged by digital disruption. “Today’s politics are more about fighting the last war on public service broadcasting… rather than seeing that the totality of British broadcasting is part of a competitive global market. Everyone in the UK, including the BBC, is a minnow. The BBC is the only global media brand with global poten- tial,” insisted the former BBC chief. Thompson was optimistic about the Government’s intentions towards the The BBC’s Years and Years BBC. The real problem, he emphasised, asked where we are headed

BBC was that its PSB review was too restrictive: “We’re dealing with global, thanks to the streamers, “money was starting to plateau – and that’s during three-dimensional chess and they’re pouring into the UK”. This was boost- a year where we were all locked in, getting out the noughts and crosses ing British talent and production in a watching box sets.” board yet again. They’re asking them- way that would have seemed impossi- Gibson added: “We see the same selves questions about a lost world, ble a decade ago. thing over and over and it doesn’t where UK broadcasting could be looked The problem for UK broadcasters really speak to us.” She reminded the at discretely.” was that they lacked both the capital audience that four of the most suc- As for broadcast news, with so much and the algorithms controlled by the cessful shows this autumn came from “confirmation bias” available on the American companies. PSBs: Bake Off, Gogglebox, I’m a Celebrity… internet, it was vital that PSB news But, despite these advantages, the and Newscast, screened, respectively, by services routinely explained to audi- shows that the streamers commis- Channel 4, ITV and the BBC. ences, particularly younger audiences, sioned tended to contain a narrow Turning to the grim economic land- why their news programmes were focus, claimed the ex-BBC Director-­ scape brought about by Covid-19, trustworthy, said Bazalgette. General. He said: “Someone looking at Bazalgette said that ITV was on track to Turning to ITV’s falling share price the UK from outside could be forgiven have its worst year financially since the and diminished market value, Staple- for thinking that everything happens broadcaster began in 1955. “But the ton was blunt. He asked the ITV Chair either in Buckingham Place or advertising market is coming back quite if the broadcaster could survive dis- Hogwarts.” strongly,” he noted. ruption. “ITV is a remarkably resilient This romanticised view of Britain, Live, linear viewing now accounted company that remains profitable, with long perpetuated by Hollywood, for 58% of ITV’s total audience, a trend very-well-controlled debt,” responded excluded the reality of lives of most that the crisis had accelerated as more Bazalgette. “We didn’t ask for any gov- . “Who’s going to tell the viewers watched online. ernment money this year.” stories of the people who actually live On the upside, coronavirus had He continued: “Both ITV and the in the UK?” asked Thompson, who reminded everyone of the value of BBC are late modernisers. We have a answered his own question: British “broadcasting with a public purpose lot of ground to make up. It’s not all broadcasters could be relied up to tell – not only trusted news but also the about paid streaming services. Of British stories. PSBs’ ability to communicate key Gov- course, we should have a Spotify Turning to policy-makers and regu- ernment messages in emergencies model, where people can either have lators, Thompson said it was important [using the terrestrial transmitter net- free content, ad-supported or pay. that they gave UK TV companies the work]. The next world war will be “We have ITV Hub+, where you can right regulatory framework to maxim- digital,” warned the ITV Chair. “It is watch the schedule without the ads and ise the chances of them becoming important that we have more than one we have BritBox. Our ad-supported players with global scale. form of content distribution, because streaming services are where we have Returning to the debate’s main the internet could be compromised.” to put most of our resources in the theme, session chair John Stapleton, a The crisis had underlined the future. It’s a huge opportunity and it former BBC and ITV journalist, asked importance of storytelling that reflects shows there’s life in the old dog yet.” n Gibson if the streamers posed an exis- people’s lives, noticeably in soaps, he tential threat to British PSBs. added, picking up Thompson’s earlier Report by Steve Clarke. ‘British broadcast- She replied: “Netflix, Amazon and, point. “These things are important but ing in crisis? The commercial channels to a certain extent, Disney are going to undervalued in government.” The and the rise of VoD’ was held on 8 Decem- face tech-company problems. It wasn’t pandemic had “sharpened up the ber. It was produced by Phil Barnes, Rachel plain sailing for Netflix, which was debate about PSB,” he suggested. Crellin, John Mair and Jo Sampson.

Television www.rts.org.uk December 2020/January 2021 29 A stellar panel tells RTS Futures that television companies have a vital role in combating the climate crisis

elevision soap operas have an important role to play in communicating envi- ronmental messages. That was one of the conclusions of an RTS Futures session, “Can TV save the planet?”, which dis- cussedT how it is not only the likes of and Chris Pack- Can TV ham who can alert audiences to the impact of and other environmental challenges. Tom McDonald, director of BBC Studios Factual, whose commissions save the have included Blue Planet II and Drown- ing in Plastic, said that, as shows such as Coronation Street and EastEnders had influenced attitudes to sexuality, they could similarly heighten awareness of planet? ways to live more sustainably. “Soaps take things that might be considered minority interest and put them into the heart of the mainstream,” he said. “My mum and my granny are more likely to be affected by something they see in EastEnders than in a David Attenborough film.” He noted that the café in EastEnders no longer served bacon sandwiches. He also suggested that Top Gear had an opportunity to feature more electric cars – not only as worthy modes of transport but in an exciting and fun way. “On the other hand, I don’t want to watch Bake Off and be told what the cake’s ingredients are and what they’re programmes, but that they were also people’s throats. It can be quite subtle,” doing for the environment,” added watched by up to 7 million viewers he said. “Audiences can be shown that McDonald. He hoped that environ- five nights a week. you can do things differently and it’s mental messages would become so Emmerdale had been at the forefront not that scary. Soaps are at the fore- common in TV programmes that they of embedding environmental themes front of that. They’re a window into no longer stood out. by banning plastic straws from the someone else’s life. If you show this Philip Holdgate, senior project man- Woolpack bar and featuring a corner life being lived in a way that doesn’t ager at ITV Studios, said that soaps not shop selling locally grown, organic damage the planet, it’s a powerful tool.” only reached a different audience to produce delivered by an electric van. Broadcaster Liz Bonnin, a presenter natural history and current affairs “You don’t have to ram it down of Blue Planet Live, agreed that soaps

30 were important to TV, effecting real brought about policy changes after it that big strides were being made. The change in people’s behaviour, but highlighted the dangers of rising sea Albert certification scheme had been urged broadcasters and platforms to levels. A telenovela shown in Brazil in place for around five years. He continue to commission hard-hitting illustrated the deleterious effects of described it as a practical checklist. films that didn’t “sugar the pill”. She on a local family. Fulfilling Albert criteria involves such lauded the recent : The Facts, McDonald quoted a recent survey things as ensuring that productions use presented by Attenborough. which had shown that, despite the electric generators, limit their travel by “We shouldn’t be apologetic about pandemic, for young people, climate hiring crews locally and offsetting communicating the cold, hard facts,” change remained the single most carbon when carbon footprints can’t she insisted, adding: “The pandemic is important issue facing society. “I was be reduced. “On scripted shows, people connected to how we extract natural worried that climate change was falling are now using zero-carbon generators,” resources and degrade forests. Viruses down the agenda but that doesn’t seem Matthews explained. “It’s also impor- have more of a chance to emerge and tant to ensure that supply chains are affect us when there is environmental sustainable.” degradation.” ‘TV SHOULD Studios are encouraged to use renew- II, to be broadcast next able energy suppliers. “These are things year by the BBC, would contain mate- CONTINUE TO that, over time, create change,” he said. rial that even experienced natural COMMISSION A recent Albert report, “A screen new history film-makers were likely to find deal – a route map to sustainable film alarming, said McDonald. “The evidence HARD-HITTING production”, aims to inspire scripted is frightening. I predict it will have a producers to move towards zero-­ massive impact,” he said. FILMS THAT DON’T carbon filming. He agreed that natural history films SUGAR THE PILL’ Holdgate said that, at ITV, there had had changed from the days when TV been a view that working in a more drew “people in through awe and sustainable way would be more expen- wonder, incredible storytelling and to have happened,” he said. The climate sive. However, this attitude had begun then you hit them with the strong crisis was of such urgency that it was to change. “We’re asking people to be environmental message”. vital to commission and broadcast films more efficient and to avoid waste,” he But should broadcasters be cam- that said: “Wake up and listen.” said. “When you’re not wasting elec- paigners, asked Gaby Hornsby, BBC One problem was that, in common tricity or costumes, you’re potentially assistant commissioner for seasons and with other media, TV was guilty of saving money. People should think less campaigns, factual, and TV sustainabil- promoting mixed messages. Cookery about cost and more about value.” ity lead, who chaired the discussion. shows tended to feature a lot of beef ITV is discussing using low-energy This was something of a minefield, eating while, in other shows, viewers lighting on sets for Coronation Street and noted McDonald: “It gets complicated were encouraged to eat more plant- Emmerdale, daytime and news. This because, unfortunately, the solutions based diets. The panel noted, however, could save 90% of current energy use, are political with a small P. People dis- that people would need to cut their a massive impact, suggested Holdgate. pute what are the right ways to behave.” meat consumption by only 20% to help “It’s not a quick or cheap thing to do Both Hugh Fearnley-Whittingstall reduce carbon emissions by significant but it’s on our road map.” and had made programmes levels. The way flying was portrayed He added: “On using low-energy infused with “a campaigning spirit”, but across TV sent out a mixed message on tariffs, we’ve made huge progress in a the BBC executive stressed that it was flying’s environmental harm. relatively short period. I’m interested “not our job to say, ‘You must do this’. Celebrities needed to play their part, to see if that leads to progress with But it is our job to show change-makers. too, everyone agreed. It was all very on-site renewables and storage.” They inspire people to bring that change well having Attenborough and Packham Despite the evidence that the planet into their own lives.” bang the drum on environmental mes- was heating at an alarming rate, all the He continued: “The interesting bit is sages, but Bonnin suggested that enter- panellists were optimistic that real and when you engage heart and head, and tainment stars such as Ant and Dec lasting change was possible. For all our galvanise people to act in a way that occupied a potentially powerful position sakes, let’s hope that they are right. n feels like they’re not being told off.” In to promote action on sustainability. other words, getting the tone right and As for encouraging production teams Report by Steve Clarke. ‘Can TV save the avoiding being didactic. to work in a more environmentally planet?’ was an RTS Futures event held In the Netherlands, a TV drama, conscious way, Aaron Matthews, head on 3 December. The producers were Gaby shown by a public service broadcaster, of industry sustainability at Bafta, said Hornsby and Ali Laurie.

Television www.rts.org.uk December 2020/January 2021 31 But, he added, the audience ratings told the big story: “We’ve seen huge numbers – figures we haven’t seen for decades – of people watching news bulletins.” Former Labour advisor and broad- caster Ayesha Hazarika saw both the good and bad in this: “What people thirsted for was the return of a more traditional way of consuming news and the desire for trusted narrators, particu- larly on broadcast.” She added: “[We saw] how politicians [recognised] TV as such an important medium… with the Downing Street press conferences, and people were absolutely glued to them. This was the year that broadcast, be it TV or radio news, was back.” Writer Jed Mercurio, whose hugely popular Bodyguard told the story of a relationship between a fictional Home Secretary and her protector, saw noth- ing surprising in any of this. For him, Former Prime Minister the twin problems of accountability on interviewed the part of politicians, and of reliability by ITN’s Michael Brunson in 1991

ITV on the part of the media, were already present before the stakes became so An RTS Christmas special event reviews gems of high with the pandemic. “The fact that we were in the middle the genre from the 1950s to the present day of a public health crisis only accentu- ated public desire for straight answers, with frustrations sometimes being taken out on journalists,” he said. “The public blamed journalists for failing to get a straight response from a politician The political in one of their coronavirus briefings.” Bradby then took his panel down memory lane to watch some of the most striking political moments of previous years – a mixture of long-­ interview rehearsed speeches, well-prepared interviews, unforeseeable events and, most delightfully for viewers, minis- ters’ memorable mishaps. Back in the 1980s, Whittingdale was unwrapped one of Margaret Thatcher’s speech-­ writing aides. He doffed his cap to her defiant message the morning after the s this RTS exploration too freely in news reports and political 1984 bombing of the Tory party’s of powerful moments briefings, but his three panellists agreed Brighton conference hotel. At other in TV political inter- that, for once, this year’s events justified times, though, he made the case for views unfolded, it its ubiquity. Both media and ministers using humour and memorable lines quickly became clear have faced fresh challenges in dealing in speeches. just how extraordinary with each other as they have laboured He cited Thatcher’s 1980 message to 2020A has been, even in an era of jaw- to address the coronavirus crisis. her doubters, written for her by play- dropping statements from politicians John Whittingdale MP, Minister of wright Ronald Millar: “To those waiting and startling TV encounters. State for Media and Data, was quick with bated breath for that favourite Our host, ITN’s Tom Bradby, was to point out that media organisations media catchphrase, the U-turn, I have quick to note that the word “unprece- faced the same organisational problems only one thing to say: you turn if you dented” had been bandied about rather and obstacles as any other business. want to. The lady’s not for turning!”

32 The contrast between Thatcher’s interesting response from her. Some- Miliband’s election-ending­ sarnie gravitas and our current Prime Minis- times, with political interviews, less came on Hazarika’s watch as his press ter’s reliance on his natural bonhomie can be more. With sofa interviews, a officer, something to make her put her was pounced on by Hazarika. question can come out of nowhere, head in her hands at the time, but She said: “Boris [Johnson] functions the politician’s guard can be down, which can make her laugh now. She quite like a stand-up . I think something can come out that wasn’t reflected: “You plan so hard as a press he’s very good when he’s in his com- intended.” officer: never have your minister stand fort zone, being his mischievous, play- For Mercurio, both this intimate under a sign that says exit – but, if the ful persona. That’s what he likes doing, encounter and the forensic style typical wind is against you politically, then any that’s what we’ve seen from his con- of that past master contrast opportunity to make you look like an ference speeches. bleakly with the current confrontational absolute plonker is going to be taken. “Since he became leader of the Con- style of political interviews. Sadly, it’s part of the job.” servative Party and [then] Prime Min- ister of this country, I think his oratory has struggled, because he’s not in his comfort zone any more. He’s trying to be two people: sometimes the clown and being funny, but he’s also been plunged into this very difficult situa- tion with a lot of responsibility – and I think that he has sometimes struggled with the more sober prime ministerial voice that’s had to come out.” For her, Johnson’s challenge lay in channelling his own zest and love of language when he is supplied with other people’s words, as is the norm for Prime Ministers. “He performs best when he’s performing his own words and he’s let off the leash,” she thought. Whittingdale agreed that Johnson Clockwise from top left: Tom Bradby, Rt Hon John Whittingdale MP, relied on humour, and noted how this Ayesha Hazarika and Jed Mercurio was difficult to do with something as RTS serious as Covid-19. However, he said, “Boris still uses very typical Boris lines “[Then], it was a conversation,” is how On the other hand, as Johnson to deliver his message. ‘’Tis the season he put it. “What we have now is the proved the day he got stuck in mid-air to be jolly, but ’tis also the season to be real frustration of watching two people on a zip wire, it is not only possible to jolly careful’ is a very Boris line.” speaking at cross purposes a lot of recover from such an embarrassing Bradby shifted the focus back to the time. spectacle, but to emerge stronger from 1991, to Thatcher’s first sit-down inter- “When ministers were being asked it. For Mercurio, this capacity comes view after she was ousted from power direct questions about PPE and testing, down to power of personality. by her own party in November 1990. I was sick of hearing politicians talking “It depends what character trait it Responding to ITN journalist Michael of ‘ramping up’, [instead of] dealing reveals,” he suggested. “If a politician Brunson’s questions about her final with what was going on in the present.” can weather one of those moments, day as Prime Minister, a very emo- Finally, Bradby ran an entertaining particularly with a sense of self-­ tional Thatcher told him about the cross-party montage of political gaffs deprecation, and they’re prepared to awkward Cabinet meeting she faced caught on camera. The highlight was, laugh and humanise the moment, it that last morning: “You don’t take a inevitably, Neil Kinnock being can sometimes enhance their reputa- decision like that without it being knocked over by shallow waves on tion with the public.” difficult, without heartbreak.” Brighton beach in 1983, but we were Let’s face it, as 2020 draws to a close, For Hazarika, this was a rare insight also reminded of John Gummer forcing viewers will take their laughs wherever into a much softer side of Thatcher his daughter to eat a beefburger at the they can find them, even from the than viewers were used to seeing, for height of the BSE crisis in 1990, John world of politics. n which she credited the perceptiveness Prescott’s one-two punch in 2001, and, and soft-pedalling of Brunson, who more recently, ’s bacon Report by Caroline Frost. ‘Television’s was familiar with the former premier. sandwich, Gordon Brown’s “bigot” most memorable political moments’ was “That’s a collision of a trusting rela- moment, Theresa May dancing, and an RTS event held on 16 December. The tionship but he also judged it well,” she David Cameron tootling a tune on his host was Tom Bradby and the producer said. “There was no need to go in hard. way back to the front door of No 10 was Lisa Campbell, ITN’s director of His approach elicited a very raw, Downing Street. corporate communications.

Television www.rts.org.uk December 2020/January 2021 33 His Dark Materials, Design – Titles; Effectsand Production Design – Drama

RTS Craft & Design Awards 2020 Supported by

Mim Shaikh and Anne Mensah presented a ceremony streamed on 23 November BBC

Casting Costume Design – Drama Costume Design – Yoko Narahashi, Shaheen Baig and Lynsey Moore – Entertainment and Non Drama Layla Merrick-Wolf – Giri/Haji (Duty/ Various Artists and Falkna for BBC One Tim Simpson, Derek McLean, Shame) and HBO Daniel Nettleton and Claire Horton – Sister for BBC Two and Netflix ‘The look of the show was genuinely The (Series 1) ‘The Japanese and British casting com- ground-breaking and created styles for Bandicoot and Plunge Creations plemented each other beautifully. The the characters that will set trends for for ITV artful approach to the casting created the future. And all on an impressively ‘To create such distinctive characters some standout performances that tight budget.’ with costumes that fully concealed the managed to be truly authentic.’ Nominees: performers’ identity, without compro- Nominees: ◗ Dihantus Engelbrecht – Noughts + mising sound quality, was an [out- ◗ Kelly Valentine-Hendry – Gangs of Crosses, Mammoth Screen/Participant standing] technical achievement.’ London, Pulse Films/Sister and Sky Media and Roc Nation for BBC One Nominees: Studios for in association ◗ Arjun Bhasin – A Suitable Boy, A ◗ Roberto Surace – The Goes Wrong with Lookout Point Production for BBC One Show (Series 1), Mischief Screen and ◗ Amy Hubbard – White House Farm, Big Talk Productions for BBC One New Pictures for ITV ◗ Amanda Monk – In the Long Run, Green Door Pictures/Sprout Pictures and Sky Studios for �

34 I May Destroy You, Costume Design –Drama RTS Special Award and RTS Special Award – I May Destroy You Various Artists and Falkna for BBC One and HBO ‘I May Destroy You unpacked a breath- taking exploration of sexual assault, race, and millennial life over 12 stunning episodes. ‘Just four years ago, Michaela Coel won the Breakthrough Award at the RTS Programme Awards for her work on her groundbreaking Channel 4 series Chew- ing Gum. In the short time since then she’s established herself as perhaps Britain’s most exciting up-and-coming writer, producer, director and actor. ‘In creating I May Destroy You, she drew on her personal experience of sexual assault, giving the story’s lead character, Arabella, a deep hinterland of complexity. Arabella navigates a bewil- dering world of social-media addiction, recreational drug use, generational conflict, cultural misunderstanding and the seemingly shifting boundaries around sexual consent. ‘In writing I May Destroy You, Michaela wrote almost 200 drafts, exhausting herself into a virtually trance-like state in the process, the intensity of the task almost overwhelming at times. In co- directing I May Destroy You, she devel- oped a style unique to this show – an immediacy and vitality that put the viewer right into the chaos of Arabella’s life. And by starring as Arabella, Michaela Coel showed us again that she’s an actor whose incredible potential is still reveal- ing itself with each new project. ‘It is a truly distinctive, highly creative and exemplary piece of work.’ BBC

Design – Programme Design – Titles Director – Comedy Drama/ Content Sequences Titles Team – His Dark Materials Situation Comedy Made in Colour – My World: Dadaab Bad Wolf for BBC One and HBO Ella Jones – Enterprice (Series 2) Refugee Camp ‘A visually sumptuous opening Fudge Park Productions for BBC Three BBC World sequence that really lifts and trans- ‘The director achieved an infectious ‘An intimate and emotive piece of ports viewers into this world. These dynamism and intimacy in the story- animation, with a story so beautifully titles convey the epic, cinematic scale telling and made the viewer feel like told.… Even more impressive [consid- of the show.’ they were an extra character in the ering the] tight time frame, small bud- Nominees: show, which made the experience get and intimate team size behind it.’ ◗ Titles Team – Brassic, Calamity Films funnier, sadder and more inclusive.’ Nominees: and Sky Studios for Sky One Nominees: ◗ Richard Norley, Wajahut Shah and ◗ Rob Roberts-Facey, Lucy Adams, ◗ Simon Hynd – There She Goes Sancha Worthington, Jump – The Dominic Robson-Smith and Alastair (Series 2), Merman Television for Supervet (Series 15 and Christmas McIntyre – World Athletics Champion- BBC Two ­Special), Blast! Films for Channel 4 ships 2019, BBC Sport ◗ Tom George – This Country (Series 3), ◗ Martin Johnson, Fleur Bone, Rob Har- BBC Studios for BBC Three � vey and Paul Crosby – Mars: One Day on the Red Planet, The Garden Produc- tions for National Geographic

Television www.rts.org.uk December 2020/January 2021 35 Director – Documentary/Factual The Masked Singer, and Non Drama Costume Design – Waad al-Kateab and Edward Watts – Entertainment and For Sama Non Drama ITN Productions for Channel 4 and PBS ‘A searing and cinematic film, which captured attention and hearts with its beautifully human angle and brave directing skills.’ Nominees: ◗ James Bluemel – Once Upon a Time in Iraq, Keo Films for BBC Two ◗ Paddy Wivell – Prison, Spring Films for Channel 4 Giri/Haji, Casting

Director – Drama ITV BBC Lenny Abrahamson – Normal People Element Pictures for BBC and Enterprice, Director ‘Beautiful, stylish and confident. The – Comedy Drama/ work of an elite director, skillfully Situation Comedy providing the space for his actors to shine and their chemistry to transmit through the lens.’ Nominees: ◗ Sam Miller and Michaela Coel – I May Destroy You, Various Artists and Falkna for BBC One and HBO ◗ Destiny Ekaragha – The End of the F***ing World 2, Clerkenwell Films and Dominic Buchanan Productions for

Channel 4 and Netflix BBC

Director – Multicamera For Sama, Director – Documentary/ Bridget Caldwell – The Royal British Factual and Non Drama and Legion Festival of Remembrance Music – Original Score BBC Studios for BBC One ‘A masterclass in multi-camera directing. The choreography is 10 out of 10. A tour de force and a real director’s piece.’ Nominees: ◗ Simon Staffurth – VE Day 75: The People’s Celebration, BBC Studios for BBC One ◗ Julia Knowles – VJ Day 75: The Nation Remembers, BBC Studios for BBC One His Dark Materials, Editing – Documentary/Factual Design – Titles; Effectsand Production Design – Drama Abraham Teweldebrhan – Tyson Fury: Channel 4 BBC The Gypsy King Television for ITV ‘A captivating story, told with bold choices that completely transcended the genre of sports documentary.’ Nominees: ◗ Chloë Lambourne and Simon McMahon – For Sama, ITN Productions for Chan- nel 4 and PBS ◗ Justin Badger and Christopher Swayne – Barrymore: The Body in the Pool, Keo Films for Channel 4 �

The Royal British Legion Festival of Remembrance, Director – Multicamera BBC

36 Editing – Drama Pia Di Ciaula – Quiz for ITV ‘With multiple storylines and the viewer charged to make a decision about the guilt of [Charles Ingram], the editing was required to be consistently smart, confident and cleverly balanced.’ Nominees: ◗ Izabella Curry – I Hate Suzie, Bad Wolf and Sky Studios for Sky Atlantic ◗ Nathan Nugent – Normal People, ­Element Pictures for BBC and Hulu Editing – Entertainment and Comedy Dan Gage – Staged Infinity Hill and GCB Productions for BBC One ‘Witty, joyous and clever use of tech- nology, this pushed the boundaries of what great editing can achieve.’ Nominees: ◗ Edit Team – Britain’s Got Talent Normal People, Director – (Series 14), Thames and Syco for ITV Drama and Photography ◗ William Webb – Feel Good, Objective – Drama and Comedy

BBC Fiction and Scotland for Netflix and Channel 4 Editing – Sport Joe Snell, Kevin Evans and Paul Roberts – Time for a New Season; BT Sport Europa League final and BT Sport Champions League final BT Sport ‘Brilliantly put together, with the feel and quality of a high-end music video. A remarkable and emotive piece of work, expertly crafted from inception.’ Nominees: ◗ Nicholas Perry, Rob Roberts-Facey and Stephen Lyle – One Day: Sport’s Super Sunday, BBC Sport ◗ Nicholas Perry, Tom Mallion, Sonja McLaughlan and Richard Hughes – Six Nations 2020: Eddie Jones interview, Tyson Fury: The Gypsy King, BBC Sport Quiz, Editing – Drama Editing – Documentary/Factual ITV ITV Effects Framestore, Russell Dodgson, Dan May and Danny Hargreaves – His Dark Materials Bad Wolf for BBC One and HBO ‘Just glorious! Impressive collaboration between the numerous teams delivered truly excellent creatures and rich FX work across the series.’ Nominees: ◗ Vine FX – War of the Worlds, Urban Myth Films and Canal+ for Fox ◗ DNEG, Rowley SFX, Flash SFX and Goldcrest – World on Fire, Mammoth Screen co-produced with Masterpiece Staged, Editing – Entertainment and Comedy

BBC for BBC One �

Television www.rts.org.uk December 2020/January 2021 37 Lighting for Multicamera A Suitable Boy, Make-Up Design – Drama Nigel Catmur – VJ Day 75: The Nation’s Tribute BBC Studios for BBC One ‘A high-quality production of a hugely creative response to the restrictions suddenly placed on the event. Every detail was clear and no light was in sight. Stunning and brilliant, a programme that will live long in the memory.’ Nominees: ◗ Gurdip Mahal, Ross Williams and Rob Bradley – , Optomen for Channel 4 and Netflix ◗ Paul Burton – Coronation Street, ITV Studios for ITV Time for a New Season; BT Sport Europa League final and BT Sport Champions Make-Up Design – Drama League final,Editing – Sport

Shabana Latif and Avan Contractor – Sport BT BBC A Suitable Boy A Lookout Point Production for BBC One VJ Day 75: The Nation’s Tribute, ‘The hair and make-up achieved a Lighting for Multicamera hugely wide-ranging spectrum of looks, with an extraordinary eye for detail, and contributed hugely to the storytelling.’ Nominees: ◗ Bethany Swan – I May Destroy You, Various Artists and Falkna for BBC One and HBO ◗ Julie Kendrick – Quiz, Left Bank Pictures for ITV Make-Up Design –

Entertainment and Non Drama BBC Sheldon Wade – Frayed Merman Television in association with Guesswork Television for Sky One ‘The delightfully distinctive period aesthetic was created with subtlety and nuance, perfectly in keeping with the comic tone of the show.’ Nominees: ◗ Kate Roberts and Team – In My Skin, Expectation Entertainment for BBC One ◗ Marcos Gurgel – , ITV Studios Entertainment for ITV Multicamera Work Suri Krishnamma and Camera Team – Performance Live: The Way Out Battersea Arts Centre for BBC Four ‘A properly original production in which the camera gained an identity and presence all of its own. An aston- ishing technical feat.’ Nominees: ◗ Camera Team – VJ Day 75: The Nation’s Tribute, BBC Studios for BBC One ◗ Andrew Slater, Annie Tetchner, Sophie Oliver and Katie Collis – 24 Hours in Police Custody – Murder in the Woods – Two-Part Special, The Garden Pro- Frayed, Make-Up Design – Entertainment and Non Drama

ductions for Channel 4 � Sky

38 Performance Live: Multicamera Work – Sport The Way Out, IGBS Camera Team – The Rugby Multicamera Work World Cup Semi Final 2019 England vs IGBS (JV between IMG and HBS) for ITV ‘An amazing piece of storytelling. Everything from the haka onwards was shot in a dramatic narrative style. One of those moments when sport becomes truly epic.’ Nominees: ◗ Matt Roberts – SailGP: Season 1 Finale and Season 2 Launch, Whisper and Timeline TV for BT Sport and Sky Sports

BBC ◗ Ken Burton – FA Cup: Shrewsbury Town vs , BBC Sport Music – Original Score Nainita Desai – For Sama ITN Productions for Channel 4 and PBS ‘A painfully moving film enhanced by an equally emotional soundtrack, which was subtle and spare and enhanced the dignity of the overall piece.’ Nominees: ◗ Natalie Holt – Deadwater Fell, Kudos for Channel 4 ◗ Mark ‘Happi’ Babatunde and Duriel ‘Komenz’ Mensah – Enterprice (Series 2), Fudge Park Productions for BBC Three The Rugby World Cup Semi-Final Music – Original Title 2019 England vs New Zealand, Multicamera Work – Sport H Scott Salinas – Baghdad Central

ITV Euston Films for Channel 4 ‘An instantly recognisable theme, Baghdad Central, which was suitably haunting, dynamic Music – Original and original – you understood exactly Title and Sound where you were in the world as soon – Drama as you heard the opening bars.’ Nominees: ◗ Lorne Balfe – His Dark Materials, Bad Wolf for BBC One and HBO ◗ Alex Heffes and Anoushka Shankar – A Suitable Boy, A Lookout Point Pro- duction for BBC One Anne Mensah, Chair of the Awards Photography – Documentary/ Channel 4 Tom Pilston Tom Factual and Non Drama Olivier Sarbil – On the President’s Orders Mongoose Pictures for BBC Storyville ‘Every bit of the photography was beautifully and brilliantly constructed. The framing and lighting was extraor- dinary, giving a cinematic effect that completely drew the viewer into a haunting, sinister and menacing world.’ Nominees: ◗ Drone Filming Crew – The Great Mountain Sheep Gather, Windfall Films On the President’s Orders, for BBC Four Photography – Documentary/ ◗ Factual and Non Drama Camera Team – Celebrity SAS: Who

BBC Dares Wins, Minnow Films for Channel 4 �

Television www.rts.org.uk December 2020/January 2021 39 Nina Gold

Outstanding Achievement One pop video led to another and, before her relentless search for new talent. Award long, Nina was also casting TV commer- She’s acknowledged to have the best Nina Gold cials. In 1992, she cast a McDonald’s ad antennae in the business, but she com- ‘One newspaper recently called her “the directed by . He spotted her bines this with a gift for surprise – she most influential casting director working obvious flair and, later in the decade, often casts unexpected actors into roles today”. She has almost 200 screen cast- asked Nina to cast her first feature film, that they then somehow end up appear- ing credits to her name – Game of Topsy-Turvy. Her subsequent work in ing born to play. Thrones, The Crown, Patrick Melrose, cinema has gone on to cover the range ‘Nina’s a risk taker, but one with Chernobyl, Top of the Lake, Harlots, of movie making from Hollywood block- exceptional judgement and great taste. Daniel Deronda, Tipping the Velvet, The busters such as Star Wars, Jurassic World The writer and showrunner of The Life and Death of Peter Sellers, Secret and Mamma Mia!, to modestly budgeted Crown, Peter Morgan, said, “She’s like a State, , Wolf Hall… the list British films like Sunshine on Leith. benevolent pickpocket. You walk in to goes on and on. ‘On television, Nina’s skills in the meet her with a pocketful of what you ‘Nina’s casting journey began while nuanced alchemy of casting have cre- think are brilliant casting ideas. By the she was still at university, working on ated a generation of stars who are now time you leave, you’ve none of those student productions. One day in the familiar faces but were given their early ideas any more, but your pockets have mid-1980s, she helped a friend out by breaks by her. Every year, she scours been filled with others, which you then casting extras in an AC/DC music video. drama schools and acting workshops in find out are all inevitably better.” BBC/Netflix/Channel 4 BBC/Netflix/Channel

Photography – Drama and Picture Enhancement Production Design – Drama Comedy Adam Dolniak – Rise of the Nazis Joel Collins – His Dark Materials Suzie Lavelle – Normal People 72 Films for BBC Two Bad Wolf for BBC One and HBO Element Pictures for BBC and Hulu ‘The creative results of this grade were ‘An epic, detailed and exciting design, ‘The cinematography displayed an striking, especially given the time and giving life to a fantasy world while still elegant simplicity, delivered with utter budget constraints. It was original, being rooted in reality.’ confidence and strength. The framing creative, supported the photography Nominees: was subtle but incredibly powerful… a and made a notable difference to the ◗ Tom Burton – Catherine the Great, very human piece of work, beautifully story and subject matter.’ New Pictures and Origin Pictures for Sky lit, always well motivated, and it felt Nominees: Atlantic in association with HBO very real while retaining a very ◗ Asa Shoul – Devs, FX Networks and ◗ Matthew Gant and Megan Bosaw – romantic­ tone.’ DNA Films for BBC Two Gangs of London, Pulse Films/Sister and Nominees: ◗ Aidan Farrell, Catherine the Great, Sky Studios for Sky Atlantic in associa- ◗ Ed Rutherford – Little Birds, Warp New Pictures and Origin Pictures for tion with Cinemax � Films and Sky Studios for Sky Atlantic HBO and Sky ◗ David Odd – Giri/Haji (Duty/Shame), Sister for BBC Two and Netflix

40 Production Design – Entertainment and Non Drama Dennis De Groot – The Goes Wrong Show (Series 1) Mischief Screen and Big Talk Productions for BBC One ‘Such a unique show, where the design of the sets and props is so integral to creating the comedy. Sketches relied on well-thought-out design, both practically and aesthetically, to create humour.’ Nominees: ◗ James Dillon – Taskmaster, Avalon Television for Dave ◗ Catherine Land and Patrick Doherty – , BBC Studios for BBC One The Goes Wrong Show, Production

Design – Entertainment and Non Drama BBC Sound – Drama Howard Bargroff, Tim Barker, Steve Browell and Marc Specter – Baghdad Central Euston Films for Channel 4 ‘The action-scene dialogue was allowed to breathe within the artillery, explosions and music, providing a well-designed and balanced soundscape.’ Nominees: ◗ Paul Davies, Chris Durfy, Nick Cox and Ian Morgan – The Poisonings, Dancing Ledge Productions for BBC One ◗ Sound Team – The Crown (Series 3), Left Bank Pictures for Netflix Sound – Entertainment and Non Drama Nick Fry, Mick Duffield and James Evans – The Last Igloo Swan Films for BBC Four ‘Very well-crafted audio in extreme Rise of the Nazis, Picture Enhancement

BBC weather conditions and a delicate underscore woven into the bitter The Last Igloo, Sound – winds for the sense of isolation and Entertainment and Non Drama remoteness.’ Nominees: ◗ Kevin Duff and Andy Deacon – VJ Day 75: The Nation’s Tribute, BBC Studios for BBC One ◗ Steve Speed, Nick Fry, James Evans and Hugh Dwan – Formula 1: Drive to Survive (Series 2), Box to Box Films for Netflix n

Watch the full video of the RTS Craft & Design Awards 2020, including speeches by the Chair of the Awards, Anne Mensah, and the RTS’s Patron, HRH The Prince of Wales, at: bit.ly/RTS-CandD Mim Shaikh, Host BBC RTS

Television www.rts.org.uk December 2020/January 2021 41 RTS NEWS The Society’s royal patron praises the ingenuity and commitment of production workers, reports Steve Clarke

RH The Prince of Wales, patron of the Royal Television Society, has paid Htribute to the cultural and economic contribution made by TV production teams in the UK. In an inspirational message, delivered at the RTS Craft & Design Awards 2020, Prince Charles said that lockdown had given him “renewed admiration” for the skills of all HRH The Prince of Wales

types of programme-makers. RTS This was based on personal experience. To keep in touch during the early days of the pandemic, he said that he had Prince Charles pays been forced to shoot and edit short films in order to main- tain contact with the outside world. tribute to TV workforce He congratulated all the winners and nominees, for “Whether through docu- programmes so admired “When production closed whom he expressed “my mentaries, drama, news and around the world.” down, many were left without warmest appreciation and current affairs, entertainment Recalling how he had met work yet still with families to admiration. Your devotion to or natural history program­ some of the recipients of RTS provide for and bills to pay. your craft has made British mes, the nation was kept Television Production and “As with so many of our television production a truly informed, engaged and Broadcast Journalism bursa- industries, it was a devastat- outstanding success story.” entertained throughout those ries three years ago at a cele­ ing period. The RTS Craft & Design trying months by television bration to the mark the “But, now that production Awards, which were streamed in all its rich variety.” Society’s 90th birthday, HRH is beginning to re-establish on 23 November, were “a Noting that the UK TV stressed the importance of itself, I do hope you’ll be testament to the quality of the production industry was nurturing the next generation encouraged by the knowl- technical skills and expertise worth more than £3bn, with of production personnel. edge that the contribution we see in British television almost a third coming from “Developing new talent, that you make to our national production in all its many international revenues, “the valuing and strengthening cultural and economic life is genres”. sector is a hugely significant these essential crafts and truly valued. The spring lockdown had part of the nation’s economic creating new opportunities “The ingenuity and reminded us all of TV’s vital life. That figure alone is a is more important now than resourcefulness of crafts role: “For many of our most wonderful tribute to the ever,” he said. “I know that people in British television vulnerable people shielding people who work behind the the coronavirus pandemic production is revered around at home, television was a camera – the highly skilled has brought incredibly dif- the world and it is my belief valuable source of company technicians and crews whose ficult times to people work- that you will rebound from – in many cases, their only creativity and professional- ing in TV production and to these challenging days stron- source of company. ism have made British freelancers in particular. ger than ever.” n

42 single, but they also had to have a passion for dance.” Dance She went to studios and events, and even tea dances, as well as the usual dating sources, to cast the series. floor Couples had to be matched romantically, and by dancing ability and style. One key dates consideration, said Nneke, was, “How much can dance bring out their attraction for TV presenter and super each other?” fan talked Flirty Dancing is known for to some of the key its visually arresting locations,

RTS London figures behindFlirty which have included roof-top Dancing at an RTS London bars, galleries, seaside resorts event in November. and train stations. Second Star Productions’ “You’ve got to find a loca- dating show – in which two tion that ties in with the strangers learn a dance with couple… and it’s got to work Ashley Banjo and then dance for the dancing and the film- together – has enjoyed two ing,” said director Nik Warner. series on Channel 4. “We use big lenses so we can Second Star chief creative Flirty Dancing get right in close and capture

officer and dance lover Deb­ Channel 4 those [intimate] moments.” orah Sargeant came up with Jackson added: “We wanted an idea for a series that com- Banjo as the show’s choreog- rom-com moment,” she said. to showcase some of the UK’s bined dancing and dating. rapher. He was keen; in fact, Channel 4 commissioned the incredible landmarks.… Loca- The indie’s development said Jackson, Banjo had “met series on the back of the pilot. tions had to feel cinematic.” team, looking at pre-internet his wife on the dance floor”. Laetitia Nneke cast Flirty Fox has taken the format dating, discovered that “75% The indie shot a pilot, Dancing: “The people we to the US and Second Star of [couples] in the 1950s met heavily influenced by the were looking for were quite is talking to Channel 4 about on the dance floor”, recalled Hollywood musical La La different, they were not nec- a third series in the UK. series producer Ami Jackson. Land. “We wanted to create essarily the people who Lettija Lee produced the Second Star pitched to this heightened world and would appear on other dat- RTS London event. Channel 4, which suggested give the [dancers] their ing shows. Yes, they were Matthew Bell

But Foulser argued that sport loses out by ignoring Sport: the ‘ultimate drama’ terrestrial TV. In 2005, he recalled, more than 8 million In March, Sunset+Vine to be here after this is over holders were “always looking watched the nail-biting final was “firing on all cyl- and we’re going to keep over their shoulder.… Sport day of the Test series against inders” – but, with the paying you.’ We’ve come is the ultimate unscripted Australia on Channel 4, which

RTS Thames RTS Valley Covid-19 lockdown, through it now and we’re fine.” drama; it delivers huge rat- Sunset+Vine produced. Since “we went from that to noth- During a wide-ranging ings and that’s why it costs then, no Test cricket has been ing”, said Jeff Foulser. conversation with Thames so much money.” shown live on free-to-air TV. The Executive Chair of the Valley’s Tim Marshall, a for- Amazon, he noted, had “This is no criticism of Sky, worldwide sports producer, mer BBC head of events, “dipped its toes into” Premier but not everyone can afford who was talking at a Novem- Foulser looked back at his League football and interna- to have a subscription,” he ber RTS Thames Valley event, career, which began as a tea tional rugby. “Sky and BT will said. “Cricket has suffered added: “The last eight months boy at LWT in the 1970s and be thinking, ‘I wonder where in the intervening years have probably been the most took him, via ITV’s The Big Amazon is going next and because it wasn’t available to challenging of my career.… Match and the World Cup, to who else might come in?’ as many eyeballs as possible. We are really thankful for BT running Sunset+Vine. “We all know where sports “All sport needs terrestrial Sport, our biggest client, who Discussing sports rights, go if they get offered the television.” basically said, ‘We want you Foulser said that rights biggest cheque.” Matthew Bell

Television www.rts.org.uk December 2020/January 2021 43 NEWS RTS CENTRE AWARDS TV content to become personal

Personalisation of TV won the Specialist Factual content was identified category. The Current Affairs as a major trend over award also to went to BBC

RTS London the next five years by Northern , for Spotlight: key figures from the Digital Fear and Loathing in Quinn Production Partnership (DPP) Country. UTV Live at Six won at an RTS London event in the News Coverage award for early November. its coverage of the coronavi- “There’s so much content rus crisis. and it’s in so many places. BBC Four’s Arena: The Chan- Finding a way of navigating, gin’ Times of Ike White, made aggregating and personalis- by indie Erica Starling ing that content for the con- Productions, secured the sumer is going to be key,” Documentary award. said Helen Stevens, ITV’s Stellify Media’s BBC reality operations officer, content show There’s No Place Like supply and distribution, and Tyrone picked up the Enter- Michelle Fairley

Chair of the DPP. Jim Photography Corr tainment prize, while Alley- Rowan de Pomerai, the cats Films’ RTÉ2 series DPP’s chief technology offi- Pulling with My Parents cer, added that “voice search scooped the Factual Enter- and aggregated watch lists tainment/Features award. will start to become really Thrones star Soft Border Patrol, the Com- important”. He called on edy Unit’s Brexit mocku- content and technology mentary for the BBC, set on companies to work together. scoops prize the border between Northern Looking 10 years into the Ireland and the Republic, future, Stevens predicted a won the Scripted Comedy significant change in the UK’s star shot by Kay Mellor’s indie prize. broadcasting ecology: “I think Michelle Fairley was Rollem Productions in Bel- An animated short, The you might see one consoli- awarded the Brian fast, took the Drama prize at Voyage by Jam Media, pro-

dated public service broad- Waddell Award for her the awards, which were pre- duced in aid of RTÉ Does Comic casting platform, with content outstanding contribution to sented online by Northern Relief, triumphed in the Chil- from the existing public the broadcast industry at the Irish comedian and pre- dren’s/Animation category. service broadcasters on it.” RTS Northern Ireland Televi- senter . The awards were sponsored “The companies that suc- sion Awards in November. Journalist Peter Taylor’s by Belfast post-production ceed,” added de Pomerai, The -born actor, personal account of the key house Ka-Boom, and sup- would be “those that invest who played Catelyn Stark in events of the Northern Ire- ported by BBC Northern in both content and in the the hit HBO drama, recently land conflict for BBC North- Ireland, Northern Ireland user experience.” appeared in Sky Atlantic’s ern Ireland, Peter Taylor: My Screen and Channel 4. Earlier, the panel discussed Gangs of London and BBC Two Journey Through the Troubles, Matthew Bell the effect of the coronavirus factual drama Responsible Child. epidemic on the TV industry. “I feel very lucky to have RTS Northern Ireland Specialist Factual•Peter Taylor: My “This year has showed us been given some fantastic Television Awards winners Journey Through the Troubles•BBC NI that… as an industry, we are opportunities throughout my Documentary•Arena: The Changin’ Brian Waddell Award•Michelle Fairley Times of Ike White•Erica Starling Productions for BBC Four far more capable of working career and believe that my Drama•My Left Nut•Rollem Produc- remotely than we thought,” ‘outstanding contribution’ tions for BBC Three News Coverage•UTV Live at Six•UTV said the DPP’s Chief Execu- really is just that – a contri- Scripted Comedy•Soft Border Current Affairs•Spotlight: Fear and Patrol for BBC NI Loathing in Quinn Country•BBC NI tive, Mark Harrison. bution to fantastic produc- • Entertainment•There’s No Place Like Children’s/Animation•The Voyage• “2020 visions: The view tions and wonderful creative Tyrone•Stellify Media for BBC NI Jam Media for RTÉ from the DPP”, was produced teams,” said Fairley. Factual Entertainment/Features• Original Music Score•Lost Lives – Mark by Carol Owens. BBC Three teen comedy Pulling with My Parents•Alleycats Films Gordon, Neil Martin, Richard Hill and for RTÉ2 Charles Graham•DoubleBand Films Matthew Bell drama My Left Nut, set and

44 NEWS Subtitling celebrates 40 years

It is 40 years since the BBC broadcast its first major series that offer

Thames Valley subtitles, Life on Earth. A Thames Valley Centre event in December celebrated this anniversary with contribu- Gentleman Jack

BBC tions from experts and Dawn Jones, a subtitles user. “I’m exhausted at the end of the day from the effort it Gentleman Jack goes nap takes to engage with real life, so it’s lovely to come home, turn the telly and the subtitles and more than 20 years. It’s the Factual Production), and Air on and relax,” said Jones, who Gentleman Jack enjoyed project that’s always been TV’s UKTV series Bangers and was born hard of hearing. a successful evening at closest to my heart.” Cash (Factual Entertainment “Accessibility… prevents

Yorkshire Centre the RTS Yorkshire Tele­ She also won the Writer’s and Low-cost Factual) picked loneliness.… Because pro- vision Awards in November, award for Gentleman Jack, up two prizes each. Candour grammes are subtitled, it winning five prizes between which bagged the Drama Productions also won the meant I could participate in them. Wainwright received prize. In the craft categories, Independent Spirit award. conversations at school with the Outstanding Contribu- composer Murray Gold and Amy-Leigh Hickman took my friends and, today, with tion award. The creator of production designer Anna the Actor award for her por- my [work] colleagues about the hit BBC period drama, Pritchard were recognised for trayal of in the latest [shows].” who also wrote Happy Valley, their work on the series. Channel 4 drama . “Accessibility is part of the said: “It’s very nice that the Candour Productions’ film The Yorkshire Vet, made by BBC by its charter,” said Nigel award has come on the back for Channel 4 The Family Secret Daisybeck Studios for Chan- Megitt, who works in the of Gentleman Jack, which I (Single Documentary and nel 5, won the Documentary corporation’s access services. have been working on for Professional Excellence – Series category for the second “When the technological year running. capability existed… the first RTS Yorkshire Television News Programme•Calendar: South The Judges’ Award went to thing we did was subtitles.” Awards winners Yorkshire Floods•ITV Yorkshire digital studio Joi By 2008, all programmes on Presenter•Harry Gration – BBC Look Polloi for its work on Chan- the BBC’s main television North•BBC Yorkshire Outstanding Contribution• nel 4 reality show The Circle. services were being subtitled. Sally Wainwright One to Watch•Josh Carpenter, produc­ tion co-ordinator•True North Productions Judges’ Award•Joi Polloi The online ceremony was ’s Hewson Animation•You, Me and Those Who hosted by Helen Skelton from Maxwell explained how Drama•Gentleman Jack•Lookout Point Came Before•Fettle Animation and for BBC/HBO Counterpoints Arts for Refugee Week The Hepworth Wakefield, and “re-speaking” specialists Actor•Amy-Leigh Hickman – Ackley Independent Spirit•Candour Productions featured guests Alex Brooker, subtitle live TV: “Producing Bridge•The Forge Entertainment for Channel 4 Low-cost Factual•Bangers and Cash• Steph McGovern, Amar Latif accurate text when you have Air TV for UKTV/Yesterday Writer•Sally Wainwright – Gentleman and . no idea what someone is Jack•Lookout Point for BBC/HBO Music and Sound•Murray Gold – Gentleman Jack•Lookout Point for “Everyone in the region going to say until they’ve Single Documentary•The Family BBC/HBO Secret•Candour Productions for has worked so hard to ensure already said it [is] a real skill. Channel 4 Professional Excellence ongoing and safe production, “There’s always a chance n Documentary Series•The Yorkshire Factual Post-production•Luke while continuing to provide of things coming out wrong,” Vet•Daisybeck Studios for Channel 5 Rothery and Nick Thorp, editors – The Yorkshire Dales and The Lakes•True work for our crews and pro- he said. “You’re trying to say Factual Entertainment•Bangers and North for Cash•Air TV for UKTV/Yesterday duction teams – everyone’s ‘Trump and Pence’ and you n Factual Production•The Family Features•Wild Animal Rescue•Daisy- Secret•Candour Productions for a winner,” said RTS Yorkshire get ‘Trump in pants’.” beck Studios for Channel 5 Channel 4 Chair Fiona Thompson. Dom Bourne, head of Take 1 News or Current Affairs Reporter• n Drama & Comedy Post-production• Candour Productions, Daisy-­ access services, said automatic Phillip Norton•BBC Yorkshire and Carry On Up the Khyber•ITV Content Lincolnshire Delivery for BritBox beck Studios, True North Post speech-recognition-generated News or Current Affairs Story•Church n Drama & Comedy Production•Anna and Universal Production captions require “human Abuse Scandal, Look North•BBC York- Pritchard, production designer – Gentle­ shire and Lincolnshire/Panorama man Jack•Lookout Point for BBC/HBO Music sponsored the awards. polish to boost [their] quality”. Matthew Bell Matthew Bell

Television www.rts.org.uk December 2020/January 2021 45 RTS CENTRE AWARDS

BBC Three comedy Man Like Mobeen scored a hat trick of wins at the RTS Midlands Centre Midlands Awards in late November. The writers of the Tiger Aspect production, Guz Khan and Andy Milligan, shared the Writer award for the third year running. Dúaa Karim, who stars as Khan’s little sister in Man Like Mobeen, won the Acting – Female award, while the series also took the Craft – Production prize. Hereford-based producer and charity Rural Media matched Man Like Mobeen, securing three awards for: Flesh (Animation); film-maker Luke Collins (Breakthrough – Off-screen); and BBC New Creatives (Short Form). BBC Studios’ Doctors, which is celebrating its 20th year on air, was rewarded with both the Drama award and Acting – Male prize, for Adrian Lewis Morgan, the daytime series’s longest-serving cast member. Man Like Mobeen with Dúaa Karim (centre) and Guz Khan (right)

Sex and relationship guru BBC Oloni from BBC Three show My Mate’s a Bad Date bagged two prizes: On-screen Per- sonality and Breakthrough Mobeen nabs hat trick – On-screen. The Documentary award went to Dragonfly Film & TV Previous recipients of the 2019 – given the circumstan­ Peaky Blinders creator Steven for BBC series Life and Birth. medal include Barbara ces, that’s incredible,” said Knight and several stars, Walsall-born Sue Nicholls, Slater, Jed Mercurio and Caren Davies, Chair of RTS including Guz Khan, Jill Half- who has played Audrey Rob- Frank Skinner. Midlands. penny and . erts in Coronation Street for “Our region has again The ceremony was broad- Strictly Come Dancing announ­ more than four decades, produced some of the best cast live from BBC Birming- cer Alan Dedicoat provided received the Baird Medal in TV and talent in the past ham on the RTS website and the voiceover for the awards. recognition of her outstand- 12 months, and we received hosted by TV presenter Tim During the ceremony, ing contribution to television. more award entries than in Warwood. He was assisted by tributes were paid to Bermu- dian actor Earl Cameron, RTS Midlands Television Factual•The Lady Killers•FirstLookTV England for BBC Arts, BBC Four and who lived locally, and Bir- Awards winners for BBC online mingham-born Tony Garnett, Factual Entertainment•The Rap Short Form•BBC New Creatives•Rural both of whom died this year. Game UK•Naked for BBC Three Media supported by Arts Council Eng- Baird Medal•Sue Nicholls Garnett produced many of News Programme• land for BBC Arts, BBC Four and BBC Drama•Doctors•BBC Studios for Child Abuse Scandal•BBC Birmingham online platforms ’s dramas, includ- BBC One Journalist of the Year•Darshna Soni•ITN Digital Creativity•Strictly Sideman• ing Kes, before going on to Acting – Female•Dúaa Karim, Man Like for Channel 4 News BBC Three Mobeen• for found World Productions, BBC Three On-screen Personality•Oloni, My Mate’s Promotional Content•Confetti Fields• where he was responsible for a Bad Date•BBC Three Conteur for The Real Flower Petal Acting – Male•Adrian Lewis Morgan, such seminal series as This Doctors•BBC Studios for BBC One Breakthrough – Off-screen•Luke Collins• Confetti Company Rural Media for BBC Life and Between the Lines. Writer•Guz Khan and Andy Milligan, Craft – Production•Man Like Mobeen• Man Like Mobeen•Tiger Aspect Produc- Breakthrough – On-screen•Oloni, My Tiger Aspect Productions for BBC Three The BBC, Channel 4, Create tions for BBC Three Mate’s a Bad Date•BBC Three Craft – Post-production•Da Vinci Central and Film Birmingham Documentary•Life and Birth•Dragonfly Animation•Flesh•Anna Campbell and Learning channel idents•Second Home Film & TV for BBC One Rural Media, supported by Arts Council Studios for Da Vinci Learning sponsored the awards. Matthew Bell

46 NEWS

Steve Clarke learns how Death in Paradise overcame the pandemic t’s a strange alchemy,” mused Tim Key, an exec- utive producer of BBC One’s long-running, ‘Iprime-time comedy-drama hit Death in Paradise. As fans contemplate the 10th series of the detective caper set on the fictional island of Saint-Marie – in reality, – Key and three of the programme’s stars gave the RTS an insider’s guide to what makes it click. “It’s a show the family can enjoy together,” said Key, who works for series producer Red Planet Pictures. “It’s a parlour game, very warm-hearted From Guadeloupe and set in a beautiful location. The show doesn’t take itself too seriously – [though] we take it incredibly seriously. – with gratitude And we have great actors. Ralf Little and Joséphine Jobert

“Getting that tone right is BBC very difficult. We’re lucky to have a cast that can move the rules. Our actors have To celebrate series 10, two closely with a local college. people as much as we amuse delivered performances as of the biggest names from the Some of our crew have come and entertain them.” if nothing had happened. show’s past return as guest through there. We’re com- And no more so than dur- “I didn’t know how casting stars – , who mitted to give back as much ing 2020, when Covid-19 led would go because of Covid. I reprises his role as DI Richard as we’re able to.” to filming in this sun-kissed didn’t know if people would Poole, and Sara Martins, cast While working in tropical Shangri-La being postponed be reluctant to travel. But again as DS Camille Bordey. temperatures can be chal- during the spring. Fortunately, people were very keen to “They felt they had some lenging, at weekends “I can production was able to work…. It has felt very much unfinished business with the visit waterfalls, watch dol- resume and series 10 is ready like business as usual.” show. They both wanted to phins and turtles, or chill for screening in January. Returning to Death in Para- be part of our 10th year,” said around the pool”, said José- “The pandemic affected dise for his second stint Key. “It was great to see phine Jobert, who is returning us profoundly, but we are a sleuthing in the tropics is those two acting together to the show as DS Florence show that can work through Ralf Little, who plays grumpy again. For long-term fans of Cassell following a year off. Covid. We film outside. We’re British detective DI Neville the show, season 10 does “Sometimes, I feel a bit on an island,” explained Key. Parker. Allergic to sun, sand everything we want it to do. guilty, especially when peo- “We’re not filming in a city and seawater, Parker’s con- It celebrates the past and ple are locked down and I centre and don’t use public stitution suits Saint Marie as drives the show forward.” post a picture of a dolphin on transport. We don’t have a lot a duck dreads dry land. One fixture of the series is social media. I feel so blessed of sex scenes or crowd scenes. So will his relationship with Guadeloupe itself – and the that I’m surrounded by all In many scenes, [just] one or Commissioner Selwyn Patter- locals who make the show this nature.” n two people interview one or son improve this time round? happen. Key can’t speak two other people. “It’s just like a marriage, we highly enough of the privilege ‘Death in Paradise Q&A’, with “You won’t see any sign have good days and bad days. of working on the island. Ralf Little, Don Warrington, of any restrictions on screen We have more bad days than “We’d be nothing without Joséphine Jobert and Tim Key, whatsoever but, backstage, good,” said Don Warrington, Guadeloupe and the local was chaired by Heat’s Kay it’s been complicated. who has played the urbane teams,” he said. “Fifty per Ribeiro on 3 December. It was “I can’t praise the cast and but strict Patterson since the cent of our crew are French produced by the RTS and Pre- crew enough for abiding by show’s debut in 2011. or Guadeloupian. We work mier Communications.

Television www.rts.org.uk December 2020/January 2021 47 RTS NEWS

The World According to Grandpa was filmed at Vectar Grandpa harnesses live Studios in and action, puppetry and animated by Flix Facilities at

RTS North RTS West animation – as well as Salford’s MediaCity UK, with the considerable acting tal- a cast of local children. It’s a ent of Don Warrington and “copper-bottomed northern Sally Lindsay – to create a production”, said Caroline heart-warming and educa- Roberts-Cherry, MD of Man- tional series for Milkshake!, chester indie Saffron Cherry. Channel 5’s multi-platform, The series, which was pre-school strand. supported by the govern- Saffron Cherry Produc- ment-funded, British Film tions’ 25 x 11-minute series, Institute-managed Young which began its run at the Audiences Content Fund, has end of November, is based a diverse cast and production on Chris Heath’s popular team. “It was brilliant to be books. The idea came from given an opportunity to show Heath’s grandfather, Arturo that a [diverse production] Garcia, who was born and could be done – and that it raised in Puerto Rico. “He could be done from the North told outrageous fibs,” said West,” said Roberts-Cherry. The World According to Grandpa

Heath, who was talking at an Channel 5 The World According to RTS North West and Media­ Grandpa was made under City UK event in November. coronavirus restrictions. “He used to tell me about “Once you’d observed the sharks that had been born on Grandpa: made protocols, there were ways of land, who used to nick man- playing with the kids, which goes out of his back garden.” is very important in this kind In the series, Grandpa, who of show… and that kept every­ is played by Warrington, in one happy and relaxed,” said spins nonsensical tales from Warrington. a sofa to his grandchildren “To be part of children’s is very northern, very clever “The show is so funny and and is then put right by Hali- lives is spellbinding. Little and very much female.” genuinely educational,” said fax, a clever-clogs rabbit children’s eyes are going to Louise Bucknole, children’s producer/director Alex Jacob. voiced by Lindsay. be looking at Halifax and commissioner at Channel 5’s “I was watching an episode “I loved the stories – I she’s going to be telling them parent company, ViacomCBS of The Crown the other day thought they were delightful how electricity is made and Networks International, was and it used the word ‘crepus­ and uplifting. They caught how computers work – and charmed when she saw the cular’, and I knew what it the sprit of a grandparent’s they’re going to remember series teaser: “It was story- meant because Halifax had [relationship] with a grand- that for the rest of their lives,” telling done differently. We told me.” child,” said Warrington, who said Lindsay. loved the writing, the ambi- The event was hosted by was speaking from the set The former Coronation Street tion and passion for the proj- the broadcaster OJ Borg and of BBC One drama Death in actor added that the series ect, and the diverse cast.” produced by Rachel Pinkney. Paradise in Guadeloupe. “subverts stereotypes. Halifax The World According to Matthew Bell

to the science of forecasting. He recalled seeing Russell BBC weatherman is T Davies’s pioneering gay drama Queer as Folk as a positive role model teenager growing up in west Wales. “It was like looking into another world,” he said. BBC North West Tonight presenter of S4C’s Welsh Evans is a strong supporter weatherman Owain language children’s news of the LGBT community: “I Wyn Evans talked TV programme Ffeil at just 18. would never describe myself Owain RTS Cymru Cymru RTS Wales and sexuality with RTS His screen test was nervy, as a role model, but positive Wyn Evans

Cymru Wales Chair Edward but “they must have seen BBC role models are super impor- Russell in November. something, because I had tant. I do have a platform in a Evans, who grew up in a no experience”, he said. BBC across the UK, bringing way and it’s a great place for working-class family in Since 2012, he has pre- his flamboyant personality me to be myself.” Ammanford, became the sented the weather for the and social media innovation Matthew Bell

48 RTS NEWS Cathartic doc breaks silence

A life-affirming docu- nomination for the 2017 BBC mentary for BBC Four’s Three series Drugs­land boosted Storyville strand sees Alford’s confidence and, he

RTS West of England director Xavier Alford felt, his chances of getting a become the subject of his personal film off the ground: own film and, in the process, “The real clincher was that I’d learn about his illness, multi- reached a point where hold- focal motor neuropathy. ing my camera had become In Locked In: Breaking the really difficult. I was declining Silence, which is made by quite quickly, although I’ve Bristol indie Marble Films been very lucky and [since] and aired late last month, had a steady, stable two years. Xavier Alford in Locked In: Breaking the Silence

Alford talks to doctors and “I had to do it now, other- BBC fellow sufferers but, crucially, wise I might risk never being opens up to his family about able to shoot it myself.” There was a lot of banter and stopping myself from talking.” a progressively worsening Storyville commissioning I think you need to have a Chang concluded: “I condition that causes muscle editor Mandy Chang said: sense of humour, especially wanted Xav to make an weakness and atrophy. “We knew it was going to be with a bleak subject like this, authored film about his con- Following his diagnosis a a journey – turning a camera to get yourself through it.” dition and everything that decade ago, he felt a “respon- on yourself is not an easy One of the film’s contribu- goes with that, the emotional sibility”, as a documentary- thing: you’re very vulnerable. tors, Rob, can only commu- ups and downs. It brings the maker, to make a film, but We kept pushing him to chal- nicate by winking. “It was a science into it lightly but really “felt way, way too raw – I lenge himself, but he rose to huge lesson for me,” said beautifully. It’s a film about wasn’t ready”. the challenge every time.” Alford. “All [Rob and his wife] the universal thing of how we Alford was talking to Lynn Editor Colette Hodges dis- want to do is talk and, what- don’t talk to each other about Barlow at an RTS West of cussed working with Alford: ever I’m going through with these really important things… England event that offered a “A lot of the filming took this illness, I’m a thousand I’m really proud that the film first look at the feature- place during the edit, so we miles away from being unable is part of Storyville.” length documentary. A Bafta were on this journey together. to talk – it was just myself Matthew Bell

BBC’s famed Natural History Unit when he and his wife plan to Who Came in from the Cold. and went on to lead the unit. devote more time to their Sicilian Le Carré’s longevity and prolific The As Variety observes, adding farm. He is leaving on a high, and output were extraordinary: The Silverback to All3’s portfolio some of his achievements, not Night Manager, superbly adapted UPSIDE represents ‘a tremendous coup’ least Chernobyl, are discussed for TV, would not be published for for the company. in our RTS Digital Convention another 30 years. report on page 18. All3 attracts a pair of Silverbacks Gary Davey dreams TV leaves its mark of life on the farm A gripping legacy on the chessboard Congratulations to All3Media for of spies and films acquiring blue-chip natural his- It’s hard to image Sky minus If you’re thinking of buying a tory producer Silverback Films, Gary Davey. The straight-talking Much ink has been spilt in trib- chess set as a last-minute Christ- maker of such gems as Netflix’s Antipodean was there at the start, utes to the late, brilliant John le mas gift, forget it. Such is the recent blockbuster Our Planet, when Rupert Murdoch launched Carré. For an early insight into impact of Netflix’sThe Queen’s narrated by, you guessed it, Sir the satellite service in 1989. He the great man, check out an Gambit that finding a new chess David Attenborough. went on to run many parts of interview he gave in 1966 to the set, or any other chess parapher­ Silverback’s founders, Alastair Murdoch’s pay-TV empire, in Asia, BBC’s Intimations programme, nalia, is harder than locating a Fothergill and , are Europe and the US, becoming available on iPlayer. In 1963, duff Miles Davis solo. Copies of doyens of wildlife film-making. CEO of Sky Studios in June 2019. he had made a splash with the Walter Tevis’s novel, on which the Each forged their career at the Davey is retiring next summer, seminal cold war novel The Spy series is based, are even rarer. n

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