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Home , 2018 Brit Awards, Ackley Bridge (series 4), BBC One Northern Ireland, BBC World Service, Birmingham TV, David Olusoga

March 2018

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Our team is based in , , , Washington D.C, Nashville, Dallas, Aussn, Miami and Chicago. Journal of The March 2018 l Volume 55/3

From the CEO It has been an exciting That so many female journalists of Television, don’t miss Mark Lawson’s and illuminating end different ages and backgrounds were insightful profile of the great Macken- to the RTS’s winter among the night’s winners says a lot zie Crook. Meanwhile, our cover looks programme. Despite about the changing times that we are at the rise and rise of . , for one, the “Beast from the living in. can’t wait to watch the second season East” bringing snow So, too, did our sold-out early-­ of The Handmaid’s Tale, coming soon on and ice to even Lon- evening event “Sale or scale”, when . don’s Hyde Park Corner, this year’s a high-powered panel analysed the I look forward to seeing many of RTS Television Journalism Awards rapidly consolidating entertainment you at the RTS Programme Awards. generated a lot of genuine warmth. sector. Many thanks to the wonderful This is undoubtedly the most glamor- I’d like to thank everyone who panellists: Kate Bulkley, Mike Darcey, ous night in the RTS calendar. Let’s made this such a very special evening. Tim Hincks and Mathew Horsman; hope the weather has seriously Reeta Chakrabarti was a brilliantly and to the always incisive event chair, warmed up by then – and good luck gracious and witty host. Her smile Matthew Garrahan. There is a full to all the nominees. seemed to be particularly radiant report in this issue of Television. on this coldest of nights. There are many wonderful female Thanks also to Sue Inglish who gave role models working in our industry up so much of her time to chair the and I am thrilled that this month’s awards, and a big thank you to all the diarist is one of them. I know that our jury members. Huge congratulations readers will enjoy CEO Jane to all the awards winners. Turton’s diary. Also in this month’s Theresa Wise Contents Jane Turton’s TV Diary Our Friend in Bangladesh In a week of bad weather and cancelled travel plans, Sanjoy Majumder describes how the plight of Rohingya 5 Jane Turton is determined to attend her early-morning 19 refugees became a big Western story class The scholar who loves sharing stories Hulu ups the ante tells Pippa Shawley why she was reluctant to Thanks to its reimagining of The Handmaid’s Tale, 21 become a TV presenter and reveals her own viewing habits 6 the US streaming service is moving centre stage. Stuart Kemp investigates British TV’s best-kept secret TalkTalk TV is the UK’s smallest pay-TV provider. The shy genius of Mackenzie Crook 24 Its Managing Director, Aleks Habdank, explains to Mark Lawson learns how one of TV’s brightest but Steve Clarke why it can only get bigger 8 unlikeliest stars turned reticence into an art form Sage advice from the TV pros Sale or scale Attendees at the RTS’s biggest TV Careers Fair yet A stellar RTS panel confronted the threats posed by the 26 received copious expert advice, reports Matthew Bell 10 tech giants to legacy media. Matthew Bell took notes RTS Television Journalism Awards 2018 Tech-savvy minister for testing times Hosted by Reeta Chakrabarti and sponsored Anne McElvoy profiles Matt Hancock, the new Secretary 29 by GuestBooker, the awards were presented on 14 of State for Digital, Culture, Media and Sport 28 February at the London Hilton, Park Lane – the winners and nominees over six pages The reinvention of Channel 5 The broadcaster is gaining viewers and winning new 16 admirers, says Tim Dams. What is it doing right? Cover: Channel 4/Hulu

Editor Production, design, advertising Royal Television Society Subscription rates Printing Legal notice Steve Clarke Gordon Jamieson 3 Rise UK £115 ISSN 0308-454X © Royal Television Society 2018. [email protected] [email protected] London EC4Y 8EN Overseas (surface) £146.11 Printer: FE Burman The views expressed in Television News editor and writer Sub-editor T: 020 7822 2810 Overseas (airmail) £172.22 20 Crimscott Street are not necessarily those of the RTS. Matthew Bell Sarah Bancroft E: [email protected] Enquiries: [email protected] London SE1 5TP Registered Charity 313 728 [email protected] [email protected] W: www.rts.org.uk

Television www.rts.org.uk March 2018 3 Your guide to upcoming events. Book online at RTS NEWS www.rts.org.uk

National events Local events Gaming and TV: RTS AWARDS BRISTOL Tuesday 20 March ■ Belinda Biggam What’s the score? RTS Programme Awards 2018 ■ [email protected] In Partnership with Audio Network Venue: Grosvenor House Hotel, DEVON & CORNWALL 86-90 Park Lane, London W1K 7TN ■ Jane Hudson ■ RTSDevonandCornwall@rts. RTS EARLY EVENING EVENT org.uk Monday 16 April Mind the gap: Closing the EAST gender pay gap in broadcasting ■ Nikki O’Donnell Panellists: Jane Corbin, BBC cur- ■ nikki.odonnell@.co.uk rent affairs journalist; Rt Hon Har- riet Harman MP, former Minister LONDON for Women and Equalities; Sian Wednesday 21 March Kevill, former BBC executive and Making media in a sustainable 2 May founder, Make Productions; and future Charlotte Sweeney OBE, expert Speaker: Aaron Matthews, ITV London Studios SE1 9LT adviser on equality, diversity and project manager, Albert (the inclusion. Chair: Jane Martinson, collaborative indie- and Guardian columnist and journalist broadcaster-backed project WALES Venue: , 24 Endell that provides the film and TV Tuesday 20 March ■ Hywel Wiliam 07980 007841 Street, London WC2H 9HQ industries with the expertise Student Television Awards ■ [email protected] to take practical action on Venue: The Black Box, 18-22 Hill RTS AWARDS environmental sustainability). Street, BT1 2LA YORKSHIRE Friday 22 June 6:30pm for 7:00pm ■ John Mitchell Wednesday 25 April RTS Student Television Venue: ITV London Studios, ■ mitch.mvbroadcast@ Masterclasses: How to get a Awards 2018 Upper Ground, London SE1 9LT btinternet.com job in TV Venue: BFI Southbank, Belvedere Wednesday 2 May Teams from True North and Lime Road, London SE1 8XT Gaming and TV: What’s Pictures will hold two 75-minute, the score? Tuesday 27 March -rich masterclasses, with RTS CONFERENCE Panellists: Steve McNeil, writer, AGM 2018 lots of opportunities to ask Tuesday 18 September comedian and streamer; Sam 8:00pm questions. RTS London Conference 2018 Pamphilon, actor, writer and Venue: AR4 RTÉ, Stillorgan Road, Held in association with the Sponsored by Viacom comedian; Julia Hardy, presenter, Montrose, 4 Creative Cities Convention, Venue: Kings Place, 90 York Way, journalist, YouTuber and broad- ■ Charles Byrne (353) 87251 3092 which students will have the London N1 9AG caster. Chair: Ellie Gibson, jour- ■ [email protected] opportunity to participate in nalist, presenter, comedian and (and to attend the networking RTS MASTERCLASSES author. 6:30pm for 7:00pm SCOTLAND drinks on the opening evening, Tuesday 13 Novermber Venue: ITV London Studios, Wednesday 9 May 25 April). RTS Student Programme Upper Ground, London SE1 9LT RTS Scotland Awards Places are but you Masterclasses ■ Daniel Cherowbrier Venue: TBC must book in advance with Venue: IET London, 2 Savoy ■ [email protected] ■ Jane Muirhead Victoria Griffin (07880231626/ Place, London WC2R0BL ■ [email protected] [email protected]). MIDLANDS Group bookings from universities Wednesday 14 Novermber ■ Jayne Greene 07792 776585 SOUTHERN and colleges are preferred. RTS Craft Skills Masterclasses ■ [email protected] ■ Stephanie Farmer 2.00pm start Venue: IET London, 2 Savoy ■ [email protected] Venue: College of Music, Place, London WC2R0BL NORTH EAST & THE BORDER 3 Quarry Hill, Leeds LS2 7PD ■ Jill Graham THAMES VALLEY Friday 6 July RTS AWARDS ■ [email protected] ■ Tony Orme Annual Awards Monday 26 November ■ [email protected] Venue: TBC RTS Craft & Design Awards 2018 NORTH WEST ■ Lisa Holdsworth 07790 145280 London Hilton on Park Lane ■ Rachel Pinkney 07966 230639 ■ lisa@allonewordproductions. 22 Park Lane, London W1K 1BE ■ [email protected] co.uk

4 TV diary

In a week of bad weather and cancelled travel plans, Jane Turton is determined to attend her early-morning spin class

he temperature in ■ We announce a new start-up, ■ Later that day, we make a call to London has plum- Unstoppable, on Wednesday. It’s a the management team in Los Ange- meted to a 10-year new drama company run by two les. We are looking for a new CEO to low and the snow very talented guys, and run our West Coast studio and, next has arrived. Our top- Jason Maza, and the response has week, we will meet the search com- floor ­fficeo in Covent been fabulous. pany to discuss progress. Garden has the most I love the strategy and development The business there comprises amazing views over Westminster and parts of my job. I work closely with creative teams from Studio Lambert, allT the way round to the Gherkin and Steven Brown, our director of corpo- Objective, Main Event, Studio Ram- the Shard. It’s very beautiful in the rate development, and we both enjoy say, Maverick, Woodman Park and snow. taking an idea, turning it into a busi- IDTV, plus the support and post-­ To add to the chaos created by the ness plan and working with others to production they need to produce weather, Prithi, my assistant, is in make it happen. series for cable and broadcast Costa Rica on a two-week holiday. Creating and executing deals with networks. I start the week with a conference people who are exceptionally talented That evening, I go for a drink with call to our German supervisory board. and passionate is really exciting and Neil Duncanson, who runs North One – Germany is a strong growth market I’m proud of the deals we have done it’s always great to catch up with him. for All3, where we produce scripted with companies such as Two Broth- reality, drama and entertainment ers, New Pictures, Neal Street, Story ■ I start Thursday with a meet- shows. Films, Raw and Betty. ing with Louise Pedersen, CEO of I am due to fly to Cologne on Thurs- Operating reviews with the busines­ All3media International. Seeing her day to talk through the strategy with ses in the group are always a highlight is always a pleasure. them – my flight is subsequently can- and, this week, Sara Geater, Angela She tells me all about the scripted celled because of the weather. McMullen and I see the Lime Pictures upfronts they held last week for their team, Claire Poyser and Kate Little. buyers, showcasing dramas such as ■ On Tuesday, it’s tempting to pre- We talk about how they plan to The Widow, Kiri, Informer, Collateral, tend that the snow is too deep for build their scripted business after the Requiem, Mystery Road and Blood. me to get to my 6:30am spin class. success of Free Rein on . After a management meeting, I sit However, the Calvinist Scot kicks with Sara and Angela to go through in and I am soon in the saddle and ■ The US is a priority for us. In our 2018 order book and the draft peddling away. New York, we have strong produc- agenda for our board session with I am a big fan of SoulCycle in the tion companies – Optomen, run by Discovery and at the US and go to classes in Santa Monica Maria Silver, and Lion, headed by end of the month. when in Los Angeles. As well as mid- Tony Tackaberry. dle-aged British TV execs, apparently From London, Raw has made a ■ Friday, and it’s back to spin for an it’s full of Hollywood celebrities, new CNN series, The Kennedys, and end-of-week blast before preparing none of whom I ever recognise in the they send me photos of the market- for Los Angeles next week. I have dark and in a state of complete phys- ing campaign running in Grand Cen- dinner that evening with my hus- ical exhaustion. tral Station. It looks like every step of band, Graham, in a nice restaurant That evening, I leave the office in the escalator and every platform wall near us in Barnes. time to see my youngest child, Clare, in the station is covered with mar- before she returns to university. keting material. It’s extraordinary. Jane Turton is CEO of All3Media.

Television www.rts.org.uk March 2018 5 Streaming TV Thanks to its reimagining of The Handmaid’s Tale, the US streaming service is moving centre stage. Stuart Kemp investigates

ometimes, a single show can change the way a broadcaster or a platform is perceived. For the US streaming service Hulu, The Handmaid’s Tale – basedS on ’s dystopian novel – has been one such show. The 10-part series was made for Hulu by MGM Television (Hulu does not have in-house production capabil- ities) and quickly became water-cooler viewing on both sides of . It went on to win multiple awards, including a Primetime Emmy for Out- standing Drama Series and a brace of Golden Globes. The series did for Hulu what House of Cards achieved for Netflix and any number of shows have been meant to do for : drive subscriber num- bers and interest in the platform. “Amazon would kill for a hit like The Handmaid’s Tale,” says one industry observer. “The Man in the High Castle didn’t deliver that kind of marquee success.” In January, Hulu posted an eye-­ catching 40% advance in subscribers, to reach 17 million. While that may be dwarfed by the 54.8 million who pay to watch Netflix in the US, the growth is impressive and appears to be ongoing. John De Simio, director of the Broad- cast Television Journalists Association, host of the Critics’ Choice Awards, describes Hulu’s entry into original programming as a “real leap forward” in the world of television. “Hulu needs to appease its constituency with origi- Hulu ups nal programming to keep it fresh and attractive,” he says. Hulu was launched in 2008, when the competition for viewers and sub- scribers was a lot less fierce than it is and before the rise of streaming the ante services and cord cutting. Its share- holders were drawn from the top of the US entertainment business: Disney, 20th Century Fox and NBC. Each took The Looming Tower a 30% stake in the service; Turner

6 AMAZON WOULD KILL FOR A HIT Broadcasting held the remaining 10% Oscar-nominated for Foxcatcher and slice. Hulu CEO Randy Freer is a for- LIKE HULU’S ‘THE Capote. One of the series’s directors is mer COO of Fox Networks Group. HANDMAID’S Alex Gibney, the Oscar-winning docu- The platform began life as a linear-­TV mentarian, and the others are Craig catch-up service for programming TALE’ Zisk and Michael Slovis. provided by its owners, before evolv- The muscular cast includes Jeff Dan- ing into a service offering ad-free con- iels, Alec Baldwin, Peter Sarsgaard, tent packages and then complete Hulu boardroom and the decision-­ Tahar Rahim and Michael Stuhlbarg. series for subscribers. making process. “In terms of number of Hulu Origi- Last year, Hulu added live news, “With a dominant owner in Disney, nals, we don’t have a set number in entertainment and sports from 21st Hulu will have a more cohesive strat- mind,” says Erwich. “The important Century Fox, Disney, NBCUniversal, egy,” he says. “The question will be thing for us is to be home to the next CBS, The CW, Turner Networks, A+E whether Hulu continues to look like a generation of TV.” Networks and Scripps Networks linear-schedule service offering series Also in the Hulu Original pipeline is Interactive. to subscribers.” Castle Rock, produced by JJ Abrams’s The result is that Hulu lays Inspired by the success of The Hand- Bad Robot. The series, created by Sam claim to being the only US television maid’s Tale, Hulu is betting up its origi- Shaw and Dustin Thomason, will blend service that brings together live, nal shows. A second, 13-episode, run of characters from the fictional town of on-demand, originals and library con- The Handmaid’s Tale arrives on screens the same name created by Stephen tent all in one place, across living room in April. King. The ensemble cast includes Sissy and mobile devices. In other words, Created, executive produced and Spacek, Melanie Lynskey, Scott Glenn, Hulu is well placed to take on Netflix, written by Bruce Miller, the new sea- and Bill Skarsgård. YouTube Red, Apple TV, Amazon Prime son will project the story beyond “Since Hulu is an on-demand plat- and the US cable operators. Atwood’s source material. form, we recognise the need to offer Now, all eyes are on what Disney’s The cast, however, remains the same a comprehensive library of premium proposed $66bn takeover of Fox’s with a few high-profile additions, programming,” says Erwich. “That entertainment’s assets will mean for including star Clea DuVall and includes strategically acquiring hit Hulu, once Disney owns 60% of it. Oscar winner Marisa Tomei. Elisabeth series and films, as well as producing Industry chin-wagging about friction Moss returns as the central character, our own content.” between the shareholders is on hold Offred, as the storyline concentrates on Erwich is also assembling a library until the deal is done. her pregnancy and her fight to free her of licensed content from various stu- Disney is due to launch a branded, coming child from the horrors of Gilead. dios around the world, including ITV family-oriented streaming platform in Craig Erwich, senior vice-president of and the BBC (ITV’s Harlots, originally the US in 2019. But a controlling stake content at Hulu, accepts that “a service shown in the UK on what was then a in Hulu will give Disney a space on cannot be defined by just one series”. pay-channel, Encore, is one such title). which to stream its -rated and more Hulu’s new productions certainly While Hulu has no plans to launch adult content, including Fox movies. look high-end. They include an adap- in the UK or, indeed, anywhere outside Hulu also provides Disney with an tation of Joseph Heller’s seminal novel, the US (it sold the Hulu name in Japan established on-demand video stream- Catch-22, regarded by many film-makers to Nippon TV in 2014), it will continue ing service in the US market, where as extraordinarily difficult to adapt. to act as a partner overseas for produc- cable TV is shrinking and streaming and Grant Heslov’s ing content. services are growing. Smokehouse Pictures are producing the “We strongly believe in working with As of last month, Hulu claims that it six-part Hulu Original with Paramount international producing partners, offers the biggest collection of TV series: Television and Anonymous Content. because it is a great way to gain access 1,267 titles – well ahead of Netflix’s Clooney will star as Colonel Cathcart, to the large pool of international talent, 1,042 and Amazon’s 872. Hulu also says the commander of central character both behind and in front of camera,” that it offers more TV episodes – a total Yossarian, and will direct the series says Erwich. “As both content provid- of 75,000 – to subscribers. It spent with Heslov. ers and content developers, we are $2.5bn on acquired and original con- Another one to watch out for is The always looking to support the visions tent for the US marketplace in 2017. Looming Tower, based on the Pulitzer of the producers we work with, so Netflix claims to spend around 25% Prize-winning non-fiction book that tapping into the international commu- of its $8bn global content budget on examines the run-up to the 9/11 nity makes sense for us as a business.” original programming. However, Ama- attacks, and launched last month to Euston Films’ Hard Sun is a co-­ zon Studios is reported to have put more ecstatic reviews. It is penned by Law- production between the BBC and than $4.5bn aside for original content. rence Wright and examines the alleged Hulu. Andrew Eaton, the producer of Enders Analysis senior researcher rivalry between the FBI and CIA that the first season of Netflix’s The Crown, is Tom Harrington predicts that Disney’s apparently hampered America’s ability one of those international film-makers purchase – provided that it is approved to counter the rising threat of Osama who welcomes Hulu to the fray. “Hulu by regulators and not derailed by bin Laden and al-Qaeda. really set the bar high for itself with The ’s bid for – is likely to The Hulu adaptation is co-written by Handmaid’s Tale,” he says. “I really hope

Hulu bring more clarity and stability to the a team that includes Dan Futterman, it stays in that space.” n

Television www.rts.org.uk March 2018 7 The shy genius of Mackenzie Crook

or many actors, physique Broadway with incredible depth, range is destiny. If Brad Pitt Profile and confidence.” and Danny DeVito had In a starry cast led by Kristin Scott each other’s bodies, they Thomas, Guardian critic Michael Bill- would probably have Mark Lawson learns ington singled out the “lean, hungry” each other’s careers. how one of TV’s presence of Konstantin – although the FTall, thin, gaunt and with deep-set actor would probably have struggled to eyes, Mackenzie Crook was probably brightest but unlikeliest come across as gross and sated. bound to be asked regularly to play The director now admits that he had men on the from ill-at-ease stars turned reticence thought of Crook for the classic Russian through weird to extremist. into an art form role while watching a scene in The Office The best-known of these malcon- in which Gareth, self-declared hard man tents are creepy army reservist Gareth personality had advantages: “Because of the Wernham Hogg Paper Company, Keenan in The Office and Ragetti in the Ordinary Lies is a multi-narrative show, unexpectedly cries at the departure of Pirates of the movie franchise. a lot of the time we were just asking his boss and hero, Ricky Gervais’s When the actor’s name was men- him to be a glorified extra, really, walk- David Brent. tioned for a part in the BBC One drama ing across in the back of other story­ Rickson subsequently directed Ordinary Lies in 2015, writer Danny lines. And you never know how actors Crook on stage again, in 2009-10, in the Brocklehurst was enthusiastic but are going to be about that. But Macken- Royal Court, West End and Broadway worried that “you never know with an zie was totally fine with it.” runs of ’s Jerusalem. actor who’s done big films, and so on, The show’s director, Ian Rickson, The role is another in his collection of whether he’d want to be part of a TV who cast the actor in a 2007 produc- eccentrics: Ginger, a would-be DJ who ensemble”. But he accepted the role of tion of Chekhov’s The Seagull at Lon- has wasted his life as one of the disci- car salesman Pete “straight away”. don’s , remembers: ples of a drug-dealing bullshitter “I got the impression,” says the “In our casting meeting, he probably played by Mark Rylance. screenwriter, “that he simply hadn’t said four sentences in an hour.” “Mackenzie most reminds me of a been offered that kind of role: playing Despite this, Mackenzie Crook was heron,” says Rickson. “There’s a deli- a decent, ordinary guy. His look does chosen to play Konstantin, a doomed cacy there, a sensitivity, but also real lend itself to oddballs.” would-be dramatist. The cast also strength.” Andy, the part Mackenzie Crook has included a young actress called Carey As is often the case with actors, the now played in three series of BBC Mulligan, who, the director recalls, name under which Mackenzie Crook Four’s , is not without odd- initially seemed to be in a reticence has become known is not what appears ness: the show’s comedy comes from contest with Crook: “In rehearsals, Mac- on his passport. the fact that the majority of viewers do kenzie and Carey would sometimes be He was born Paul Mackenzie Crook not spend most weekends and many so shy that they’d ask me to look away in 1971 in , to parents who worked evenings metal-detecting­ in fields, as while they were acting.” They got over for British Airways and the NHS. In do Andy and his friend Lance (played it. “Months later,” he remembers, “they common with many performers, he by Toby Jones). were playing a 900-seat theatre on started by impersonating teachers, and With Andy, though, the actor is at has said that various disliked masters least entirely in control of how weird were the basis for a series of characters the character will be: he also writes MACKENZIE he played in the 1998 Channel 4 sketch-­ and directs the show, which is show, Barking, which first brought him expected, in the 2018 TV awards sea- MOST REMINDS to attention. son, to add to the Bafta for Situation ME OF A HERON. Despite his low-key nature, he Comedy that it has previously won. seems to be a natural performer. Mackenzie Crook’s triple level of THERE’S A Danny Brocklehurst notes: “I watch all involvement in Detectorists is a surprise DELICACY THERE, the rushes [unedited film] every day to many of his collaborators, given that when I’m having something made. his diffidence is mentioned by all those A SENSITIVITY, And what interested me, on Ordinary who have met him. BUT ALSO REAL Lies, was that there was never really a “He was very quiet and shy,” recalls bad take with Mackenzie. Everything Danny Brocklehurst. But this reserved STRENGTH he would try just seemed right and

8 truthful. Which really isn’t always the case. Sometimes, you have to work very hard with actors.” Certainly, the outward modesty and timidity do not seem to extend to a lack of creative ambition. Mackenzie Crook is also a painter (a skill he devel- oped on childhood holidays in South ) and has written and illustrated children’s books. Such diversification seems to have given him confidence for the multi-skilling of Detectorists. Danny Brocklehurst remembers that Crook was “really nervous” about the series, “especially the writing of it”. But, he was open to advice (perhaps another positive consequence of his self-effac- ing nature), talking to the screenwriter of Ordinary Lies “a lot about writing – how much you change, how much you keep the same as a series develops”. What strikes Ian Rickson, though, about the directing of Detectorists is that its creator has not been too affected by example or precedent, but has dared to go his own way. Although not a “mock­ umentary” in the style of The Office, the treasure-hunters show has a different sense of real life being watched. “It has a very subtle, meditative aes- thetic,” says the director. “It has no laughter track, or standard visual set- ups and pay-offs. It just allows the characterisation and detail of its world to organically create drama. Bliss.” The shyness of which everyone speaks sometimes seems to extend almost to a wish not to be noticed at all. When I was writing this piece, a number of colleagues or friends of the actor declined to speak (or initially agreed, but then withdrew) after dis- covering that the profile was “not authorised” by him. By journalistic convention, it is not usual to seek the permission of the subject of a profile featuring third- party impressions, for the obvious reason that, if vetoes were allowed, politicians and celebrities could decide when they wanted to be discussed by the media. Mackenzie Crook, though, seems to have little to fear from the testimony of others. “Every company of actors I know who have worked with ‘Mac’ end up loving him,” says Ian Rickson, “because of his unadorned, authentic sensibility. He’s a joy to direct because there is no ego in the way; and, underneath that Mackenzie Crook introverted exterior, run such deep as Andy in The currents. I hope I get to work with him Detectorists

BBC/Disney/Joan Marcus/Sky BBC/Disney/Joan on so many things.” n

Television www.rts.org.uk March 2018 9 Sale or scale

Panellist Kate Bulkley

year ago, not even the “Apple’s revenues are three times wisest media-industry Media consolidation those of BT, Sky, Liberty Global, the sage foresaw that Rupert BBC, ITV and Channel 4 put together. Murdoch would agree to A stellar RTS panel “Even Netflix is an absolute minnow sell the bulk of his compared with Apple, Amazon and empire to Disney for confronted the threats Google,” he added (see chart opposite). $66bn. The landmark deal, which was posed by the tech Mike Darcey, the former chief oper- announcedA in December and needs to ating officer of Sky and CEO of News be approved by regulators in the US giants to legacy media. UK, agreed with James Murdoch on the and , was interpreted as an necessity of scale in the modern media admission that even the mighty 21st Matthew Bell took notes landscape – not least to mitigate risk. Century Fox lacked the scale to thrive “You need scale of investment across in an era dominated by tech giants. advance of Apple, Amazon, Google and a [broad] portfolio of ideas to be able to A high-powered panel at a sold-out . Days after this event, Com- cope with the risk of putting that much RTS early-evening event at the end of cast launched a rival $22bn bid for Sky. money on the table behind a particular February confronted this and related global media editor idea,” he said. “Otherwise, you are issues in “Sale or scale”. Matthew Garrahan, who chaired the betting a lot of money on red.” Recall boss James RTS event, suggested that, for tradi- But the ex-Sky man added that “ver- Murdoch’s comments at last Septem- tional media companies, this “deal tical integration” – operating as both a ber’s RTS Cambridge Convention: frenzy” could be interpreted in one of media platform and a creator of con- “Scale buys confidence to invest stra- two ways. It was either the case that tent – was as important as achieving tegically and take risks, and supports “they have lost their bottle – or is it the “scale”. He noted that many of the the development of new technologies only realistic response to the chal- current big media deals and consolida- and innovation.” lenges posed by this new era?” tions, such as AT&T and Time Warner, Fox’s sale to Disney, Fox’s bid to own The huge tech companies dwarf TV’s were “between a platform and a con- Sky outright and AT&T’s bid for Time traditional players, explained Mathew tent provider”. Warner are three business moves that Horsman, Joint Managing Director of He added: “You could take James can be seen in the context of the media consultancy Mediatique: Murdoch’s quote from last year, take

10 Video content and adjacent markets in the UK

Samsung

Sony

EE Telecoms operators Netflix Sky CPE* manufacturers *Customer-premises equipment ITV TalkTalk Hat Trick et al

HMV

Apple

TV production Curzon

BT Online video retail

Disney Amazon

BBC BFI Film Forever

Discovery Google Social networks TV channels/AVoD

Facebook

SVoD services Snapchat Channel 4 Paul Hampartsoumian Paul Source: Mediatique out the word ‘scale’ and write ‘vertical integration’ and the rest of it would still Selected players, by revenue hold, in the sense that vertical integra- The true value tion can help you to manage the risk. “If you have scale in distribution, Apple* $229bn of viewer data you have more confidence to invest in $223bn content. Your platform won’t be denied Amazon $178bn Kate Bulkley: ‘Data is very impor- content and your content won’t be Alphabet $111bn tant, but it’s not everything – com- denied distribution.” missioning by algorithm is probably Verizon $107bn There was a consensus on the panel not the way to go – but certainly that smaller British broadcasters are Comcast $85bn [it is important] for the advertising finding it increasingly hard to compete Disney $56bn New business and scheduling [decisions].’ with the US behemoths. Garrahan Vodafone $52bn entrants pointed out that Channel 4 “took the Facebook $41bn Mathew Horsman: ‘Where it really risk on Black Mirror”, only to see a big- works is giving a consumer expe- BT $33bn ger beast, Netflix, snatch the Charlie Legacy rience that is so much better… Brooker-penned satirical series from Time Warner $31bn companies search and navigation, deep cura- its hands. 21st Century Fox $29bn tion. Personalisation is strong stuff “The broadcasters are under pres- CBS* $13bn if it’s done well.’ sure, but it doesn’t mean that Chan- Sky $12bn nel 4 is out of the running,” argued Tim Hincks: ‘I’m not as sceptical media journalist Kate Bulkley. Nor, she Netflix $12bn about [deals driven by] the algo- said, was ITV. Liberty Global* $11bn Revenues for rithm from a creative point of view.’ Referring to the title of the RTS BBC* $8bn 2017 calendar event, she pointed out that ITV had Discovery $7bn year, except *= Mike Darcey: ‘[Data] is second… to “tried the ‘scale’ bit. It had bought a lot revenue for last the judgement that people make ITV* $4bn of production companies – and had available four about what makes a great idea.’ Channel 4 $1bn grown pretty big. It is the biggest � quarters

Television www.rts.org.uk March 2018 11 Cost per episode of key shows

Welcome The Get Down (Netflix) $16m Game of Thrones (HBO) $10m to the Philip K Dick (Amazon, C4, ) $9m new media The Defenders (Netflix) $8m From left: Mike Darcey, Kate Bulkley, Friends (NBC – final season) $7m Matthew Garrahan, Mathew Horsman landscape The Crown (Netflix) $6m and Tim Hincks

Paul Hampartsoumian Paul The Big Bang Theory (NBC) $6m House of Cards (Netflix) $5m A clash of business models The Night Manager (BBC/AMC) $5m Orange is the New Black (Amazon) $4m Kate Bulkley: ‘These [technology] programmes; Amazon doesn’t care companies aren’t in the same kind about making money on the pro- Breaking Bad (AMC) $4m of business [as] traditional legacy grammes that it commissions – it The Walking Dead (AMC) $3m media companies. Studios want to wants to sell more loo roll. It’s a very Sherlock (BBC) $3m make money by making and selling different business model.’ Netflix (average per hour) $2m Downton Abbey (ITV) $2m Global vs local content ITV (average per hour) $2m Vera (ITV) $1m Tim Hincks: ‘We talk about demand ‘But… they’ve also spotted that Source: Mediatique for global content [such as] House of people in Britain also like British, local Cards – and that’s what we’re seeing content.… If I was the BBC or Chan- with these new entrants, the notion of nel 4, that’s the thing I would be getting � factual producer in the US, now. But big global pieces. concerned about right now.’ where does it go from here?” One route forward, she suggested, was to concentrate on local markets, The end of the co-production era by “serving their local customers much better than these big guys” and offer- Mathew Horsman: ‘We’ve seen this a crescendo, but I think that it’s already ing services that are “different to all trend where the networks [have over. I think these big, new entrants are the stuff that is coming out of America. worked] with the new entrants.… [UK saying, “How come we’re giving you a The question is: does that make it broadcasters] put in a bit of money budget of £6m an hour, you’re spending distinct enough so that it can somehow – the [new entrants] put in a lot of £1m and you’re getting all the UK rights survive?” money – and [broadcasters] retain the so we can’t show this stuff on Netflix Mathew Horsman was blunter in UK rights and have the first window. during the same window. We’re not his assessment: “It either [becomes] ‘That was a trend that built and built to going to do that again.”’ a much smaller company or someone buys it.” Not all UK television outfits are 21st Century Fox’s bid for Sky under the cosh. “As a content creator,” said Tim Hincks, joint boss of the inde- Mike Darcey: ‘The 21st Century Fox and Markets Authority.… I think that the pendent producer Expectation Enter- proposal to buy the remaining [Sky] betting has to be that it’s more likely tainment, “this is a genuinely exciting shares that it doesn’t own is well than not to go through, but it’s not a [time]. We… [are] seeing more custom- advanced through the Competition done deal.’ ers and demand for our content.” In the UK, said Mathew Horsman, the new entrants had not, as yet, A challenging outlook for UK broadcasters stepped up to the plate, although they had had an effect on the global TV Mathew Horsman: ‘There are three ‘Advertising is absolutely under market, most notably by pushing up revenue streams for network tele- pressure. The licence fee – it will be prices. “It wasn’t many years ago when vision: subscription, licence fee and up to us, but it doesn’t look good. And £1m was a very big number for an hour advertising. All three of those are under subscription is not growing for full-fat of UK content.” Famously, Netflix drama significant pressure. pay-TV.’ The Crown costs five times that figure per episode.

12 Premier rights: Why did the giants not bid?

THE ‘CURRENT Newcastle vs Swansea 2018

STELLA ARTOIS Getty APPROACH’ Many media commentators argue OF MAKING that UK sports rights, particularly ‘REASSURINGLY football, are ripe for picking by the US tech giants – but it hasn’t hap- EXPENSIVE’ pened yet. In February, Sky and BT Sport PROGRAMMING IS paid £4.464bn for the five main UNSUSTAINABLE packages of English matches for 2019-22 – an The Get Down

Netflix outcome that suggests that the days of hyper inflation are over. “The inflation we’re seeing now for “These guys have very deep pockets. There are two more EPL pack- talent is extraordinary,” agreed Tim Why did [Left Bank’s] Andy Harries do ages available, which will permit all Hincks. “It can’t be sustainable. There The Crown with Netflix? There was a 10 matches in a round of fixtures to are BBC dramas that are effectively huge cheque,” said Kate Bulkley. be broadcast simultaneously, four 80%-funded elsewhere. There are While Mathew Horseman agreed times during a season. multiple examples. That’s a very happy that Apple, Amazon and Google had ‘There was so much coverage relationship now, but it will not last.” huge amounts of money to spend on claiming that Amazon, Netflix and The indie boss added that the “cur- programming, he was “not so sure that Google were going to bid for [EPL rent Stella Artois approach” of making Netflix does have the sustainable cash rights], and you look at the results of “reassuringly expensive” programming funds”. the first bit of the tender and Sky and was unsustainable. On the positive side, Mike Darcey agreed. “The question BT [won],’ said Mathew Horsman. however, escalating costs meant that is, does Netflix have the business Kate Bulkley had expected Ama- now “is the best time in a while for new model? You can splash some cash for a zon to bid for these rights but was talent”. For broadcasters – such as the while but, in the end, [because] you’ve unsure whether it would bid for BBC and Channel 4 – with remits “that got shareholders – it’s got to work. the last two packages: ‘They’re not are partly about the discovery and pro- Do these new guys have a new model, great packages – it seems to me motion of new talent, this is a great which allows them systematically to that probably BT or Sky will end up time. There’s a lot of talent scouting at spend more on content? I think the with them.’ theatres, more than there has been for jury’s still out on that.” ‘They’re pretty poor packages,’ some time. People are going to see the Tim Hincks suggested that, “ultimately, agreed Mike Darcey, adding: “There new writers and performers.” it’s not about scale. Scale isn’t what cre- are probably cheaper and more Even so, he said, UK broadcasters ates hits and tells stories – people do.” targeted ways to try to grow the “ultimately cannot compete, show for But talent would look for “a home subscriptions of Amazon Prime than show, against the [new entrants]”. where they feel most comfortable” and spending £5bn on football rights. Apple’s signing of former Channel 4 where “they can get their idea in front ‘The [Premier League] is strug- and BBC executive Jay Hunt to run the of as many eyeballs as possible”. n gling to sell the last two packages. creative side of its European video It would appear that it ran an auc- operation (based in London) sends a The RTS early-evening event ‘Sale or tion and, to the extent that it has clear message to broadcasters that it scale’ was held on 22 February at The received bids for those packages, has serious ambitions here. “They’ve Hospital Club, central London. It was pro- it is not happy with the level of the hired a really serious player in this duced by Sue Robertson, Jonathan Simon bids, so they remain unsold.’ territory,” said the Expectation boss. and Martin Stott.

Television www.rts.org.uk March 2018 13 ne of the most sig- nificant changes of ’s Janu- ary Cabinet reshuffle was the elevation of Matt Hancock to SecretaryO of State for Digital, Culture, Media and Sport. He became the second – and most obviously technologically literate minister – to lead the depart- ment under the Prime Minister’s reign. The former minster for new technol- ogy within the DCMS – a post he had held for the previous 18 months – is already well known to many within television and related sectors. He was Theresa May’s choice for the DCMS job “largely on the grounds that he understands technology and its on the future of telecoms and the digital economy,” says one senior civil servant. The new culture secretary reaffirmed his devotion to tech when, shortly after taking office, he launched his own app, creating an “online community” who could keep up to date with his work as a constituency MP and minister. This provoked the kind of teasing that could have been written by Armando Ian- nucci in The Thick Of It, but it did set people talking about the new Secretary of State. There is no shortage of policy issues that need grappling with at DCMS. During his first day in office he had to make a parliamentary state- ment on the BBC gender pay-gap row. On press regulation, he has already rejected the idea of a second , telling the House of Commons last month: “We do not believe that Anne McElvoy profilesMatt Hancock, opening this costly and time-consuming public inquiry is the right way forward.” the new Secretary of State for Digital, One of the biggest issues that he has to deal with are the freedoms and Culture, Media and Sport responsibilities that tech companies have regarding the material they host Politics – a topic on which he and his colleague Damian Collins, Chair of the Media Select Committee, are very articulate. The re-homing of Channel 4 outside London is prominent in his inbox. Hancock has refused to say whether is the main contender, Tech-savvy but is adamant that he does want the broadcaster to move in order to better reflect its audience outside London. Aside from the thorny question of pay, the BBC is always capable of pro- minister for ducing upsets to test his department. He is largely supportive of Lord Hall’s leadership. The culture secretary insists that testing times

14 Britain’s standing as a hub of digital deal should go through – it will be the industries (with regulation light HE IS KEEN first major indication of how he enough to attract investors, yet respon- TO SHOW approaches a testing subject, guaran- sive enough to fend off the big tech teed to provoke uproar. platforms’ desire to wield an unhealthy BROADCASTERS Yet, the situation could prove sym- degree of interest) amounts to a vital THAT HE TAKES bolic of the limited influence of UK asset post-Brexit. regulators, campaigners and ministers Hancock cites some successes in THEIR ANXIETIES alike. If the planned 21st Century Fox/ curtailing the ability of porn sites to ABOUT THE Disney merger gets regulatory assent push their product at under-18s and in in the US, the CMA’s deliberations may reaching an agreement with EU’S COUNTRY be moot. This would also be the case if platforms to demote pirated material OF ORIGIN it turned out to be the rival Comcast on search returns. bid that netted Sky. In the end, it is “Optimistic, forward-looking, mod- REGULATIONS likely that ’s fate will be in ern conservatism is a natural home for SERIOUSLY the hands of a US company. Globalisa- the tech-savvy,” he claims. He says that, tion, it turns out, is hard to fend off. on technology, he is “liberal, not liber- Closer to home, those who fear that tarian” – a defender of digital worlds but ambitious assistants and Matt Hancock successive governments have taken an not of one without constraints. How far became primus inter pares. unhealthy interest in curbing the BBC he will, in practice, challenge the mighty Many thought he would be out on might be relieved to find that Hancock tech companies for insight into their his ear in the bitter harvest of the is not especially interested in debates algorithms, and what degree of pressure post-Referendum clear-out because regarding its alleged bias. he is prepared to apply to curtail the he had campaigned for Remain. But, in He has joked that the previous Tory less-benign aspects of social media’s the short, messy scrap for power after government “deployed the full Whitto” power, will be the test of his vision. David Cameron’s resignation in 2015, he – a reference to John Whittingdale, the On the roll-out of superfast broad- quickly threw his weight behind May. Thatcherite culture secretary who had band, as digital minister, the new Sec- Brutally put, that saved his political long campaigned to clip the BBC’s retary of State was something of an bacon. Few would say he is a natural wings – only to end up with an infla- evangelist. In January, he claimed that May acolyte, but he is one of the min- tion-proofed licence fee and a 10-year the Government had delivered on its isters who provide a useful buffer zone guarantee of its position as the domi- manifesto commitment to extend in abrasive times. Members of this nant UK public service broadcaster. superfast broadband to 95% of the UK group have been dubbed the BBBs Beyond TV, the minister is an active by the end of 2017. A review of digital – “Bored By Brexit” – those who avoid sportsman. He is believed to be the infrastructure conducted by the DMCS direct confrontation and focus on life only modern MP to have won a profes- is due to report in the summer. “We after Article 50. sional horse race, coming in first at want the UK to be a global leader in However, the creative industries are Newmarket in August 2012. 5G, so that we can take early advantage in a state of permanent outrage about And, an ardent cricketer, he was part of the benefits that this new technol- the impact of leaving the EU and Han- of the team that played on an Arctic ogy offers,” he has said. cock potentially faces trouble over pitch, in what is claimed as the most

Public domain Public Matt Hancock entered politics after restrictions on artistic visas. Exacting a northerly cricket match ever played. reading PPE at Oxford and gaining a quick win from the Prime Minister on Inevitably, he is prone to political master’s in economics at Cambridge, this issue would save him a lot of heat metaphors such as, “It’s easier to score followed by brief stints at his parents’ IT from this constituency. runs when the bowling is hard”. In company and the Bank of . In more granular terms, he is keen to other words, he’s happiest in the thick People like his open, can-do style. show broadcasters that he takes their of things and doesn’t mind a scrap. The Broadcasters and other media people anxieties about the EU’s country- ­ big difference between his new job and are impressed that he is so obviously of-origin regulations seriously. Foreign those that provided his springboard to on top of his brief and is an enthusias- companies with offices in the UK, the front line is the level of scrutiny. tic TV watcher. He watches a lot of which are currently allowed to broad- He discovered this during a night out shows on Netflix and starts his day cast to mainland Europe, want to at the , when he was treated with Radio 2’s Chris Evans show, lis- maintain this privilege. to , the award-winning grime tening with his three small children. Some choices will not be easily star, acidly rapping, “Theresa May, Among his favourite shows are Game fudged. He must rule soon on Rupert where’s the money for Grenfell?” Han- of Thrones. “We suddenly got into it and Murdoch’s planned purchase of the 61% cock had to shift his expression from went through all seven series in a two- of Sky shares he does not already own. cheery-night-out to solemnity in a trice. or three-month period,” he told a BBC A lengthy regulatory process should ’s Galway Girl is his declared interviewer. “I can’t wait for series 8.” conclude in May, when the Competition favourite song, but he cites an interest in He has enjoyed a dizzying rise from and Markets Authority reports to the grime music, too. At the Brits, he sat next chief of staff to George Osborne, then Secretary of State on its investigation of to Ronnie Wood and found that the two Chancellor, to minister of state level the Murdoch tribe’s record as bosses, have the same app designer. n – first for Business, Energy and Indus- both as broadcasters and as newspaper trial Strategy, and then at the DCMS owners (an area where the phone-­ Anne McElvoy is a senior editor at the from mid-2016. As Chancellor, Osborne hacking scandal remains front of mind). Economist and a political columnist at acquired a penumbra of talented, He has only a month to decide if the the .

Television www.rts.org.uk March 2018 15 The reinvention of Channel 5

ritish public service the broadcaster to broaden the range broadcasters proved Channel 5 of shows it airs while remaining pre- relatively resilient in 2017, dominantly a factual channel. It has, despite strong competi- for example, successfully pushed into tion from SVoD and other The broadcaster is upscale BBC Two and Channel 4 terri- digital distractions. gaining viewers and tory with natural history (Yorkshire: A BThe best performer was the smallest Year in the Wild), history (Henry VIII and of the PSBs, Channel 5. The channel’s winning new admirers, His Six Wives) and acclaimed docs (The audience share rose by 2.2% – com- Accused and Slum Britain: 50 Years On). fortably ahead of ITV, up 1.2%, and says Tim Dams. What Additionally, has targeted older audi- Channel 4, down 0.2%. The audience is it doing right? ences with shows such as Cruising with for Channel 5’s portfolio of channels Jane McDonald, generated new formats grew by 5%, led by , which what they say on the tin,” says Simon with the likes of Rich House, Poor House, jumped by an extraordinary 27%. Andreae, CEO of Naked Entertainment, and has cautiously moved into enter- The broadcaster’s ratings growth which makes dating show Secret Admirer tainment with the Blind Date reboot and comes at a time when its reputation for the broadcaster. “You know you are Battle UK. with producers, critics and viewers is going to be told a contemporary story Along the way, there have been rising, too. Producers, for example, say that is pacy and digestible.” misses, too, notably Stone Age reality the channel’s programmes are more The service’s reputational and ratings show 10,000 BC – a co-production cheerful and of better quality than was growth has been fuelled by increased between Channel 5 and fellow Viacom once the case. They think it feels bright spending on content since Channel 5 service MTV. and contemporary, boosted by was acquired by Viacom in 2014. This The focus on creating new titles has a colourful rebrand in 2016. hit £213m in 2016, up from £189m a helped the channel to increase its “Channel 5 has got witty, clear and year earlier, according to . share among the advertiser-valuable seductive titles – programmes that do The additional money has allowed 16-34 age group and ABC1 audiences,

16 problem. This is due both to past pro- moved on. There is a focus on celebra- gramming (even though former Chair tory, aspirational and life-affirming and CEO Dawn Airey said Channel 5 shows, such as The Yorkshire Vet and The was “not just about football, films and Dog Rescuers. fucking”) as well as the tone of much Existing series that were known for of the current schedule. being confrontational have been repo- He reckons that Channel 5 broadcast sitioned to celebrate positive outcomes more than 1,200 episodes of Can’t Pay? rather than confrontation. We’ll Take It Away across its various Frow traces the tonal shift to a gut channels in 2017. “Many desirable instinct that viewers were after some- viewers avoid the channel wholesale”, thing different in the era of Brexit and says Harrington, and notes that it will Donald Trump: “Suddenly, the world be “difficult to move away from its became a very confrontational place. traditional audience at any great pace”. When the world is confrontational, In 2011, over a quarter of the channel’s that is not what viewers want to see viewing came from what the ONS calls at home.” Social Grade E, although this is now Looking ahead, there are big decisions falling. to come for Channel 5, notably about When Viacom acquired Channel 5, the future of Big Brother. Ratings have many believed that the company would been in decline (the 2017 series was its use it as a prominent home for its least-watched to date), and this sum- US-made content. However, Channel mer’s series will be the last to run under 5’s spend on first-run, UK originations the three-year contract with Endemol. rose to £129m in 2016 from £113m a Frow has talked in the past about year earlier, according to Ofcom figures. moving on from Big Brother. Certainly, Channel 5’s director of programmes, plenty of new shows could be com- Ben Frow, has a reputation as a straight missioned for the estimated £40m a talker and an instinctive ideas man. He year that he pays for Big Brother. The has sought to boost the level of com- downside is that Channel 5 would be missions since he arrived five years ago. left with more than 110 hours of Back then, he says, the channel was in prime-time TV to fill. decent shape but very heavily reliant on Frow says that negotiations over a American acquisitions, such as the CSI new contract continue with Endemol. franchise and Ice Road Truckers. “It is a very expensive show, and I “I saw the opportunity to create a would relish the opportunity to have channel that had a unique voice, its that money to spend on other things. own personality and that had a much It is 18 years old, and our schedule has Cruising with Jane McDonald

Channel 5 broader range of programming,” says changed. Increasingly, it sits at odds Frow. He set out to diversify the sched- with where I want the channel to be.” notes Tom Harrington, an analyst ule by moving into new genres, and by Whether this is a negotiating tactic at Enders Analysis, who authored a introducing well-known presenters, to reduce Big Brother’s price will soon recent report, “Channel 5: Three years such as Jane McDonald, , become clear; after all, the show on from Viacom’s acquisition”. and and Ruth Langs- remains important to Channel 5 His report was broadly positive ford. “We didn’t really have any faces, because of the high number of com- about the performance of Channel 5, but a channel is often defined by faces.” mercial impacts it generates among noting that it successfully tussles with The broadcaster’s tone has also 16- to 34-year-old viewers. Channel 4 in terms of viewing share, evolved significantly during Frow’s Enders Analysis calculates that, of despite spending less than half as tenure. “We have had different chan- the top 100 broadcasts on Channel 5 much on content – Channel 4 spent nels,” he says. When he first arrived, since 2011, 81 of them have been for £533m in 2016. Channel 5 was “quite shouty, we had Celebrity Big Brother and Big Brother. “Viacom appears to have set Chan- to make a lot of noise”. There were a Elsewhere, Channel 5 is mulling over nel 5 along a path of sustainability lot of one-off documentaries with a move into drama, a genre that is – no mean feat at a time when the irreverent titles such as Age Gap Love. noticeable by its absence on the main advertising market is uncertain,” says Then came Channel 5’s grittier phase, channel. Frow is exploring the possi- Harrington. which spawned a plethora of shows bility of commissioning low-cost However, his Enders report warned with “benefits” in the title (including drama at around £250k an episode. that Channel 5’s VoD service, , and Gypsies on Benefits & Proud and Benefits: Meanwhile, he says, 2018 will see its social-media offering “leave much Too Fat to Work), as well as shows such as a further shift towards feel-good and to be desired”. Moreover, its reliance on The Nightmare Neighbour Next Door. aspirational programming. He also pre- two major titles, Big Brother and Neigh- “They delivered big numbers for us dicts more growth: “I still don’t believe bours, “will be unsustainable in a post-­ and were very helpful in terms of Channel 5 has reached its potential. I am linear world”. growing share, but less helpful in terms not interested in managing decline. That Harrington believes that Channel 5 of our reputation,” admits Frow. is a depressing outlook. We want to be a continues to suffer from a perception More recently, the channel has channel that grows.” n

Television www.rts.org.uk March 2018 17 Apply now for the 2018 Shiers Trust Award The Trust can make a grant of up to £4,000 towards publishing work on any aspect of the history of television

Objectives The promotion of public education through the study and research of the history of television in all its aspects and without regard to country of origin, including the development and encouragement of publications and associated projects such as WGW Mitchell (left), bibliographies and monographs on particular honorary secretary aspects, provided that the results of such study and of the Television research shall be published and that the contribution Society 1929-44, made by the Trust shall be suitably acknowledged in with John Logie any publication. Baird, preparing for Criteria a demonstration Grants will be given to assist in the completion of new or unfi nished projects, work or literature specifi c to the objectives of the Trust. ‘Literature’ is defi ned as including audio-visual media such as DVDs and websites. The Trustees must be satisfi ed that the work they are supporting either could not be fi nished or published without the grant and that, with it, the Do you need work will be completed, or, the grant will provide the initial phase of a project that will be continued and completed with other identifi ed funding. Applications will be considered broadly in support of research, development, writing, editing or publica- £4,000 tion. Grants for research will require that the results of the work will be made known and accessible through appropriate means. In the case of literature, for a history of projects must have a real prospect of publication. Applicants must demonstrate that their work will have a clear expectation of making a signifi cant contribution to the objectives of the Trust. television project? Applicants will be required to satisfy the Trustees of the soundness of their projects, and identify any grants from other sources. The Trustees will not Previous recipients make commitments to support re curring funding, 1 2017: Birmingham City 8 2011: David Rose presented an nor make grants to cover fees or maintenance of University recorded interviews illustrated retrospective of his students undertaking courses. with programme-makers to exceptional career as a expand its online oral history of groundbreaking television and BBC Pebble Mill, 1971 to 2004. fi lm producer to a large George Shiers number of live audiences George Shiers, a distinguished US television histo- 2 2016: The Scottish Broadcasting rian, was a long- standing member of the RTS. Before Heritage Group recorded 9 2008/2010: Steve Arnold interviews with people who digitised back issues of Radio his death in 1983, he and his wife, May, provided for a worked at and watched STV Times to make a searchable bequest in their wills. The Shiers Trust grant, now in from 1957 to 2017. online archive of articles and its 18th year, is normally worth £2,000. This year, to schedules mark the 90th anniversary of the RTS, it has been 3 2015: Oral history project by 10 2010: John Wyver conducted raised to £4,000. Grants will be consid ered and former Granada staœ ers interviews on the presentation approved by the Trustees who may, at their Stephen Kelly and Judith Jones, of theatre plays on British discretion, consult appropriate experts to assist their with interviews published at: television www.granadaland.org decisions. In assessing priorities, the Trustees will take into account the sums of money available. 4 2014: Shared between Dr 11 2009: Ronald Sandell, a key Sheldon Hall, whose Armchair planner of the analogue Cinema is a study of feature terrestrial transmitter network, Application procedure Applications are now invited and should be submit- fi lms on British television, and conducted research for a book, Marc Scott, who has researched Seventy Years Before the Masts ted to the Trustees by Friday 30 March 2018 on an the uno’ cial development of o’ cial application form (available from the RTS, TV in Australia 12 2005: John Grist wrote a address below). Applications should set out the 5 2013: Barry Fox has built a biography of Grace Wyndham nature of the project in not more than 500 words. website (www.tekkiepix.com) Goldie, the fi rst Head of BBC Supporting documentation may also be included. Television News and Current to present his collection of Details of your experience or qualifi cations should A œ a i r s historical consumer electronics be provided. Applicants should ensure that their imagery and documents. 13 2004: Don McLean compiled project conforms to all the criteria. Applications 6 2012: Paul Marshall researched an authentically accurate audio should be accompanied by a budget that clearly a biography of Alan Archibald two-CD presentation of the identifi es the sum being requested for a grant and Campbell Swinton, the early beginnings of TV in Britain visionary of all-electronic the purposes for which it will be used. Application forms are available either from the RTS website: television 14 2001: Simon Vaughan, archivist www.rts.org.uk 7 2012: Simon Vaughan digitised of the Alexandra Palace the 300-page ‘Black Book’, the Television Society, printed a or Clare Colvin, to whom they should be returned: fi rst manual of the Marconi-EMI collection of 1,200 photos by Clare Colvin, Archivist, Royal Television Society, electronic television system, the father of television lighting, 3 Dorset Rise, London EC4Y 8EN. installed in 1936 Desmond Robert Campbell [email protected]

02 Shiers Trust 2018 ad.indd 9 09/02/2018 16:24 OUR FRIEND IN BANGLADESH

Sanjoy Majumder anding a major describes how the tragedies, I don’t think any of us were assignment or, as quite prepared for what we were modest journalists plight of Rohingya eventually to uncover during the would prefer to coming weeks. phrase it, getting your refugees became Over the next several days the teeth into a powerful a big Western Rohingyas first trickled and then story, can sometimes flooded across brilliant green paddy be a mix of good fortune and the news story fields, over forested mountain passes, resultL of a sequence of random, unre- wading through rivers and streams, lated events. and by sea on rickety fishing boats. Towards the end of August 2017, my What stood out, and will always team and I were preparing to head out remain with me as the defining ele- to Bangladesh to cover floods in the ment of the Rohingya crisis, as it has north of the country. It was not par- come to be known, was the sheer ticularly unusual – sadly, Bangladesh number of children involved. experiences them every year. The Many of them had witnessed situation was severe but certainly not unspeakable horrors, seeing their the worst in its history. parents or other relatives murdered in In fact, many Bangladeshis were front of them. Some of them had been a bit puzzled that we had chosen to separated from their families and were cover the floods at all. However, being lost, wondering aimlessly in the camps. part of the Western media brings its Reliving a tragedy through a child’s own set of imperatives. The Houston eyes is something that moves even floods were getting blanket coverage the most hardened individual. It

but, while many people had been BBC compels you to recognise injustice affected, it was nothing when com- and cruelty that you might otherwise pared with . So, we figured, However, it was not an easy story overlook or choose to ignore. Bangladesh is where we must go. to sell to editors or, for that matter, It is perhaps the hardest thing a It was around that time that we audiences, especially on the back of journalist has to do and also something­ started spotting stray reports in the Europe’s own refugee crisis that sum- that raises hard ethical questions. Bangladeshi local media about refu- mer. There was simply not the appe- It is gut-wrenching to listen to their gees from Burma arriving in the tite for yet another refugee tragedy testimonies, recognising the fragility south-eastern corner of the country. that was only just beginning to unfold. of their emotions and wondering Many were making for Cox’s Bazar, But, even as we landed in Dhaka, what bringing their stories to the known more for its spectacularly long three boats carrying Rohingya refugees world is doing to them. (and relatively unspoilt) beach. Not capsized off the Bangladeshi coast. Perhaps the best way to address many people around the world knew More than two dozen people died, this dilemma is to own up to these who the Rohingyas were – a Muslim many of them women and children. conflicting emotions on air. minority community living in a tiny In these days of social media and Doing so makes us journalists more part of north-western Burma border- mobile phones, it didn’t take long for human, and possibly more grounded ing Bangladesh. the first traumatic images to surface. in the world we choose to temporar- Like many other foreign correspon- And that meant that we were imme- ily inhabit. n dents based in the region, I knew a diately told to change course – not to fair bit about the Rohingyas’ unhappy head north, as planned, to cover the Sanjoy Majumder is deputy manag- history of persecution at the hands of floods but south-east, instead. ing editor, BBC World Service, India, both the country military and the Even after a decade of covering and was BBC South Asia correspondent Buddhist majority. conflicts, natural disasters and other when the Rohingya crisis broke.

Television www.rts.org.uk March 2018 19 How to get a job in TV

25 April RTS Yorkshire Masterclasses With True North and Lime Pictures Venue: College of Music l Time: 2pm start Tickets: Call Victoria Griffith l 07880 231626 l [email protected]

RTS EARLY EVENING EVENT MIND 16 April THE Venue: The Hospital Club, London WC2 H 9HQ Jane Corbin BBC current affairs journalist GAP Rt Hon Harriet Harman MP Former Minister for Women and Equalities Closing Sian Kevill Former BBC executive and founder of Make Productions the gender Charlotte Sweeney OBE pay gap in Expert adviser on equality, diversity and inclusion Jane Martinson (Chair) broadcasting Guardian columnist and journalist

Booking: www.rts.org.uk The scholar who loves sharing stories BBC

ary Beard’s of the new series, alongside Simon career began Culture Schama and David Olusoga, “but it with a piece of does mean there’s a lot to do.” cake. On a trip Mary Beard tells For the new series, the team to the British headed to 31 countries across six Museum with Pippa Shawley why continents, rather than focusing on herM mother, a curator noticed her she was reluctant to Western Europe as Clark had done. struggling to see one of the exhibits, “If you’re doing, in principle, the a 3,000-year-old piece of carbonised become a TV presenter world, you can’t do it chronologically. cake from Ancient Egypt. You can’t say, ‘Meanwhile, in Aus- “He got his keys out, he opened the and reveals her own tralia…’,” says the professor. “That’s case, he got the bit of cake out and he quite frightening when you start, but showed it to me.” It was a “light-bulb viewing habits it’s also liberating. It means that what moment” for the then five-year-old, has to drive this is the argument.” and a lesson in the joy of sharing. when he was Executive producer for the BBC Jonty “People will see you wanting to know controller of BBC Two. At the launch Claypole said he wanted nine “polem- something and they’ll get their keys of the new series, Sir David explained ical essays” to drive the series, and that and unlock the case.” that the original programme was it was important to feature different The classicist has built a career out intended to sell more colour TV sets. voices to reflect the number of narra- of unlocking cases, as an academic at The simple plan, he said, was “to get tives in the representation of history. Cambridge and, more recently, as an all the loveliest things in colour [and] In her episodes, Beard looks at the author and broadcaster. Her latest put them in a chronological order and depiction of the human body, from case is Civilisations, the BBC’s much-­ to contemporary music”. the Terracotta Army in China, to the anticipated culture series, which The task for the 2018 series was Colossi of Memnon in Egypt, and at launched earlier this month. rather more ambitious. “You couldn’t the relationship between religion and The show arrived almost 50 years make a history of European history art, for which she visited Angkor Wat after ’s Civilisation, now and just call it Civilisation,” says and Istanbul’s Blue Mosque. which had been commissioned by Beard, who presents two episodes The BBC’s publicity machine has �

Television www.rts.org.uk March 2018 21 � gone full throttle to promote the has taken her critics head on. She reg- show, but Beard says that the filming ularly rebuts arguments on her blog, was much the same as the other his- A Don’s Life, which she writes for the tory programmes she’s worked on. Times Literary Supplement, but she also “You still go to the same slightly takes on the trolls. grotty hotels and you still complain “It would be wrong to say that it about the food being dreadful,” she doesn’t bother you at all [when] you recounts. “Television crews are won- look at your phone and you discover derful complainers, me included.” that kind of crap,” she says. “I think The classicist was fairly late to pro- that, when I was younger, that sort of gramme-making. She stuff would have both- was approached by ered me much more.” former BBC Two con- WHO IS She ignores the popular troller Janice Hadlow, Twitter advice – “Do not who had read her book CIVILISED? feed the trolls” – and about Pompeii while on WHO responds to many of her holiday. Beard was abusers. reluctant at first: “I knew WOULD “It would be wrong to that television was terri- ACTUALLY say that the majority bly time consuming, and apologise, that would not I don’t have very much AVOW IT? be true,” she admits, “but patience.” enough do so to make it Hadlow persuaded worthwhile.” her, however, suggesting that the aca- A few days after we meet, one of demic should put her money where Beard’s own tweets makes a stir. her mouth was and, instead of com- “Of course one can’t condone the plaining about too many “wrinkly old (alleged) behaviour of Oxfam staff in guys wearing suits”, she should have a Haiti and elsewhere,” she tweeted. “But go herself. “At this point, I thought, ‘I’ve I do wonder how hard it must be to been snookered’,” she confesses. sustain ‘civilised’ values in a disaster Pompeii: Life and Death in a Roman zone. And overall I still respect those Town was nominated for a Bafta and who go in to help out, where most of paved the way for more series about us wd [sic] not tread.” the ancient world, including Caligula Her poorly worded missive was met with Mary Beard and Mary Beard’s Ulti- with a backlash, including accusations mate Rome. of colonialism and racism. Today, despite a growing library of “I was certainly not saying that Haiti fucking terrified,” she laughs. “You bond. television series under her belt, Beard was uncivilised,” she later wrote in a It is as if you’ve all been kidnapped.” still regards television as a hobby. blog post. “Mea culpa if it looked as if She believes that non-politicians have Broadcasting has added another ele- I was (it just happens to be the precise a civic duty to get involved in politics: ment of fun to her job as a classicist, opposite of what I believe!)” Just days “There’s an obligation on citizens to but she identifies as an academic. before, she had said over tea and bis- participate the best they can and not to By the time the television commis- cuits that “absolutely everyone who leave politics to professional politicians.” sioners came knocking, she had built a uses Twitter says something stupid As someone who is not afraid of career as a classicist, and rigorous from time to time”. Psychic, once again. debate or strong opinions, she strikes academic debates had made her resil- The issue highlights the complexity me as a person who might have pur- ient in the face of criticism. It’s just as of Beard’s approach to public life. She sued a career as a politician. “I think well. While her programmes have been is generous with her time, engaging in it’s too late,” she says, but she would popular with audiences, her presenting email correspondence with people have considered it if someone had style has divided the critics. who want suggestions for reading suggested it when she was younger. A She remembers telling Hadlow: “‘I material, replying to the tweets she long-time Labour Party member (she don’t think AA Gill will like it.’ I was receives, both positive and negative, has now left the party), she thinks that right. Absolutely psychic.” and accepting invitations to go on she would struggle to toe the party The late Sunday Times critic seized programmes such as Question Time. line. Backbench life would not suit on Beard’s appearance, writing: “For Academia has helped her build a thick her, either: “I wonder if anybody really someone who looks this closely at the skin to disagreements. goes into politics thinking, ‘Do you past, it is strange she hasn’t had a While her first instinct was to know what I want to be? I want to be closer look at herself before stepping decline the invitation, she agreed to a backbencher for ever.’… You watch in front of a camera. Beard coos over join the Question Time panel “because it these idiots on the front bench and you corpses’ teeth without apparently seems chicken not to”. She also did it think: ‘I can do better than that!’” noticing she is wearing them.” because she was curious about how it For now, Beard hopes has found her While such scathing personal attacks worked, and who she would meet. niche as an outspoken classics don would leave some retreating to the “I’ve made some good friends on Ques- who is vocal about the public’s role in shelter of the university library, Beard tion Time, because everyone is so politics. “It’s no good just tut-tutting

22 Civilisations BBC about how professional politicians are,” young Beard to explore what was on take the theories that have been pre- she advises. her doorstep. At the time, there were sented in the main series, and get the She is, at , an educator, passion- lots of opportunities for teenagers to public to go and investigate in their ate about sharing stories, whether in get involved in archaeological digs. local museums. the lecture theatre, in books or on TV “Part of the pleasure of going on an “Inside any local museum there is and radio. She defies most of the stereo­ archaeological excavation was to get something wonderful,” she says. The types of a classics teacher, drawing you away from the parents,” she admits, programme ties in with the BBC’s into her world, rather than sending you “while doing something that was abso- wider relationship with museums for to sleep. She is not an intellectual snob. lutely pukka and intellectual. The act the Civilisations Festival, which aims While she battles great academic of getting bored can be a more stimu- to shine a spotlight on the collections theories at Cambridge, she also loves lating one than people think,” she of partnering museums. to binge-watch box sets, most recently believes, as it drives people to think. More than 250 organisations have the third series of Broadchurch and She hopes her own programmes and signed up for the festival, from national Endeavour. BBC One’s long-running books inspire people to get out and ones, such as the British Museum and medical soap Casualty provided a explore the arguments she has put the National Army Museum, to smaller much-needed break when her chil- forward. “What you want to do is give establishments, including Wakefield dren were young. “It was my real people some insights and some tools Library and Torquay Museum. pleasure when the kids were very that they can use for themselves,” she The show will also examine what small: get the buggers off to bed, bottle explains, “not just to look at your pro- is meant by the term “civilisation”, a of wine, Casualty,” she recalls. gramme and go, ‘Oh right, fine, lovely. word so complex it is unlikely to be Growing up in , she God, wasn’t that amazing?’” solved in an hour-long episode. “Who watched “everything”. “There wasn’t In this spirit, she will follow her is civilised?” asks Beard. “Who would much else to do where I came from,” episodes of Civilisations with an extra actually avow it? Who would get up she says. Her favourite shows included 60-minute show called Civilisations On and say, “Well, I am civilised’? You Monty Python, Crossroads and Till Death Us Our Doorstep. wouldn’t.” Do Part. “I wasn’t particularly hooked In it, she travels around Britain, The classicist may not have all the on the highbrow, I’m happy to say.” looking at what lies in museum collec- answers, but she will never shy away Not having much to do led the tions outside of London. The idea is to from the big questions. n

Television www.rts.org.uk March 2018 23 ou could say that Aleks Habdank is a man who TalkTalk TV is the UK’s smallest pay-TV provider. is ahead of his time. Its Managing Director, Aleks Habdank, explains to Eight years ago, Virgin Media appointed him Steve Clarke why it can only get bigger head of on-demand. InY those days, Netflix was in transition Pay-T from a DVD-rental company to an online one, Sky was thriving despite the fallout from the economic crisis, and TalkTalk was a subsidiary of Car- phone Warehouse. Today, on-demand is mainstream and Sky is a pan-European behemoth being fought over by some of the British TV’s world’s biggest media groups. Meanwhile, Aleks Habdank runs TalkTalk TV, the smallest of Britain’s pay-TV companies and, nowadays, part of a standalone public company best-kept that competes head-on with Sky, Vir- gin and BT for broadband subscribers. A neutral observer might wonder why such an experienced veteran of subscription-TV isn’t working for one secret of the big players. Prior to working for Virgin, he was employed by Liberty Global, where he spent a decade in TV’s best-kept secret. That was a bit offers are shows found on . various roles. Before that, he worked unkind but the spirit behind it was that Even then, having done a secondary for the UK-cable TV pioneer NTL. the product is great.” He continues: rights deal with HBO, Sky Atlantic’s At Virgin, he was smart enough to “We are the smallest but that has cer- most popular show, Game of Thrones, is figure out which way the wind was tain benefits – we can be more nimble. available on-demand on TalkTalk the blowing when, in 2012, he signed a That allows us to focus on looking after day after episodes are premiered on deal with Netflix. the customer and do the right thing by Sky. “You can buy an entire series to He recalls: “We had a long debate our customers, rather than having to keep for £14,” he points out. about it but, ultimately, it was decided meet big, corporate objectives.” The pay-as-you-go TalkTalk TV store that it was going to happen, so better To a Sky subscriber such as myself, was launched two years ago and fea- to have them inside the tent. Netflix is tures a library of movies and TV series. there, you can’t from it.” As full-fat pay-TV packages become At Virgin, he also oversaw the launch A LOT OF PEOPLE less and less attractive to consumers, of both TiVo and Virgin Movies. especially young people keen to save At TalkTalk, which he joined more IN THE UK AREN’T money, perhaps TalkTalk’s time may than two years ago, he has moved fast AWARE THAT be approaching. It recently launched a to bring the service up to date. skinny bundle that costs a mere £7 a During a demo of TalkTalk TV, which TALKTALK IS AN month: the 13 channels include popular he gives me at the company’s west ALTERNATIVE Sky, UKTV, Fox and Viacom services. London HQ, it is hard not to be “We are the youngest player in this impressed. The functionality looks TO PAYING SKY space,” says the TalkTalk chief. “We good across TV and mobile, especially OR VIRGIN VAST should be compared to Virgin and Sky. for on-demand and catch-up. The I’d say we’re better than BT. Ultimately, latter includes a backwards function. AMOUNTS it boils down to the content.” However, TalkTalk TV’s boss knows He adds: “We are pretty much like- that, with only 1.3 million TV subscrib- for-like with Virgin. BT doesn’t offer ers, his company is something of a the BBC iPlayer looks much more some key pay-TV staples such as Sky minnow and remains a bit of a mys- user-friendly than what I’m used to. One and Sky Living. We do.” tery to many people. “If I’m brutally According to Aleks Habdank, it boasts Of course, what TalkTalk TV lacks is honest, our biggest challenge is aware- better functionally because there’s exclusive content, something that BT ness,” he concedes. “A lot of people in more content and better catch-­up, Vision does have, thanks to its deal the UK aren’t aware that TalkTalk is an which, he says, is available “immedi- with AMC. alternative to paying Sky or Virgin vast ately following live transmission”. But one element in the TalkTalk TV amounts of money to watch the con- Having completed a deal with both mix that is strikingly original is a tent they want.” and BT Sports in 2016, the remote control specially designed for He adds: “A former colleague once TalkTalk executive claims that the only young children. Launched last summer, said to me that TalkTalk TV is British content his company lacks that Sky it is priced at £5. Unlike traditional

24 remotes, it is circular and brightly coloured, the result of extensive research in schools. The child-centric remote operates in tandem with an app that takes younger audiences into the kids’ viewing area of TalkTalk’s EPG. For parents, it has the added advan- tage of being able to set of the day when children are allowed to watch TV. This, in theory, should help avoid disputes over when to turn off the telly. There is even an icon that appears on the screen to tell the young viewer there is, say, only five minutes left until bedtime. “Children pay atten- tion to the TV,” he insists. The Habdank kids are too old, at 11 and eight, to take full advantage of this remote. “We asked parents what the pain points are for parents and chil- dren when they watch TV,” he explains. “One of the things that came out is that parents want their children to be safe and know their children are not going to wander off and watch inappropriate content. Second, kids like to feel in control.” As good as the remote looks, it is hard to see how it will substantially impact on TalkTalk TV’s growth. It boss agrees that the brand is still somewhat tar- nished by an incident in 2015, when 157,000 subscribers’ personal details were stolen following a cyberat- tack. This security breech led to a record fine of £400,000. “We have a combination of awareness and historical brand drag to overcome but, increas- ingly, the customers we have stay with us and love us.” Not only is churn reducing, but the company’s lowest can- cellation rates come from its fixed, low-price broadband and TV customers . Meanwhile, TalkTalk’s ARPU (average revenue per user) is around £26, and Aleks Habdank expects that “to edge up over the next couple of years”. So where would he like TalkTalk TV to be in five years’ time? “I’d like to have significantly dented Sky and Virgin. But I’m not going to give you a figure [on subscriber numbers].” Our interview takes place on the day that Comcast announces its $22bn bid for Sky. In a rapidly consolidating media world, where does this leave companies such as TalkTalk? “It’s a good question but I will pass on it,” he replies. “The answer to that is beyond my pay grade.” n TalkTalk

Television www.rts.org.uk March 2018 25 Panellists (from left): Remel London, , Ria Hebden, Marverine Cole and Sage advice from the TV pros

ore than 1,000 “In the real professional world, you people­ attended RTS Futures are not one of those,” she said, empha- the TV Careers sising that TV novices start at the bot- Fair at the Busi- tom, as runners or loggers. ness Design Cen- Attendees at the RTS’s The RTS Futures Committee member tre, London, in biggest TV Careers Fair added that “film and TV are very differ- earlyM February, making it RTS Futures’ ent things”, even though their “roles most successful event to date. yet received copious may appear similar”. Moving between The all-day fair offered five sessions the two industries is not easy. on getting started in television, while, expert advice, reports Employers hire on the basis of a in the exhibition hall, some 40 broad- Matthew Bell person’s track record, so it is vital that casters, independent producers and entrants build a reputation in the TV industry bodies were on hand to pass runs jobs website Theunitlist.com, industry as reliable and enthusiastic on their TV knowledge to the eager advised her audience to forget the workers. “It’s less about who you students and media hopefuls. grand job titles of producer or director know, more about who knows you,” In the first session, “Get ready for that they had enjoyed when making said Winstanley. your TV job”, Jude Winstanley, who student films at university. Work experience is important, she

26 explained, but it should never be Edinburgh International Television exploitative: “There are loads of wan- Festival Talent Schemes producer What the nabe producers who will think nothing Holly Close. of using you to further their careers.” But you don’t have to be a writer experts say She said that internships should be to work in drama, the audience learnt. paid and that volunteering should be Nawfal Faizullah, a script editor at reserved for charities. And, if you offer leading indie Left Bank Pictures, your services to a , “make sure described his job as being a “problem you are learning something of value”. solver”, helping writers to “fix flaws or entertainment and arts execute their vision for a show”. commissioner Bill Hobbins, who Charlie Coombes began as a runner, chaired the session on the entertain- before landing a job as a PA in BBC Hitting the stalls

ment genre, revealed that one of his Comedy, where she started to dabble in Hampartsoumian Paul earliest jobs in TV, 25 years earlier, was development. Now, at CPL Productions, as a runner on BBC One she works on developing The National Film and Television game show Happy Families “everything from pure School’s David G Croft outlined a – working for one of the IT’S LESS studio sitcoms to big drama”. four-point plan for breaking into TV: panellists, David G Croft. ABOUT In “How to make it as a n Look at yourself in the mirror “To get ahead, you need a presenter”, which was and ask, ‘Do I really want a career number of breaks – pieces WHO chaired by fellow presenter in television?’ of luck,” said Croft. His good YOU Ria Hebden, some of the n Try to work out what it is you fortune came on a new BBC UK’s leading TV and radio want to do. Two arts and music show, KNOW, hosts discussed how they n Research the industry and Riverside. He was making MORE broke into the industry. understand how it works. films for the show when, Countryfile presenter Anita n Start making contacts with midway through the series, ABOUT Rani, whose first media gig people from whom you could learn the multicamera director WHO was on Leeds Student things and who may be able to left and Croft stepped in to Radio, said: “There’s no real help you in your career. take control. KNOWS route or set trajectory.” Sky’s Bill Hobbins advised: ‘If you He went on to direct YOU She added: “Bring your know the shows that you love to some of TV’s top entertain- own skills and the best of watch and that’s the world you’d ment shows, including luck to you.” Practice, like to work in, then get your CV Shooting Stars and The Crystal Maze, and though, makes perfect. “Presenting is a ready and find out which indies

Paul Hampartsoumian Paul is now the National Film and Televi- craft that you develop over time –you make those programmes and get sion School’s head of television, where can get better at it,” said Rani. in touch.… Don’t be too pushy; be he runs the MA course in producing Melvin Odoom, who hosts the radio nice, keen and passionate. and directing TV entertainment. show Kiss Breakfast and ITV shows such ‘If you want to be a director, go One of Croft’s recent graduates, Lucy as Bang on the Money, added: “Work out and make something… have Smith, is working as an assistant pro- experience, for me, was imperative to something to show. If you just go ducer in programme and format devel- understand how the industry works.” [to meet someone] and say, “I want opment at Firecracker Films. She Xtra presenter Remel Lon- to work in telly because it looks quoted, approvingly, Hughie Green – don told the audience that she “grew fun”, you will never float to the top.’ host of British TV’s original talent show, up with radio 24/7”, and tuned her TV Children’s writer Hannah George Opportunity Knocks – on the public’s thirst to daytime talk shows hosted by the advised: ‘Do not be scared to send for entertainment on the box: “People do likes of Ricki Lake and Oprah Winfrey. people your scripts – I know so not want three hours of fucking King Lear Broadcast journalism at Leeds Univer- many writers who never send in verse when they get out of a 10-hour sity was followed by stints at online anything out. It’s very exposing day in the fucking coal pits.” youth entertainment channel Link Up sending someone your script, but She added: “In TV entertainment, I’m TV and work as a production assistant you have to get over it. working with so many smart, creative, before she secured her current Capital ‘Rejection is the biggest part of intelligent people.” gig. She described this process as being a writer, but you’ve just got Children’s writer Hannah George “climbing a ladder” but “a ladder that to learn to live with it. People are revealed that, as a would-be dramatist, is not quick”. going to be rejecting you more she had been “writing and writing, In the day’s final session, Josh than they accept you.… If someone sending scripts to people who would Portwine from equipment supplier says they are not interested in your not read them”. Shooting Partners cast his expert eye script, it doesn’t necessarily mean She continued: “It’s a long and ardu- over the leading cameras on the mar- it’s bad, it’s just not for them.’ ous process to get anywhere because ket and offered advice on how to find TV presenter Anita Rani warned: no one wants to really read anything work as a camera operator. n ‘You need to be tenacious – it unless it comes from an agent. You’ve takes a long time and you’ve got got to keep doing it.” Eventually, she The RTS Futures TV Careers Fair was to be prepared to work long hours got her break on CBBC fantasy drama supported by the Edinburgh International doing things you don’t necessarily Wolfblood, she said in “From script to Television Festival, the National Film and want to do.’ screen”, which was chaired by Television School and Sky One.

Television www.rts.org.uk March 2018 27 0259_RTS_A4-AD-TelevsionMagazine_FA.indd 1 Miriam Speyer singer To findoutmore aboutouroriginalmusic,pleasecontact: from renowned composers,respected Discover high-quality, originalmusic - SOME OF THE WORLD’S MOST songwriters andcommercial musicians. with whatevertoolsyouuse. WE’VE HELPED YOU TELL Seamless integration, E: [email protected] T: +44 (0)207 5661441 www.audionetwork.com Rebecca Hodges

2/28/18 9:18AM RTS Television Journalism Awards 2018

Hosted by Reeta Chakrabarti and sponsored by GuestBooker, the awards were presented on 28 February at the London Hilton, Park Lane

The winners and nominees of all 21 awards are listed over the following five pages �

News Coverage – Home (The – ); and Nations and Regions News (ITV News London – Grenfell Tower) Natalie Oxford: Creative Commons Creative Natalie Oxford:

Television www.rts.org.uk March 2018 29 Breaking News: Terror Attack – Sky News SKY

Breaking News ‘A very impressive piece of TV, with Interview of the Year Manchester Terror Attack shocking and riveting undercover foot- Victoria Derbyshire Programme – Sky News age. A compelling watch, and a remark- Football Abuse Revelations ‘Entries in this category focused on able young undercover protagonist.’ BBC Two two terrible tragedies here in the UK Nominees: ‘A major scoop that was very delicately – the Grenfell Tower fire and the Man- Grenfell Tower: The 21st Floor – handled. The humanity and empathy chester bombing. There were extraor- Newsnight, BBC Two displayed by the interviewer unlocked dinary demands made on broadcasters Primodos: The Secret Drugs Scandal, moving and heart-rending testimony in matters of speed of response, sensi- Sky News from a group of people for whom talk- tivity in dealing with grieving families ing about the events being disclosed and friends, and the delivery of con- Current Affairs – International was a challenge.’ text and explanation while events were The Rohingya Crisis: The Tula Toli Nominees: still unfolding. The winning entry pro- Massacre – Newsnight Newsnight – Grenfell: Emily Maitlis vided all this as well as a remarkable BBC Two interviews Theresa May, BBC Two background exclusive within hours of ‘Outstanding and exceptional, with A Nolan Show Investigation: The Arlene the event happening.’ great access and interviews. It was Foster and Jonathan Bell Interviews, Nominees: well-judged and compellingly told.’ BBC One Northern Ireland Grenfell Tower Fire, Sky News Nominees: Good Morning Britain – Grenfell Tower North Korea: Murder in the Family – Nations and Regions Fire, ITV Studios Daytime for ITV This World, BBC Current Affairs for BBC Current Affairs Two Inside Out – An Inside Out Special: Camera Operator of the Year Syria’s Disappeared: The Case Against Operation Sanctuary Antonio Denti – World News Assad – Channel 4 Dispatches, Afshar BBC News English Regions for BBC One Service Films for Channel 4 NE & Reuters Video News ‘A quality production with the technical ‘This was a really powerful portfolio, Daily News Programme elements skilfully directed. The small the camera operator had an amazing of the Year team had clearly invested heavily in ability to tell a story with images, some BBC News at Ten this hard-to-tell story and overcame of which moved the jury to tears.’ BBC News for BBC One legal hurdles to ensure it was broad- Nominees: ‘The winner showed the value of high- cast… a standout piece of journalism Mstyslav Chernov – The Associated quality journalism at home and abroad. that raises important moral questions.’ Press It had confidence and authority, Nominees: Olivier Sarbil – , ITN for whether in the studio or on location.’ BBC Scotland Investigates – Humans Channel 4 Nominees: for Sale, BBC Scotland for BBC One ITV News at Ten, ITN for ITV Scotland Current Affairs – Home Victoria Derbyshire Programme, The Hunt for Classroom Extremists, Undercover: Britain’s Immigration BBC Two BBC News English Regions for BBC One Secrets – Panorama () BBC Panorama for BBC One

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1 Host: 2 News Coverage – Home: 3 Breaking News: Reeta Chakrabarti The Grenfell Tower Fire – Newsnight Manchester Terror Attack – Sky News

4 Current Affairs – Home: 5 Current Affairs – International: 6 Daily News Programme of the Year: Undercover: Britain’s Immigration The Rohingya Crisis: The Tula Toli BBC News at Ten Secrets – Panorama Massacre – Newsnight 9 Nations and Regions News: 7 Interview of the Year: 8 Nations and Regions Current Affairs: Grenfell Tower – ITV News London Football Abuse Revelations – Victoria Inside Out – An Inside Out Special: Derbyshire Programme Operation Sanctuary

Television www.rts.org.uk March 2017 31 Judges’ Award Exit polls led by Sir John Curtice

‘This was one of the stand-out TV moments of the year. Ten o’clock on election night and who can forget where they were when they heard the result of the exit poll. The poll stunned the country and caused at least one person we know to shed a little tear. For the past three general elec- tions, the joint ITV, Sky and BBC exit polls have been uncannily accurate. But what makes this year’s exit poll even more out- standing is that the team of politi- cal scientists, psephologists and pollsters behind it had only seven Judges’ Award: Exit-poll team weeks to put it all together.’

Nations and Regions News Network Presenter of the Year additional layer of longer-form analy- ITV News London: Grenfell Tower Victoria Derbyshire – Victoria sis, and well-judged and compelling ITN for ITV Derbyshire Programme campaigning.’ ‘This was a brilliantly executed BBC Two Nominees: response to a massive and tragic ‘The winner is a relative newcomer to BBC News Channel breaking story. The programme had a television, but in a short time has CNN International remarkable degree of authority, with established herself as an on-screen powerful storytelling and compelling presenter with a remarkable ability to News Coverage – Home pictures.’ connect to viewers of all kinds. Her The Grenfell Tower Fire – Newsnight Nominees: programmes on football abuse and BBC Two Meridian Tonight – Camber Sands, ITV after the Grenfell fire were standout ‘This programme stood out for the Meridian News for ITV examples of her empathy combined range of its journalism – from forensic – Manchester Arena with authority, and a tenacious deter- investigation of the causes and robust Bomb, ITV Granada for ITV mination to hold those in power to interviewing of political leaders to a account.’ commitment to telling the story of the Nations and Regions Presenter Nominees: people who lived on the 21st floor. of the Year Julie Etchingham – ITV News & Current Outstanding… journalism of the high- – ITV News Affairs, ITN for ITV est standard.’ London ITN for ITV Andrew Neil – BBC News for Nominees: ‘Her range and personality dem- BBC One and BBC Two Victoria Derbyshire Programme – onstrated… versatility and Football Abuse Revelations, BBC Two warmth… and a remarkable News Channel Knife and Gun Crime Uncovered – BBC ability to stay calm under of the Year News, BBC News for BBC One pressure. She conveyed Sky News authority on the big ‘All three channels News Coverage – International stories, as well as good demonstrated a Yemen – BBC News humour and a rapport remarkable breadth BBC News for BBC One with the audience on and depth of cov- ‘The winning entry showed incredible the lighter ones. The erage, each in their storytelling, consistently high stan- tone and incisiveness of own distinctive dards and exceptional scripting to give her interviewing on day style. The win- a comprehensive sense of what the one of the Grenfell fire ning entry situation was all about.’ was outstanding.’ offered grip- Nominees: Nominees: ping and Rohingya Crisis – Channel 4 News, ITN Mark Carruthers – brave cover- for Channel 4 Political Programmes, age of break- The Demise of Isis – ITV News, ITN for ITV BBC One Northern Ireland ing news Roger Johnson – BBC Nations and Regions around the North West Tonight, BBC Presenter of the Year: world – but

North West for BBC One ITV Nina Hossain – ITV News added an

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1 Network Presenter of the Year: 2 News Channel of the Year: 3 Television Journalist of the Year: Victoria Derbyshire – BBC Sky News Orla Guerin – BBC News

4 News Technology: 5 Scoop of the Year: 6 News Coverage – International: NHS Tracker – BBC News Libya Slave Market – CNN International Yemen – BBC News

7 Camera Operator of the Year: Antonio 8  Award: 9 Specialist Journalist of the Year: Denti – Reuters World News Service Battle for Mosul – Channel 4 News Michael Crick – Channel 4 News

Television www.rts.org.uk March 2018 33 Outstanding Contribution Dorothy Byrne

Young Talent of the Year: Nawal al-Maghafi BBC Richard Kendal

‘Dorothy Byrne started in local News Technology Television Journalist of the Year newspapers, where, according NHS Tracker Orla Guerin – BBC News to one of her early bosses, BBC News for BBC BBC News for BBC One “She’d happily walk into any ‘This represented genuine public- ‘[With] a record of reporting calmly pub in any grotty area you can interest journalism, holding govern- and courageously from some of the imagine, announce what she ment to account while being useful to world’s most dangerous places, while was up to and the sort of peo- the audience – allowing them to find never sensationalising war, [she] ple she wanted to find, and out how their local hospital services showed a range and depth which hey !” are performing.’ marks her out from a very strong ‘At the other end of the Nominees: field.’ scale, she also considered that CNN VR, CNN International Nominees: close attention to Hello! maga- Innovative use of 360° video during Jonathan Miller – Channel 4 News, ITN zine was a vital part of the ground combat in Mosul, The for Channel 4 investigative journalist’s Stuart Ramsay, Sky News armoury.’ ‘She went on to run ITV’s The Scoop of the Year The Independent Award Big Story, where her formidable Libya Slave Market Battle for Mosul – Channel 4 News storytelling skills and fertile CNN International Nine Finger Productions for Channel 4 ideas were brilliant assets. ‘The winning team displayed courage ‘This was an extraordinary film, beau- ‘She has been at the helm of and enterprise on a very dangerous tifully shot and portraying the reality Channel 4’s journalistic output story. It resonated widely with a of war, but with great humanity. It for many years. In that time, younger audience via social media.… was refreshing to hear so many local all her great qualities have This was the first independent verifi- views in a film like this.’ come to the fore: her intellec- cation [of slave trafficking in Libya].’ Nominees: tual curiosity, her openness to Nominees: Dispatches – Undercover: Britain’s new ideas, her constant chal- Rohingya Refugee Crisis, Sky News Cheap Clothes, Blakeway Productions lenging of herself. Priti Patel Resignation, BBC News for for Channel 4 ‘Her programmes have gar- BBC One Unreported World: Africa’s Perfect nered all the awards this Storm, Quicksilver Media for Channel 4 industry can give, many times Specialist Journalist of the Year over, and she has nurtured the Michael Crick – Channel 4 News Young Talent of the Year careers of innumerable televi- ITN for Channel 4 Nawal al-Maghafi sion journalists, especially ‘From his forensic investigation of BBC News for BBC One women, and ensured that election expenses, his dogged pursuit ‘She showed exceptional bravery and Channel 4 supports an MA in of Paul Nuttall in Stoke and one of the is wise beyond her years. Along with investigative journalism to longest doorsteps all the way down great access, she had good scripting bring people from different , this was vintage stuff from and a very understated delivery.’ backgrounds into this area. a specialist at the top of his form. Tre- Nominees: ‘She is fearless, ferociously mendous, excellent, outstanding work.’ Ashley John-Baptiste – Victoria loyal and totally committed to Nominees: Derbyshire Programme, BBC Two and public service broadcasting.’ Chris Cook – Newsnight, BBC Two BBC News Jason Farrell, Sky News Helen-Ann Smith, Sky News n

34 RTS NEWS Archives: the future is digital

sheer scale of videotape that Matthew Bell exists still in its original form

London Centre discovers that on shelves around the world in broadcast and heritage the clock is ticking archives. Digitisation is the only answer for the long-tem on digitising TV’s restoration of content.” rich heritage Tom Blake, director of media management and content distribution special- he future of television ist Imagen, whose clients programmes past and include the BFI, said that present is digital – “accessibility and preserva- and safe – according tion go hand in hand”. Tto a panel of archivists assem- He explained that the role bled at ITV London Studios. of his firm was “to build the At this joint event organised best tools so that the [archi- by RTS London and the Fed- vists] can make the best eration of Commercial, possible use of their digital Audiovisual Libraries (Focal) content”. He added that in late February, the experts some of this archive would said that – although it is a “have a value”, which could huge task – they would be be monetised. able to digitise the best of The BFI’s Heritage 2022 TV’s vast archive of taped project aims to digitise and programmes. preserve at least 100,000 pro-

Steve Daly, head of tech- BBC grammes, originally only on nology at BBC Archives, tape formats, over five years. described his job as “looking ITV’s archive, which is The These include comedies such after everything the BBC stored in Leeds, includes the (BFI) archive contains around as At Last the 1948 Show, cur- would like to keep for ever”. television programmes 625,000 TV programmes in rent-affairs show Nationwide This includes paper records, broadcast since its birth in addition to its film collections. and children’s programmes, radio archives, sheet music, 1955 and British film collec- It has digitised more than including Basil Brush and its social-media archive and tions, such as early-period 10,000 pieces of archive film, . “There is a pressing music libraries, as well as TV Alfred Hitch- which can be need to get [shows] off video- programmes. cock and David watched, tape,” said Charles Fairall. Since late 2014, all pro- Lean classics. THERE IS A mostly free, “I find it very hard to make grammes commissioned by “We decided on the online the argument to keep all the the BBC have been delivered to build our PRESSING BFI Player. tapes when we’ve digitised in a digital file, rather than on own digital Charles them because of the cost [of tape. “That effectively closed infrastructure NEED TO Fairall, head of restoration],” he added. the door on our videotape to enable us to GET SHOWS conservation “We’re going to see a secure archive for new material hold all the new at the BFI digital future and then we’re coming in, except for an occa- forms of con- OFF TAPE National going to have to be realistic sional tape found in some- tent in the Archive, sug- about disposing of the one’s cupboard,” he revealed. archive and to gested that the originals.”­ n No new tape machines are start to digitise our back cata- title of the RTS/Focal event, being manufactured and logue on an as-needed basis,” “Future past: Will archives The RTS London Centre/ existing equipment is not explained Dale Grayson, ITV survive digitisation?”, should Focal event ‘Future past: will being maintained. This, said director of content manage- be rephrased. “How can archives survive digitisation?’ Daly, “sets a ticking clock on ment and Chair of the RTS archives do without digitisa- was held on 21 February. It was our ability to play back the Archive Group. He added that tion?” would be more appo- chaired by Focal International’s large [tape] collection we there were no plans for a site, he argued. “One of the Sue Malden and produced by have in our archive”. “mass digitisation project”. biggest challenges is the Carol Owens.

Television www.rts.org.uk March 2018 35 RTS CENTRE STUDENT AWARDS Scotland attracts record entries

More than 120 nomi- A record 40 entries were Chip shop drama Salt & enjoy the students’ talent nees, lecturers and received from 10 institutions Sauce was a hit, with James before they embark upon professionals from for the RTS Scotland Student Wright and Mario Cruzado of their professional careers.”

Scotland Centre across the TV industry Television Awards. They Edinburgh College of Art Louise Thornton, BBC came together to celebrate were held at Cottiers Theatre receiving craft awards for Scotland commissioning Scotland’s young TV talent in Glasgow and hosted by their achievements in sound executive for youth, digital at the end of January. comedy actor Karen Dunbar. and editing, respectively. and social media, was Royal Conservatoire of impressed by the standard RTS Scotland Short Feature•Poet With Punch• Scotland student Alison Still’s of talent in the room and Zdenek Ruzicka, Amber Saunders, period piece Antonio was the remarked that it gave her student winners Paul McGranahan and Ryan Smith, University of the West of Scotland overall Drama category win- “enormous hope for the Animation•Expedition•Samantha Hen- drie, University of the West of Scotland Craft Skills: Camera•The Bladesmith• ner, with Siiri Korhonen also future of media in Scotland”. Andrew Berry, Glasgow Clyde College Comedy and Entertainment• picking up the craft award The 2018 RTS Scotland Best Men•Andrew Ashworth and Craft Skills: Editing•Salt & Sauce• Alia Ghafar, Edinburgh College of Art Mario Cruzado, Edinburgh College of Art for production design. Student Television Awards Drama•Antonio•Alison Still and Hannah Craft Skills: Production Design• Former RTS Scotland Chair were sponsored by Media­ Smith, Royal Conservatoire of Scotland Antonio•Siiri Korhonen, Royal James Wilson, who chaired spec, a specialist in audio, Factual•Hear Me Now•Maria Craig, Conservatoire of Scotland Josefin Dahlin, Hannah McKelvie and Craft Skills: Sound•Salt & Sauce• the judging panel for the first video and storage solutions Joel Rock, University of Stirling James Wright, Edinburgh College of Art time this year, said: “We were for the UK media industry. lucky to get the chance to Alice Aries London shares awards around

Prizes were spread “immensely strong” field to around the capital’s win the Animation award. universities at the Set in a Middle Eastern

London Centre RTS London Student war zone, the Kingston Awards, which were held in University film offered a early February. “quirky combination of Exist. Live. Rejoice, which is animation styles, together set in a Lithuanian hospice, with a thoughtful and won the Factual category for imaginative approach to its the University of Westmin- subject matter”. The Animation award winners with Ria Hebden (right) ster. “Death is a difficult “The standard of entries Hampartsouian Paul subject, but there was for 2018 has been very high, no shying away from the with several jurors stating, RTS London Craft Skills: Camera•Without Christina• Sofia Mellander, Regent’s University realities the film-makers ‘You could broadcast that student winners London wanted to communicate,” tomorrow’, about many of Animation•Laymun•Catherine Prowse Craft Skills: Editing•1st Old Boys•Natalie said the judges. the films we watched. This and Hannah Quinn, Kingston University Sutton. Dylan Cargill, Thomas Hamblin, Ben Groves and Sassan Salamian, University of is a huge compliment and Comedy and Entertainment•Potty the Plant•Aedden Sussex and Taliah University of Westminster students scooped the Drama a sign of how professional Lamont, University Craft Skills: Production Design• award for the political thriller many of the entries were,” Drama•Philip Knight•Em Cooke, Beth- Delirium•Emily Welfare, Jessica Waters, any Cornelius, Joao Corona, Josh Cowle, xxxxxxxxxxxxxxKaira Krobo-Edusei and Aanat Huthman, Philip Knight, which “sparkles said Julie Ardrey, the chair of Horia Dragoi and Chris Hailes, University University of Hertfordshire with good direction and the London Student Awards. of Greenwich Craft Skills: Sound•Suonno• Factual•Exist. Live. Rejoice•Deividas Filippo Locatelli, Julia Jędrzejewska, good ideas, terrific – but The 2018 RTS London Auksciunas, Yiming Yuan, Tom White- Luca Natali, Leo Merati and heightened – performances, Student Awards were hosted house. Sam Charlesworth and Lily Robin Whalley, exciting camerawork, some by the TV presenter Ria Heb- Pietersen, University of Westminster Craft Skills: Writing•Punchline• Short Feature•Mm-hmm•Martha Simon James, Bryan Fitzsimons, unusual locations and classy den at ITV Studios in central Halliday and Hannah McNally, Daniel Tempel-Merzougui and Mairi Maxwell, Middlesex University art-department work”. London. Kingston University Laymun emerged from an Matthew Bell

36 ambitious producers want to work in London for the early Welsh part of their career but, to counteract this, strategies were needed to build and retain talent in the nations. college Stand-up comedian and Made in Cardiff station man- ager Daniel Glyn hosted the boost awards ceremony – which was attended by 150 stu- dents, and members of the Marking a new part- RTS and public – bilingually nership between RTS in English and Welsh. Wales and the Univer- Glyn also sat on the awards

Wales Wales Centre sity of South Wales jury, along with Lynn Court- (USW), this year’s Student ney (ITV Cymru Wales), Television Awards were held Sophie Francis (Bath Univer- at the USW Atrium Theatre. sity), Martyn Ingram, Owain The awards ceremony at Morgan-Jones () and the end of January was pre- Samantha Rosie (BBC Cymru ceded by a series of “indus- Wales). RTS Wales Chair Judith Animation winner: Peach

try day” events linked to the Catarina Chris and Rodrigues Phillips, USW Winnan chaired the jury. launch of the university’s USW students scooped new Film & TV School Wales. challenge if your job is to Jon Rennie (Bait Studios) and three of the five main awards These included a confer- encourage network supply Martyn Ingram (Wales & Co) – for Peach (Animation), The ence on the future of TV in from the nations.” completed the panel, which Fall Guy (Comedy and Enter- Wales, an industry fair, a S4C’s Amanda Rees, Julian was chaired by USW’s Tom tainment) and Spheres (Short Channel 4 factual formats Carey (BBC Cymru Wales), Ware. All agreed that many Feature) – and four of the masterclass, an audio record- five craft awards. ing workshop, the opportu- RTS Wales student winners Craft Skills: Camera•Gone Fishing and A new craft award, Original nity to meet commissioners Indra’s Net•James Clarke, University Score (Music), was added this Animation•Peach•Catarina Rodrigues and of South Wales, and Federico Brown and short-film screenings. Chris Phillips, University of South Wales Manzone, UWTSD year. “Network supply from Comedy and Entertainment•The Fall Craft Skills: Editing•Change• Channel 4, Boom Cymru, Aaron Stelfox, University of South Wales Wales – smoke and mirrors?” Guy•Kieran Butcher, Ashley Harris and Gorilla, Hoot Studios, Loose- Christopher Saunders, USW Craft Skills: Original Score (Music)• looked at talent development Drama•The Forsaken•Kerry Norton, Queen of Toads•Simon Orman, mores Solicitors, Cloth Cat/ in Wales. Channel 4’s Debo- University of Wales Trinity Saint David Lina Alnadi and Lorenzo Mellano, USW Bait and Made in Cardiff rah Dunnett sounded a note Factual•Dwy Chwaer a Brawd•Meleri Craft Skills: Production Design•Spheres• sponsored the awards. The Morgan, Aberystwyth University Yat Fung Leung, University of South Wales of warning: “London is full of Welsh Government also Short Feature•Spheres•Yat Fung Leung, Craft Skills: Sound•Cari•Alexander people from the nations and University of South Wales Williams, UWTSD supported the awards. regions, which can be a Hywel Wiliam

RTS Republic of Ireland Film school triumphs in Dublin student winners Student Animation•Consent•Aoife Moiselle, Tara Woods and Michael Fleming, National Film School, Film-makers from the the ceremony, which was large, enthusiastic audience, Dún Laoghaire Institute of Art,

National Film School, held at RTÉ in Dublin. mainly from the media col- Design and Technology Student Comedy and Entertainment• Dún Laoghaire Insti- Joe McWalter from leges. The awards were very Decades•Michael Flanagan, Republic of Ireland tute of Art, Design and Dundalk Institute of Tech- well received and the eve- Frank O’Malley, Laurent Murray and Eimear Noctor, National Film School, Technology, took home four nology won the other cate­ ning highly successful,” said Dún Laoghaire IADT of the five prizes on offer at gory awarded on the night, RoI Chair Charles Byrne. Student Drama•Pernicio• Fox, Alfie Hollingsworth, Laura Gaynor the RTS Republic of Ireland the Student Factual prize. His Chair of the awards jury and Conor Donoghue, National Film (RoI) Student Television film about online gambling, Marie Penston added: “It’s School, Dún Laoghaire IADT Awards in late February. Pixel Value, was praised by the a privilege to be able to Student Factual•Pixel Value• Joe McWalter, Dundalk Institute National Film School judges for its “slick editing encourage young Irish peo- of Technology ­students scooped the Ani- and impressive pace”. ple in the media business. Student Short Feature•Growing Alice•Danilo Zambrano, Gabriela mation, Comedy and “We were delighted to Good luck – agus beannacht Chrobak, Alisa Barrie and Briana Entertainment,­ Drama and again hold the awards in RTÉ [a blessing] to them all.” Cullen, National Film School, Dún Laoghaire IADT Short Feature categories at Television Studio 4, with a Matthew Bell

Television www.rts.org.uk March 2018 37 RTS CENTRE AWARDS Ricochet strikes in Winchester

Brighton indies skin”, while Daniel Skipp Ricochet and Lambent scooped the Newcomers On Productions enjoyed a Screen award, demonstrating

Southern Centre successful night at the “great on-screen persona”. RTS Southern Centre Profes- The Jersey-based ITV sta- sional Awards in February. tion also won the Feature or At a ceremony hosted by Strand within a News or TV presenters Sally Taylor Magazine Programme award and , Ricochet for Falklands 35 and editor/ took home the Factual cameraman Kenny Filling- Entertainment award for ham took home the Post- ITV’s Britain’s Favourite Dogs production award. and the Factual Series – BBC South’s Matt Gravel- Small Scale award for BBC ing picked up two prizes: Two’s The Repair Shop. Regional Special Feature Neil Kent, who has worked Journalist and VJ (Broadcast). on both Ricochet series, won For the latter category, the the Camerawork award. judgesRoger said: Moore “Matt in The demon Saint- The Factual Series – Large strated great storytelling and Scale award went to Lambent real visual flair.” Productions for BBC Two’s The BBC region also won Addicted Parents: Last Chance to the Pro- Keep my Children, which the gramme award for BBC South judges said took a “heartfelt, Today and its digital video Award winners (from left) considered and respectful unit bagged the Online Pro- Daniel Skipp, Jessica Savage approach to very challenging duction prize. and Kenny Fillingham subject matter”. Bournemouth University Dunning, SolentRob Studios ITV Channel Television was walked away with three of the another company to taste student categories: Animation neighbourhood in the Philip- award for and the multiple successes at the for Liv; Drama (with pines, had “great insight” and Short Feature prize for Morris Winchester Guildhall cer- College) for The Manor; and was “professionally filmed”, by Himself, a “very personal emony. Jessica Savage was Factual for Manambong Road. according to the judges. and raw look at the effects of named Regional TV Journalist The last of these, which University for the Creative post-traumatic stress disor- for “getting to the heart of her examined the life of a family Arts students won the Com- der”, shot by Morris’s son. stories and delving under the living in a deprived edy and Entertainment Matthew Bell

RTS West of England w Sound• Walk•Benjamin Whitehouse, student winners UWE Comedy and Entertainment Craft Skills: UWE film-makers Animation•The Station•Jocelyn and w Camera• The Girls•Christy Tattershall, Joshua Wat, UWE UWE Comedy and Entertainment• w Editing•Pre Retro•Ross Graham, UWE The Girls•Olivia Joyce, Abbey Kaye, w The Girls scoop top awards Christy Tattershall, Edith Rose, Jerome Production Design• • Watson and Hattie Williams, UWE Edith Rose and Simona Cucinella, UWE Drama•String•Chris Pugh, Bex Rose, Drama Craft Skills: Theo Watkins, Romaine Smith and w Camera• Fin•Bethany Fitter and The University of the designer Gavin Strange dis- Louie Blystad Collins, UWE Charlie Rees, UWE West of England cuss being a “realistic idealist”. Factual•Pleasure Boys•Elliott Watson, w Editing•Fin•Abbey Kaye, UWE enjoyed a triumphant He encouraged them to create Isla Gaffney, Petra Lewis, Patrick Royall, w Production Design•Broadcast•Max Bristol Centre night at the RTS West opportunities born from pas- Asa Gartland and Alex Bricknell, UWE Ramsden, Gloucestershire College Zuza Kopacka, Short Feature•Piotr• w Sound• Fin•Frank Lindsay, James of England Student Awards sion, adding that a “creative Ross Longhurst, Tommy Reeday, Royall and Edd Roberts, UWE Elliott Watson, Mark Oshana and in early February, winning all career is a never-ending story”. Alex Bricknell, UWE Factual Craft Skills: Editing• five main categories. The Aardman director Magda Pleasure Boys•Petra Lewis, UWE Animation Craft Skills: Short Feature Craft Skills: ceremony, at Bristol’s Every- Osinska presented the Ani- w Camera•Puppet•Aiden Whittam, UWE w Camera•Piotr•Tommy Reeday, UWE man Cinema, drew a full mation award for The Station, w Composer•Puppet•Benjamin Yapp, UWE w Editing•Piotr•Ross Longhurst UWE house of 100-plus guests. a film the judges said was w Production Design•Puppet• Aiden Whittam, UWE w Sound•Piotr•Mark Oshana, UWE The audience of students “well conceived and simply heard Aardman senior done, with original, genuine

38 es outstanding service to the RTS Southern winners RTS. The ex-regional director Factual Series – Small Scale•The of ITV Tyne Tees and Border Repair Shop•Ricochet for BBC Two Gently wins in is currently Chair of the RTS Factual Series – Large Scale• Addicted Parents: Last Chance Education Committee. to Keep My Children•Lambent “Graeme has given to the Productions for BBC Two RTS, the North East and the Factual Entertainment•Britain’s that good night Favourite Dogs•Ricochet for ITV education sector. His service Single Doc or Factual• A34: Fatal to the charity has been and Distraction BBC Inside Out South • Tyneside Cinema Inspector George Gently picked continues to be exemplary, Regional TV Journalist•Jessica Savage•ITV Channel Television – which co-produced up two awards at the cere­ and he thoroughly deserves Regional Special Feature Journalist• Border 24 films for Channel 4’s mony, which was held before to receive the Pilgrim Award the Matt Graveling•BBC South North East & short film strand Ran- an audience that topped 400 in recognition of his hard News Magazine Programme• BBC •BBC South dom Acts – was honoured at at the Gateshead Hilton and work, dedication and legacy,” Special Event Coverage•Camber February’s RTS North East hosted by Sky News presenter said RTS North East and the Sands•ITV News Meridian East and the Border Awards. Jayne Secker. The series took Border Chair Will Nicholson. Feature/Strand – News or Magazine• Falklands 35•ITV Channel Television The 81-year-old cinema the Long-form Drama prize, The Dumping Ground star Newcomers On Screen• received the Centre Award for and the Company Pictures Annabelle Davis won the Daniel Skipp•ITV Channel Television its success in talent spotting production team and creator Performance of the Year Camerawork•Neil Kent•Ricochet and developing the next gen- received the award, holding off Brenda Graphics•Sunny Clarke•LoveLove Films eration of film-makers and Outstanding Contribution Blethyn from ITV’s Vera and Post-production•Kenny Fillingham• ITV Channel Television producers. To make the award. Ten years after it first George Gently’s Martin Shaw VJ (Broadcast)•Matt Graveling• films, 16- to 24-year-olds aired, the series ended in to take the prize. BBC South from across the region October 2017, with the Teesside University domi- Online Production•BBC Digital Video Unit•BBC South worked with experienced murder of Martin Shaw’s nated the Student Awards, Non-broadcast Production• TV professionals in a character. winning four categories: Ani- Wattisham: Both Sides of the Fence•Viewpoint Productions scheme supported Former North mation, Comedy and Enter- Student Animation•Liv• by Leeds indie East and the Border tainment, Drama, and Factual. Sunniva Fluge Hole and Laura True North and Centre Chair A student from the University Perkins, Arts University Bournemouth Arts Council Graeme Thomp- of Sunderland took the News Student Comedy and Entertainment• Cold Feet•Tomas Fernandes, England. son received the prize for his coverage of Emilio Gateau, Theo Ashley-Brian and Lidia Rzeznik, UCA BBC One Pilgrim Award, anti-Trump demonstrations. Student Drama•The Manor•Will detective drama which recognis- Matthew Bell Stone, Adam Pickford, Nick Milligan and Henry Standring, Wiltshire Col- lege/Bournemouth University Student Factual•Manambong Road•Louise Thickett and Abigael Owen, Bournemouth University Student Short Feature•Morris by Himself•Ryan Morris, Chris Norman, Adam Waugh and David Kelly, UCA

tension”. The Factual award went to Pleasure Boys, which was “shot and edited well, Walking towards death: Inspector George Gently visually strong, with good ITV access and lots of energy”. RTS North East and the Factual, Entertainment and Features Animation and Games•Kevin McCay and The Short Feature award Border winners (Non-broadcast)•Stitch in Time• creative team•Arcus Animation Studios Topher McGrillis Photography Promotion or Commercial• was presented by BDH’s Centre Award•Tyneside Cinema News Programme•ITV News Tyne Tees Marine School•Media Partnerships James Pollock for Piotr, a Outstanding Contribution•Inspector Outstanding Journalism•Dan Farthing• Technology Innovation•DigitalMe• beautifully crafted film about George Gently production team• BBC North East & Cumbria Digital Voice Company Pictures for BBC One an athlete and an artist. The Rising Star•Emma Wass• Student Animation•Slalom• Pilgrim Award•Graeme Thompson BBC NE & Cumbria Jonathan Tillson, Teesside University Girls took the Comedy and Drama – Long Form•Inspector George Presenter of the Year•Chris Jackson• Student Comedy and Entertainment• Entertainment award – “a Gently•Company Pictures for BBC One BBC NE & Cumbria Clyde•Sam Kane, Alex Burke and Adoou Qui, Teesside University confident film, professional, Drama – Short Form•They Live in Photography•Ed Moore and camera Forests, They Are Extremely Shy• team•Vera for ITV Student Drama•Develop•Ben Driver, Candle & Bell for Channel 4 with good storytelling and… a Sound•Andy Ludbrook•Andy Ludbrook, Srijith Jalapathy, Katie Mitchell and clear vision”. The Drama prize Performance of the Year•Annabelle Sound Design and Recording , Teesside University Davis, The Dumping Ground•CBBC went to String, a film that the Costume and Make-up•Michael Birtley, Student Factual•The Run•Judy Kulpa and Factual, Entertainment and Features The Dumping Ground•CBBC Kathryn Dowson, Teesside University judges felt sure would stay (Broadcast)•The Yorkshire Dales Graphics and Titling•Shmay Tan•SJW Films Student News•Newcastle Trump with its audiences. and the Lakes•True North Productions Demo•Theofanis Pegkas, University for Channell 4 Editing•Chris Middis•BBC NE & Cumbria of Sunderland Suzy Lambert

Television www.rts.org.uk March 2018 39 RTS NEWS First steps revealed BBC shares drama tips Tindall and co-writer Paul in Leeds Matthew Thompson chose the Warwickshire country- RTS Yorkshire leading side as their backdrop and lights Jo Haddock, Lisa William Shakespeare as their Holdsworth and Fiona global brand.

Yorkshire Yorkshire Centre Thompson took part in Jude Tindall has already Leeds University’s “Media found success with six series futures” lecture series in Feb- of Father Brown, the most- ruary, when they revealed watched drama on BBC One how they broke into TV. Daytime, averaging more A chance encounter with than 2.5 million viewers, and a producer led to Centre with a worldwide audience Chair Fiona Thompson’s first in more than 150 countries. TV job as a researcher at Kelly said: “It was a really Yorkshire TV (YTV). She went clear pitch and you have to on to become a freelance keep coming back to that. As producer and director, spe- you’re making the show, you cialising in religious shows. have to keep thinking of She advised anyone want- what the show is and what and in Shakespeare & Hathaway ing to work in TV “to show BBC the story is. It’s really easy to passion, interest and knowl- lose sight of what you started edge to potential employers”. How do you go about Their new 10-part detective out to make.” Jo Haddock, a development creating a new TV drama, Shakespeare & Hathaway Tindall’s break came when executive at True North and drama for a worldwide – Private Investigators, starring she was shortlisted for a

Yorkshire Centre committee Midlands Centre audience? “It has to Mark Benton and Jo Joyner, is writing competi- member, initially resisted the have something recognisable made by BBC Studios at the tion. She advised the students leap from magazine journal- globally; it has to show good BBC Birmingham Drama in the audience: “Enter com- ism into TV as she worried old England,” said writer Jude Village. It began a two-week petitions. And write a play. about the lack of job security. Tindall. She and producer run on BBC One Daytime at Commissioners are obsessed She said that freelance TV Ella Kelly were sharing their the end of February. Benton with playwrights, so write a work was precarious but, ulti- secrets with students at an plays old-fashioned private play, put it on yourself and mately, rewarding and engag- RTS Midlands masterclass investigator Frank Hathaway, put it on your CV: you’re a ing. Her advice was to make at the University of Wolver- while Joyner is his rookie playwright!” the most of internships and hampton in mid-February. sidekick Lu Shakespeare. Jenny Wilkes work-experience placements. Lisa Holdsworth, Yorkshire Vice-Chair, started her 17-year writing career with a work- experience placement at YTV, expands in Ireland from which she secured a production co-ordinator job at a local indie. Through that, RTÉ’s Richard Waghorn parliament channel), RTÉ broadband, it offers numer- she was able to get a script to explained the ins and Radio stations and digital ous features, including Kay Mellor who gave her a outs of Saorview – Aertel services. It reaches 98% online services, access to first writing commission on Republic of Ireland Freeview in Gaelic – at of the population of Ireland. content recommendations ITV drama Fat Friends. a Republic of Ireland Centre Saorview gives access to and a mobile app. Since then, she has written event in mid-February. the best in Irish TV and, with Waghorn explained that for shows such as Emmerdale, Saorview, the Irish free certain products, it also offers Saorview’s ever-growing New Tricks and . digital free channels from the UK. range of products and ser- Her advice to the students service, was launched in May There are some 1.6 million vices allows viewers to was to put themselves in the 2011 and is run by RTÉ. TV homes in Ireland and access free television in a path of opportunity: “A work The RTÉ director of trans- Saorview is currently used way that suits them, whether placement might seem to be formation and technology by 42% of these. that’s in their living room or nothing more than making explained that Saorview offers A new service, Saorview outside the house, watching tea, but you never know who RTÉ, TG4 and TV3 channels, Connect, was launched in live TV or catch-up. you’ll be making the tea for.” as well as Oireachtas TV (the November 2017. Using home Charles Byrne

40 RTS Scotland and City of Glasgow College were thrilled to present

Scotland Centre a masterclass by fight ONLINE and stunt director David at the RTS Goodall in February. Alistair Scott, director of Screen Academy Scotland, n Last month’s RTS Television hosted the event in the Journalism Awards celebrated industry-standard TV studio the best of broadcast journalism at the new City Campus. The from the past year. In the run-up event drew an enthusiastic to the ceremony, the digital audience of 50 students and team visited newsrooms across industry professionals. London, finding out how they Goodall is known for his tell compelling stories, deal with Plausible but safe fight scenes talents as a director, composer sensitive subject matter and hold need stunt directors (though and actor, but on the night authority figures to account. The Musketeers is not one of he shared his knowledge of The Grenfell Tower fire domi- David Goodall’s creations) directing stunts and fights. His BBC nated the Breaking News cate­ work has appeared in ITV’s gory, with Sky News and Good The Loch, CBBC’s MI High and Morning Britain both nominated Andrea Arnold’s film Red Road. for their coverage, alongside He talked the audience The tricks of Sky’s reports of the Manchester through a fight scene carried terrorist attack. The teams from out by student actors Andrew both programmes explained the McDonald and Tegan Noble, ethical implications of covering and shot by TV students the fight trade a breaking-news event (www. Alistair Mitchell and David rts.org.uk/breakingnews18). Calder. The actors broke the Goodall was keen to suggested that, before adding scene down at his request, as impress that a “fight is as a fight scene, they ask, “Why n Faisal Islam, Matthew Price and Goodall explained why each much a part of the story as is this action necessary?” Waad al-Kateab are among the part was key. The camera- the narrative”, and encour- He also showed the audi- previous recipients of the Young men were directed on how aged the audience to find ence how to choreograph Talent of the Year award. This to close in on shots for the action that rises out of the fight scenes safely. year’s winner, Nawal Al-Maghafi, most naturalistic effect. story and characters. He Alice Aries impressed the judges with her coverage of the Yemen crisis for BBC News. In an interview with the RTS, the reporter explained how leaders in the region often Social media builds audiences underestimate her because of her age and gender, and A huge 83% of viewers opening companies up to a Visuals work well. She how she has used that to her surf the web while global market”, she said. recommended using Insta- advantage (www.rts.org.uk/ watching TV, said Jo They “deliver audience gram’s efficient editing tools NawalAlMaghafi).

North West North West Centre Booth at an RTS North numbers, increasing votes, to post good-quality stills West event at Media City, say, at the National Televi- and of up to one min- n Theresa May’s youthful Salford. The director of TV sion Awards, making recom- ute, but warned of over- sprints through wheat fields social-media outfit SMMS missions more likely”. doing hashtags, which can briefly dominated the head- added that half of viewers also Booth explained how to look unprofessional. lines in the run-up to last year’s look up the hashtag of a show create a marketing strategy. “Start the conversation. general election. The confession to see what people are saying. Facebook users are social Find fans. Talk to people,” generated hundreds of memes, At an entertaining master- networkers, looking for Booth continued. “If you’re Twitter gags and YouTube class in February, Booth escapism, she suggested, so making a documentary remixes. ‘All the reading I’d done claimed: “Social media is “promote drama, rather than about birds, find people who on it suggested this extraordinar- transforming the way people hard-hitting documentary”. are interested in birds. Tell ily focused, well-behaved child experience TV. They’re using Live tweeting during them about your show. and student, so I just wondered, it to decide what to watch.” transmission can be effective, “Be present for at least four really, what moment of rebellion Social-media platforms but she advised keeping weeks before TX” and, hav- there might have been,’ remem- provide programme-makers tweets brief: “Scrolling down ing built that audience, “keep bers ITV News’s Julie Etchingham with “free, or very-low-cost, a timeline is the equivalent going during TX and for at of the infamous interview (www. two-way communication of driving past a billboard at least four weeks post-TX”. rts.org.uk/Field sofWheat). with international reach, 60mph.” Carole Solazzo Pippa Shawley

Television www.rts.org.uk March 2018 41 OFF M E SSAGE

ot even the atro- Sky News editor John Ryley, look- British journalist and film-maker cious weather ing typically dishevelled, declared: “I who has also worked for Channel 4. conditions – sub- strongly believe Sky News will be The low-key dignity of BBC foreign zero temperatures delivering trusted, impartial, non- correspondent Orla Guerin, voted and a snowy stop news for a long time.” Television Journalist of the Year, Metropolis – Additionally, the Sky team won the belied her courageous reporting from could dent the Breaking News award for its coverage the world’s war zones. excited atmosphere at this year’s RTS of last year’s Manchester Arena The normally grim-faced reporter NTelevision Journalism Awards. bombing. even allowed herself a smile. The ceremony was held in grand For the record, this was Sky News’s style at London’s Park Lane Hilton 12th time as the winner of RTS News ■ This year, the awards had an hotel and hosted by BBC News’s Channel of the Year. added edge because of the rise and Reeta Chakrabati, whose elegance rise of rival sources of uncorrobo- and charm lit up the room. ■ Among the night’s other big vic- rated “news” on social media. Not that she entirely avoided con- tors were BBC Two’s Victoria Derby­ As Fergal Keane, accepting BBC troversy. At one point she observed: shire Programme and Newsnight. News at Ten’s gong for Daily News “It’s great to be here at the Hilton and Victoria Derbyshire, who has Programme of the Year, put it: “These not down the road at the Dorchester,” hosted her eponymous daytime show awards are the best night for the best a reference to The Presidents Club since 2015, won Network Presenter of answer to fake news.” He continued: dinner, outed by the Financial Times the Year and Interview of the Year for “Nobody here does it for the money for its unreconstructed sexism. the programme’s coverage of sexual – certainly not the women.” abuse in football. ■ Traditionally, one of the most Newsnight, meanwhile, scored for its ■ Talking of women, the last word keenly contested categories of the coverage of the Grenfell Tower fire from the Journalism Awards should awards is News Channel of the Year. and won the Current Affairs - Inter- go to the iconoclastic Dorothy This year was no exception as the national prize for Gabriel Gatehouse’s Byrne, Channel 4’s long-standing BBC News Channel, CNN Interna- utterly harrowing report on the head of news and current affairs, tional and Sky News battled it out Rohingya crisis: The Tula Toli Massacre. and winner of the Judges’ Award. for the prize. It was good to see Newsnight’s new She was praised for being “fearless… Sky News’s victory was particularly editor, Esme Wren, Sky News’s for- ferocious, loyal and totally committed sweet in view of the doubts regarding mer head of politics, at the ceremony to public service broadcasting”. the news provider’s future in the light to congratulate colleagues, both old “All women have ever wanted in of Disney’s bid for 21st Century Fox. and new. TV,” opined Dorothy in her brief Now that Sky News’s place on EPGs acceptance speech, “was to have the appears safe, following praise for the ■ The Journalism Awards tend to same chance as men.” channel from Comcast, the Sky con- be highly charged, perhaps because And, revealing that she, too, had tingent were in a mood to celebrate. of the levels of testosterone in the been sexually harassed as a producer, Off Message counted upwards of room. So, it was particularly heart- she issued a warning when, to 35 Sky people mobbing the Hilton ening to see so many female jour- applause, she said: “She may be your stage to accept this year’s trophy, nalists winning awards. victim tonight but she could be your including a beaming Gary Davey, Young Talent of the Year was BBC boss tomorrow.” the broadcaster’s content chief. News’s Nawal al-Maghafi, the Yemeni/ All told, quite a night.

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

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Television www.rts.org.uk March 2018 43 RTS PROGRAMME AWARDS 2018

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