July/August 2018

Mark Lawson on A class act LAUNCHES 17 JULY 9PM

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From the CEO The RTS Student Tele- transformation from floppy-haired Tony Hall, Alex Mahon and Sharon vision Awards are one romcom star in Richard Curtis films White, among many others. of the highlights of the to playing the Machiavellian Jeremy Mental health is a topic close to all Society’s year. Last Thorpe in BBC One’s sensational of our hearts. Pippa Shawley’s piece month’s ceremony, A Very English Scandal. looks at how TV is trying to make the held once again at BFI I am delighted that Mathew Hors- workplace a better, more caring envi- Southbank, was the man could give us his take on the ronment for its employees. biggest ever, with 700 entries repre- rival bids from Comcast and Disney Did anyone mention the World senting 90 colleges across the UK and for ’s entertainment Cup? It’s a great pleasure to have the Ireland. Congratulations to all the empire. As you’d expect, Mathew brilliant Ashley John-Baptiste writing winners and a big thank you to the provides a penetrating analysis of a from Moscow. Ashley, as you might afternoon’s host, Jayde Adams, and to complex and intriguing situation with know, has been deployed as a BBC Sky’s head of comedy, Jon Mountague, high stakes. roving reporter based in Russia for the who was master of ceremonies at the The meaty topic of media consoli- duration of the competition. awards. Thanks, too, for all the hard dation is one of the big themes of this I wish all our readers a great sum- work put in by the juries. September’s RTS Conference, mer, with good weather and a won- It was thrilling to see such a variety “Is bigger better?” Do book to hear our derful season of TV sport. of young, emerging talent across a industry’s major players ponder the wide range of genres. This speaks cultural, economic, strategic and cre- volumes about the future health of ative issues stemming from scale- our creative industries. building deals. We are honoured to In this edition of Television, Mark have some stellar speakers, including Lawson examines ’s Viacom’s Bob Bakish, Carolyn McCall, Theresa Wise Contents Andrew Billen’s TV Diary A tale of two cities Andrew Billen is impressed when he meets the adaptor Tim Dams talks to the high-profile founders of the 5 of Poldark 14 production company responsible for the acclaimed drama Patrick Melrose Hugh Grant’s class act Mark Lawson considers the actor’s career-transforming Ofcom’s dilemma 6 role as Jeremy Thorpe in A Very English Scandal In the wake of the Skripal affair, Stewart Purvis analyses 16 Ofcom’s attitude to the Putin-backed broadcaster RT Size unlocks the prize As Comcast and Disney vie to buy the Murdoch Our Friend in Moscow 8 entertainment empire, Mathew Horsman assesses Reporting from Russia on the World Cup, Ashley John- the likely outcomes 18 Baptiste finds that the vibe is surprisingly inclusive TV’s mental health challenge The fine art of the reboot People who work in TV are particularly prone to ­ If you think it’s easy to relaunch a hit format, think again, 10 work-related anxiety. Pippa Shawley examines what 19 hears Matthew Bell is being done to help RTS Student Television Awards 2018 New visions for TV in Scotland Jayde Adams hosted an inspirational ceremony on While the BBC expands in Scotland Simon Pitts, 22 22 June at BFI Southbank – The winners and nominees 12 appointed CEO of STV last August, is pursuing his own over five pages growth strategy. Tara Conlan reports Cover: AP

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

RTS MASTERCLASSES National events Tuesday 13 Novermber RTS Student Programme STEVE HEWLETT RTS CONFERENCE Masterclasses Tuesday 18 September Venue: IET London, 2 Savoy MEMORIAL LECTURE 2018 RTS London Conference 2018: Place, London WC2R 0BL Is bigger better? Will ‘the Wednesday 14 Novermber consolidation game’ help tip the RTS Craft Skills Masterclasses scales against the tech giants? Venue: IET London, 2 Savoy Sponsored by Viacom. Co-chaired Place, London WC2R 0BL by David Lynn, President, Viacom International Media Networks RTS AWARDS 11 October (VIMN) and James Currell, Monday 26 November President, VIMN, UK, Northern RTS Craft & Design Awards 2018 University of Westminster and Eastern Europe. Confirmed London Hilton on Park Lane, 6:30pm speakers include: Bob Bakish, 22 Park Lane, London W1K 1BE CEO of Viacom Inc; Zai Bennett, A joint RTS and Director of Programmes, Sky Media Society event Entertainment UK and Ireland; Local events Tickets: www.rts.org.uk Tony Hall, Director-General of the BBC; Ian Katz, Director of DEVON AND CORNWALL Programmes, ; ■ Jane Hudson Carolyn McCall, CEO of ITV; ■ RTSDevonandCornwall Charlotte Moore Alex Mahon, CEO of Channel 4; @rts.org.uk Stephen van Rooyen, CEO, Sky Director of Content, BBC UK & RoI; and Sharon White, EAST CEO of Ofcom Thursday 20 September Venue: Kings Place, 90 York Way, TV quiz night Deansgate, Manchester M3 4LQ WALES London N1 9AG Quizmaster: BBC Inside Out’s ■ Rachel Pinkney 07966 230639 Monday 6 August David Whiteley. Please email ■ [email protected] Comedy on TV STEVE HEWLETT MEMORIAL [email protected] for an entry Panellists: Barry Jones (Cwmni LECTURE 2018 form. Tickets: £10 per team of NORTHERN IRELAND Da), Elen Rhys (S4C) and Daniel Thursday 11 October four or five. Thursday 15 November Glyn (Made in Cardiff). Chair: Charlotte Moore, Director of Venue: The Lamb Inn, Lamb Yard, RTS NI Programme Awards Sioned Wiliam (BBC Radio 4). In Content, BBC Orford Place, Norwich NR1 3RU Venue: TBC Welsh, with simultaneous English Joint RTS and Media Society ■ Nikki O’Donnell ■ John Mitchell translation. 2:30pm-4:00pm event. Tickets £10. All net profits ■ nikki.odonnell@.co.uk ■ mitch.mvbroadcast@ Saturday 11 August will go to the Steve Hewlett Bur- btinternet.com Dal: Yma/Nawr sary Fund. 6:30pm for 7:00pm LONDON Screening and Q&A, chaired Venue: The University of ■ Daniel Cherowbrier REPUBLIC OF IRELAND by Heledd Hardy, with director Westminster, 4-12 Little Titchfield ■ [email protected] ■ Charles Byrne (353) 87251 3092 Marc Evans and producer Ynyr Street, London W1W 7BY ■ [email protected] Williams. 2:30pm-4:30pm MIDLANDS Venue: Sinemaes (Pop-Up RTS EARLY EVENING EVENT Tuesday 20 November SCOTLAND Cinema), National Eisteddfod, Wednesday 24 October RTS Midlands Awards 2018 ■ Jane Muirhead Cardiff Bay Who’s watching? The challenge Venue: Town Hall, Victoria ■ [email protected] ■ Hywel Wiliam 07980 007841 of digital TV measurement Square, Birmingham B3 3DQ ■ [email protected] Speakers: Rich Astley, chief ■ Jayne Greene 07792 776585 SOUTHERN product officer, Finecast; ■ [email protected] ■ Stephanie Farmer WEST OF Matt Hill, research and planning ■ [email protected] ■ Belinda Biggam director, Thinkbox; John Litster, NORTH EAST AND THE BORDER ■ [email protected] MD, Sky Media; Sarah Rose, ■ Jill Graham THAMES VALLEY director of consumer insight, ■ [email protected] Friday 23 November YORKSHIRE Channel 4; and Justin Sampson, 2018 Winter Ball ■ Lisa Holdsworth 07790 145280 CEO, Barb. Chair: Kate Bulkley, NORTH WEST Venue: De Vere Wokefield Estate, ■ lisa@allonewordproductions. journalist. 6:30pm for 6:45pm Saturday 10 November Goodboys Lane, Reading RG7 3AE co.uk Venue: , 24 Endell RTS North West Awards 2018 ■ Tony Orme Street, London WC2H 9HQ Venue: Hilton Deansgate, 303 ■ [email protected]

4 TV diary

Andrew Billen is impressed when he meets the adaptor of Poldark

s an interviewer, That he was not a remunerative screaming: “It’s a [expletive deleted] you get used to ­correctness refusenik is a disap- outrage.” This was the crisis in a – after 30 years, pointment, however. You would have dream in which I got worked up at I have had to get to be deaf to think all PM presenters the injustice that, while Disney, used to – being deserve to be considered equal. Hanna and Barbera, Matt Groening et reminded that we al became millionaires, Firmin made are an unequal ■ At the time of writing, we do not virtually nothing from his genius, species. The ability gap between an know LBC’s plans for Mair. The even sending out knitting patterns so interviewerA and interviewee is a given. question for me is whether we will parents could make, rather than buy, Recently, however, I keep confront- now learn his politics, as we do the toy Clangers. ing multiply talented subjects. Lennie rest of the station’s argumentative Firmin was mystified when I said James, whom I spoke to for this maga- presenter roster. this. He was comfortably off, had his zine, is an actor and a screenwriter. His almost divine command of family and was happy. I am arguing Melvyn Bragg, impudently grilled by irony suggested that Mair was above against myself now, but, for some me in , is not merely our top opinions, amused only by the weak- people, money really does not come arts broadcaster, he is a prolific novelist. nesses in them all. The man he won’t, into it. met me to discuss alas, be succeeding on Question Time is his new novel. It’s his second, and equally inscrutable. Charles Moore in ■ One of the best surprises of late both are very good. Most impressively the Spectator said he assumed, on fatherhood is having children who of all, perhaps, Debbie Horsfield, the account of his wealth and lifelong enjoy ITV’s Thunderbirds Are Go at Poldark adaptor, has not only also attachment to the BBC, that David more or less exactly the same age written stage plays but successfully Dimbleby was of the left. that my brother and I did the origi- brought up four children, whom she As a former (minor) newspaper nal Thunderbirds. The series has been chose to home tutor. Would it have baron, who faced union problems in taken off, mid-run, for the summer – been expecting too much for natural the 1980s, he might equally be the the World Cup, I assume. selection to distribute outstanding precise opposite. Dimbleby ensured Joy awaits, however. In London this talent on a one-per-person basis? his impartiality, of course, not with autumn, a show called Thunderbirds: irony but with authority. Beyond the Horizon promises an ■ Opening my own paper today, immersive theatrical experience in I find a letter saying that, far from ■ Peter Firmin has died, the visual which we can board Thunderbird 2 Eddie Mair’s pay needing to be cut half of the partnership behind Noggin and embark on an international res- by the BBC, it should – on account the Nog, Ivor the Engine, The Clangers cue. Where to, however? The caves of his talent – have been doubled. and Bagpuss. A few years ago, I inter- of Thailand? The Hawaii volcano? Or Then I read his column, viewed him. The night before, I read the BBC salary review committee? in which Mair reveals that he was a book about his career, its pages willing to lop his salary all along. beautifully illustrated with his art. Andrew Billen is a feature writer and He is off to LBC for the heck of it. In the early hours, I woke up former TV critic on the Times.

Television www.rts.org.uk July/August 2018 5 alfway through 2018, Hugh Grant it already seems clear as Jeremy who some of the Thorpe in A leading contenders Very English will be in the actor Scandal categories of next year’sH Bafta and RTS awards: Benedict Cumberbatch and for their title roles in Patrick Melrose and King Lear, and Ben Whishaw and Hugh Grant as Norman Scott and Jeremy Thorpe in A Very English Scandal. Grant would be most tipsters’ pick to take home the trophies. This is a remarkable achievement. While Cum- berbatch, Hopkins and Whishaw are often the names inside the gilded envelopes ripped open at TV award ceremonies, Grant’s last big British TV role, before taking on the role of the allegedly homicidal Liberal Party leader Jeremy Thorpe in A Very English Scandal, was over 25 years ago. In 1993, he appeared in a production of Thomas Middleton’s The Changeling, in the BBC theatre-on-TV series Performance. The reason for Grant’s quarter-­ century absence from the medium was his movie-star career, especially as Richard Curtis’s preferred lead man in Four Weddings and a Funeral, Notting Hill and Love Actually. But, whereas some screen stars who take a TV role – such as Frances Hugh McDormand in Olive Kitteridge or Mat- thew McConaughey in True Detective – merely fancy the chance to do classy, long-form material in between Holly- wood projects, Grant was widely per- Grant’s ceived to be in trouble cinematically. His movie work in the past decade had suggested someone now too old and cynical to lead romcoms such as Music and Lyrics (2007) and The Rewrite (2014), but still too associated with stut- class act tering lovers to be taken seriously when playing five roles in the postmodern sci-fi mega-flop Cloud Atlas (2012). So, Talent his performance as Thorpe is a total reputational turnaround, one of the Mark Lawson considers the finest ever achieved by an actor. The transformation was achieved actor’s career-transforming through a combination of reanimated talent and lookalike luck. In a screen role as Jeremy Thorpe in industry ever more dominated by bio-­ A Very English Scandal dramas, an actor’s face and physique can suddenly become their fortune.

6 ‘GRANT CONVINCINGLY SUGGESTS A MAN WHO For example, Toby Jones is a great WOULD HAVE would have wrecked his high political screen actor but would require unfea- BEEN CAPABLE ambitions. sible cosmetic and camera trickery to Davies gives Thorpe a line about how convince as Thorpe. OF ALMOST he will consummate his marriages However, as soon as it was reported ANYTHING’ “through gritted teeth” and subse- that Grant would play Thorpe, the quently plead tiredness at bedtime. casting immediately made sense. They This is a reasonable reading, espe- shared not only Oxford-educated Shakespearean actor, in Florence Foster cially from the writer of Queer as Folk, voices and the same tall, thin build (the Jenkins, there was reason to fear that his but biographies and contemporary men’s ectomorphic frames and long screen career may have been dwind­ ling­ reports of Thorpe’s life suggest the faces brought even closer by dieting to knowing, self-parodic cameos. alternative possibility that he was an and make-up), but psychology, too. But these usefully highlighted a enthusiastic bisexual, who enjoyed the The events that led to Grant being different side of his style, which Ste- risk created by satisfying both sides of charged with lewd behaviour with a sex phen Frears, the director of Florence his libido. worker on Sunset Boulevard in 1995 are Foster Jenkins as well as A Very English And the suggestion in Bloch’s biog- now far past the statute of limitations Scandal, utilised fully as Thorpe, another raphy that Thorpe may have ordered for any effect they should have on the strange theatrical of sorts, though one the murder of another man who knew actor’s profession and reputation. minus an Equity card. One of Thorpe’s too much – a former lover, Henry However, I mention the incident former lovers described him, in Michael Upton, who mysteriously disappeared because there must be a suspicion that Bloch’s 2014 biography, as a “ham at sea in 1957 – raises the possibility having once jeopardised his career for actor”. This suggests that Grant’s redis- that he was psychotic. Grant convinc- a sex act was a useful reference point covery as a good actor has now, para- ingly suggests a man who would have for an actor playing Thorpe. doxically, featured a trio of bad ones. been capable of almost anything in His covert encounters with men – The biggest tribute to Grant’s perfor- pursuit of his sexual desires and politi- at a time when gay sex was first illegal mance in A Very English Scandal is that cal ambitions. and then merely unpalatable to much the obligatory coda, in which news A late-career role that fits an actor of the electorate – resulted in allega- footage of the real figure is shown, does exactly can sometimes be an opening tions that, in order to protect his par- not have the usual deflationary effect. that closes off options: liamentary career, he had conspired The actor perfectly reproduces every and F Murray Abraham were often hard to have his former lover Norman Scott vocal and physical tic, down to the to cast after the perfection of their murdered. It was an accusation that an wave – and what follows it. Both arms work as Sir Humphrey in Yes Minister Old Bailey jury, firmly nudged in that are raised and then suddenly crossed. and Salieri in Amadeus. direction by the judge, rejected in 1979 This was a gesture Thorpe curiously It seems different in Grant’s case, – but which most viewers of A Very shared with another disgraced leader though, because this is a second break- English Scandal are likely to have con- of the 1970s, President . through and represents an escape from cluded to be true. For an actor, that is just “living earlier typecasting. He surely couldn’t The relevance of Grant’s own sexual ­Tussaud’s” stuff. The greatness of the go back to playing the posh love inter- risk-taking is that it reveals a darker portrayal is the transmission of the est in Richard Curtis films, but most streak in his personality, one that is calculations and contradictions hap- would see that as a good thing. If that more interesting than he has generally pening inside Thorpe’s head. interesting quintet of performances in been allowed to appear on screen. Russell T Davies’s scripts for A Very Cloud Atlas were premiered now, it As is often the case, the persona that English Scandal often sought to position would, perhaps, be better received. made the actor famous – the bumbling the protagonist as a victim of historical A well-known screen director, who public school boy in Four Weddings and discrimination against homosexuals, declines to be named for making a a Funeral and Notting Hill – turns out not forced into two “lavender marriages”. negative comparison with another actor, to be the best use of his talent. Expression of his true sexuality says: “Watching Grant in A Very English Grant is best when dark, and not Scandal, I kept imagining him in the part even necessarily in films aimed at played by Hugh Laurie in The Night Man- grown-ups. ‘ONE OF THE ager. I think he’d have been much more The remarkable renaissance that A convincing as that satanic figure. Very English Scandal represents was, in MOST TOTAL “Grant wouldn’t have been thought retrospect, signalled by his previous REPUTATIONAL of for that part two years ago, but now role, an enjoyable turn in Paddington 2 he would be. So, the big change will as Phoenix Buchanan, a vain and vil- TURNAROUNDS be in the range of what he can do.” lainous actor. EVER ACHIEVED Before that, he should ensure he As Grant’s cinematic part before that BY AN ACTOR’ has a clean tuxedo for the TV awards BBC was St Clair Bayfield, a failed season. n

Television www.rts.org.uk July/August 2018 7 Size unlocks the prize

Rupert Murdoch

owever it ends, the That agreed deal followed the latest Consolidation battle royal for the (and separate) bid by Fox to buy the right to own most of shares in Sky it doesn’t already own for the assets of £10.75 a share (£19bn), which remained As Comcast and Disney 21st Century Fox, mired in regulatory molasses for vie to buy the Murdoch and all of Sky, months thereafter. reflectsH deep and significant trends in The idea was for Fox to buy all of entertainment empire, global media. The resolution (in favour Sky, and then sell those assets and the of suitors Disney, Comcast or both) other Fox film, TV and channels opera- Mathew Horsman may end up being less important than tions to Disney. The Murdochs would assesses the likely what the outcome tells us about mar- end up with a small but valuable stake ket dynamics. in the enlarged Disney. outcomes This battle is about the response of Upsetting that narrative, US cable legacy media to accelerating shifts in and broadband operator Comcast took consumer behaviour and to the threats advantage of the long, drawn-out reg- posed by the big digital disruptors. In a ulatory process around ownership of market where content and distribution Sky. The concerns are around media are increasingly intermingled and plurality in respect of Murdoch’s own- global, size unlocks the prize. ership of UK newspapers and indirect For those who haven’t been follow- ownership of . ing, here is the recap: Fox, a range of Comcast’s bid valued Sky at £12.50 mostly traditional media assets, owned a share (£22bn), with the clear aim of in part by the Murdoch Family Trust, wrong-footing Disney. agreed to sell key components (film Not content with the spoiler move and TV production, pay-TV channels, on Sky, Comcast followed up with a Star India and 39% of pay-TV operator premium bid for Fox ($65bn in cash), Sky) to content giant Disney in saying that it wanted the same assets December last year for $52bn in Dis- that Disney had agreed to buy. ney shares. Disney then raised its bid for Fox to

8 well above Comcast’s offer ($71bn). dipping their toes into content waters. Both Disney and Comcast will be This time, it offered cash or shares and The old model – big bundles of pay-TV mindful of another prize – control of again secured the support of the Fox offered at ever higher prices to con- the third-largest US SVoD service, board; Murdoch, for tax reasons, pre- sumers and mass-market TV shows Hulu. Fox, Disney and Comcast each fers shares to cash. In late June, Dis- funded by advertising – is in decline. In have 30% stakes in the service, while ney’s bid was cleared by the US its place: lower-priced access to content Time Warner’s HBO has 10%. Proposi- Department of Justice. where and when consumers want it. tions such as Netflix and Hulu are On this side of the Atlantic, Fox’s bid The response of companies with growing, while pay-TV subscriptions for Sky is in the process of winning legacy assets (studios, cable and satel- (Comcast’s core business) are not. final approval, following an agreement lite networks, TV channels) is to sell It is an irony that a bidding war for a with the Government that Fox will out (Murdoch) or to double down (Dis- range of assets thought by many to be ensure Sky News is owned by Disney ney, Comcast). Being in between sim- in decline, or at the very least severely directly in the event that Fox succeeds ply doesn’t work. That Rupert Murdoch challenged, has erupted just as Netflix, in buying the rest of Sky. Comcast’s is a seller not a buyer of media assets the poster boy of new media models, bid for Sky has already been waved speaks volumes about the extent of the saw its market capitalisation exceed through by regulators. Now sharehold- challenges. His judgement is that it is that of Disney. Is the market not over- ers have to decide. valuing yesterday’s winners at tomor- At the time of writing, the markets row’s prices? were awaiting Comcast’s comeback on ‘IN ALL It is a safe bet that, over the course Fox and Disney’s latest response on Sky. of the summer, a victor for Fox will be There are delightful personality SCENARIOS, declared, perhaps as early as July. Nei- clashes at work here that make the MURDOCH PÈRE ther Comcast nor Disney wants to lose. story even better. Bob Iger, Disney’s But Comcast has the bigger challenge Chief Executive, has crossed swords CASHES IN ON of staying the course financially: its several times with Comcast’s Brian A LIFETIME’S balance sheet carries more debt and its Roberts and his senior TV executive share price is trading significantly Steve Burke. Indeed, Comcast tried in WORK below the levels of early 2018. This is

AP vain in 2004 to buy Disney, criticising one of the reasons that its bid for Fox is the company’s TV network perfor- in cash. Moreover, given its head start, mance. At the time, Disney-owned time to cash in his chips. Disney is ahead on the regulatory ABC was chaired by Iger. Comcast For its part, Disney has already timetable in the US. went on to buy NBCUniversal instead. placed multiple bets on content, buy- There are many potential sidetracks, Comcast also approached Fox in ing Pixar (animation), Lucasfilm (Star deviations and wrong turns. But there 2017, eager to pre-empt any tie-up Wars) and Marvel (superheroes) to add are three likely outcomes. between Disney and Fox. Its offer was to its already big studio operations. Disney wins both Fox and Sky. deemed to be too difficult to achieve It now wants to fold in Fox’s studio Comcast does so. Or, perhaps less from a regulatory perspective, even if assets (such as X-Men and Avatar), likely given the high stakes, there is a it was willing to bid more than Disney. together with an array of pay-TV chan- split decision, with Disney taking the The decision, a few weeks ago, by a nels. The local TV licences, regional Fox assets and Comcast winning the US court to allow the acquisition of sports networks and local sports chan- battle for Sky. Time Warner by AT&T signalled that nels stay with Fox shareholders. In all scenarios, Murdoch père cashes vertical mergers might be acceptable Disney will then take the next, con- in on a lifetime’s work. after all, and emboldened Comcast to frontational step toward no-holds- In any event, very little will change re-enter the fray. barred combat with the new entrants: from a UK perspective. One big Personalities aside, the main issue removing its content from Netflix and US-based shareholder will be replaced here is global scale – for content and competing toe to toe in the direct-to- by another (with all the implications of distribution. The business models for consumer market by offering its own, global content and distribution trends network and pay-TV alike have been enhanced SVoD proposition. inescapably present). The only big seriously disrupted by the emergence Comcast, owner of NBCU, also sub- difference: no Murdoch at Sky for the and fast growth of challengers such as scribes to the notion that scale in con- first time in its history. Netflix and Amazon. These services tent ownership is crucial. It wants Losing out on Fox will be a bitter are now in tens of millions of house- those same Fox assets for itself. It also blow for one of the two parties. The holds worldwide. They are spending appears to covet the international impact might be softened by the freely on original and acquired content assets that come with Fox: Star India knowledge, perhaps, that the winner in competition with broadcasters and and the 39% stake in Sky. The latter paid too much. n pay-TV operators. operates in the UK, Ireland, Austria, Google is building its long-form video Germany and Italy and owns the over- Mathew Horsman is director of the presence and Facebook and Apple are the-top challenger brand Now TV. ­consultancy Mediatique.

Television www.rts.org.uk July/August 2018 9 TV’s mental health challenge

orking in TV bullying, harassment and debt prob- can mean Workforce wellbeing lems, among other issues. realising a “I think the majority of people who dream. From work in the industry absolutely love meeting inter- People who work in [it] because it’s so creative and ener- esting people TV are particularly getic,” says Rachel Hillman, the chari- toW attending glitzy award ceremonies, ty’s director of grants and programme the television industry is, undoubtedly, prone to work-related development. “But, at the same time, an exciting place to work. But, amid we very much get the message that it shrinking budgets, long hours and a anxiety. Pippa Shawley can be very tough and very lonely. largely freelance working culture, what examines what is being And I think this is exacerbated by an once looked like a fulfilling career can increasing freelance culture, so that turn out to involve an unbearable toll done to help there aren’t the kind of support sys- on our mental health. tems that more often tend to be pres- A recent report by Ulster University anxiety, a figure 10 times higher than ent in paid employment, especially in and the wellbeing charity Inspire for the general population. The number larger organisations.” found that people working in Northern of people experiencing depression was The line, which is run by trained Ireland’s creative industries were three five times higher than the national staff, received around 150 calls in times more likely to suffer from mental average. its first month. The majority of callers ill-health than the general population. While the UK television industry has used it as a sounding board for a par- Anxiety and depression were the most not been surveyed to the same extent, ticular problem. Where appropriate, commonly diagnosed disorders. the findings of the Australian report callers may be offered therapy, finan- A similar study conducted in Australia galvanised the Film & Television Char- cial aid or other forms of support. in 2015 showed that 44% of people ity to launch a dedicated helpline ear- According to Ofcom estimates, working in the country’s entertainment lier this year. It offers support for those 30,000 freelancers work across the industry had moderate to severe experiencing depression, anxiety, UK’s television industry. For those not

10 in permanent roles, this can mean the health costs the British economy up to Whether that helps the company absence of benefits such as sick pay £99bn each year. The cost to employers produce better programmes is hard to and pensions, as well as less job secu- was between £32bn and £42bn. Over quantify, but Stadlen says it has cer- rity, minimal management and irregu- half of this cost comes from ‘presen- tainly had an impact on people want- lar working hours. teeism’ – where individuals are less ing to work on the programmes. In an already competitive industry, it productive due to mental ill-health “We’re probably doing as well as can feel difficult to talk to an employer while in work. other people [making programmes],” about a mental health issue or a nega- A further review by Deloitte found he suggests, “but the most important tive experience. “You have a fear that that the return on investment of work- thing is that you wake up in the morn- you’re going to be [seen as] this abso- place mental-health interventions was ing happy, not thinking, ‘Shit, I can’t go lute problem child, and that no pro- “overwhelmingly positive”. The aver- to work.’ Then, we wouldn’t have any ducer’s ever going to want to work age return on each £1 spent was £4.20. programmes at all.” n with you again because you’re kicking For small production companies, up a fuss all the time,” admits writer, the idea of creating a healthy working comedian and presenter Jack Rooke. environment might seem daunting, “There’s nothing more depressing given the external pressures. But for Thriving at work than being told ‘take it or leave it’,” adds Jonathan Stadlen, Managing Director of Paul Evans, assistant national secretary indie Knickerbockerglory, the solution The ‘Thriving at Work’ report of industry trade union Bectu. “A lot of was simple. “TV can be very pressured, recommends that employers people in this industry spend all of their very bullying and there are not a lot of implement ‘mental health core lives structuring them so that they options for talking about how you feel. standards’ to achieve a healthier never get put into a position where I’ve tried to do the opposite of that.” working environment: someone says ‘take it or leave it’.” Before setting up the business, n Producing, implementing and

Shutterstock The union’s Eyes Half Shut campaign Stadlen was ready to quit TV. “I was communicating a ‘mental health is currently lobbying the film and televi- having a pretty horrible time, and the at work’ plan sion industries to end the culture of long working environment was challenging, n Developing mental health working hours, which can be harmful to to say the least.” He toyed with the idea awareness among employees both mental and physical health. of becoming a vicar – “to which my n Encouraging open conversations Those experiencing mental ill-health wife said: ‘Absolutely no fucking way.’” about mental health and the sup- should seek professional advice, but, His business plan to rent sailing boats port available to employees who when it comes to wellbeing, there are had already been accepted when the are struggling some simple steps that everyone can opportunity arose for him to start n Ensuring employees have a follow. Mental health campaigner his own company. healthy work/life balance, opportu- Natasha Devon admits that being a He used his negative experiences to nities to develop and good working self-­employed “chronic overworker” build a new working culture, where conditions means she finds it hard to stop. “I people would look forward to coming n Encouraging good people delegated­ my working hours to my to work. At Knickerbockerglory, which management partner and if it was, say, 10:00pm and Broadcast last year crowned the best n Routinely monitoring the mental he could see that I was still working, place to work in TV, staff benefit from health and wellbeing of employees. he could say to me: ‘Enough now, an open-plan office where talking is you’ve finished.’” encouraged, and parents are offered She’s now campaigning for mental flexible working hours. There are also health first aid training to become regular social activities, including bar- Resources mandatory in all workplaces to help beques, a company choir, annual sail- and support freelancers, as well as employees, enjoy ing trips abroad and parties. A health a healthier working environment. insurance policy allows staff to access For Jack Rooke, having regular con- therapy should they need it. n The Film & Television Charity’s versations with commissioners and While it’s harder to offer the same free and confidential support line is producers has helped iron out situa- opportunities to freelancers, Stadlen open 24/7: 0800 054 00 00 tions where the comedian has felt has developed a unique scheme where n Mental Health First Aid England anxious. He’s also benefited from hav- end-of-year profits are split between provides training on how to spot ing agents whose job it is to look out staff, freelancers and charities. Having the early signs of poor mental for him. “If I ever have any issues on worked with almost 300 freelancers health, as well as how to speak to a job, they are my first port of call last year, it isn’t possible to base colleagues and how to recommend because that’s my HR manager, that’s bonuses on performance reviews. further support: mhfaengland.org.uk my confidant,” he explains. Instead, every freelancer is rewarded n Mental health charity Mind has a Looking after the mental health of based on the length of time they have range of advice for employers and employees is good business practice. spent with the company, regardless employees on encouraging well­ Last year, the Prime Minister commis- of their role. being in the workplace: mind.org. sioned an independent review into “So, at the end of the financial year, uk/workplace/ how employers can better support the if you’re a runner or series producer, n If you are struggling you can call mental health of all people currently in and you’d been with us for the whole Samaritans at any time for free on employment. of last year, you’d have got £2,500, 116 123 or email [email protected] The report found that poor mental which I think is quite good.”

Television www.rts.org.uk July/August 2018 11 Scottish media While the BBC expands in Scotland, Simon Pitts, appointed CEO of STV last August, is pursuing his own growth strategy. Tara Conlan reports New visions for TV in Scotland

TV’s new drama The Victim, “broaden the options available to “Like any business, we’re having to a legal thriller set in Scot- viewers in Scotland, provide a greater make some tough choices to fund that land and made for BBC Scottish focus in its news coverage and new investment, but I’m confident One, is told through the deliver more content designed to we’ve got the right strategy,” says Pitts. eyes of both plaintiff and reflect the lives of people in Scotland”. He was grilled by MSPs about those accused. All stories have To add to the mix, Channel 4 and the “tough choices” – and about a one-off twoS sides to them. The narrative con- BBC are increasing their spending, and payment to compensate him for hav- cerning the changes going on in Scot- Glasgow is on the shortlist of sites for ing to give up his ITV shares. “Quite tish broadcasting is no different. Channel 4’s new outside-London HQ. rightly, questions are asked when you Glasgow-based STV has a new Chief Ofcom has specified that at least 8% of make changes leading to job cuts, Executive, Simon Pitts, formerly ITV’s BBC network programming budget which is very hard. Those decisions director of transformation and strategy. must now be spent in Scotland. Chan- aren’t taken lightly,” he insists. His new strategy has gone down well nel 4 is upping the proportion of its Although “we’re very proud of STV’s in the city and with some producers, content budget that it spends in the news, which performs fantastically but less so with certain journalists and UK nations and regions from the cur- well on the main channel”, Pitts politicians. rent quota of 35% to a new voluntary acknowledges that “news consump- Meanwhile, the BBC is about to target of 50% by 2023. tion is changing fast” – many people launch its long-awaited new Scottish The STV Chief Executive says that get their news on social media. channel, having gained approval last the changes he is introducing will “put He wants STV to adapt by introducing month from the regulator, Ofcom. Scottish TV production back on the more multimedia journalists and new Pitts hit the headlines in May, when map” by “investing in new program- technology, but the station will remain he unveiled his three-year plan to grow ming and in digital and simplifying the “as committed as ever to local Scottish the company by closing STV2, its loss organisation to set us up for growth”. news”. He adds: “We’re also fully com- making local-TV station, with the loss The company’s output include the mitted to being Scotland’s public service of 59 jobs. Over the next three years, veteran BBC series Antiques Road Trip but broadcaster. We haven’t, in delivering £15m from these savings will be rein- he wants STV and other Scotland-based this new strategy, sought to change a vested in new content, partnerships and production companies to expand their single clause of our PSB licences across the STV Player. At the time, he said that number of returning series. STV North or STV Central. We’re brief- the closure of STV2 was the “result of He also wants to stop the brain drain ing Ofcom fully that we are not seeking the challenging economics of local-TV of talent to London and the US caused to amend any of our obligations.” and anticipated increased competition by insufficient local TV work. Critics have voiced fears that the from BBC Scotland”. pursuit of returnable shows and for- The new BBC channel should see mats could lead to less news and cur- more of the licence fee raised in Scot- rent affairs. Pitts disagrees: “We will still land spent there. The corporation admits ‘THIS IS NOT be spending more than twice as much that, in recent years, it has returned just IN ANY WAY money on news and current affairs 55% to the Scottish creative economy, than on any other genres put together.” compared with 95% in Wales. Ofcom A STRATEGY Closing STV2 “hasn’t been an easy says the corporation should spend the TO PREPARE decision” but “the truth is that the same ratio in each nation. audience isn’t there for this service at The new BBC Scottish station has an STV FOR SALE the moment, despite our best efforts”. annual budget of £32m and will offer a TO ITV OR TO He points out that the 5:00pm maga- new 9:00pm news bulletin. The regu- zine show was attracting 2,100 viewers, lator believes the channel will ANYONE ELSE’ while the 7:00pm bulletin got only 1,800:

12 Simon Pitts STV

“It’s just not right to ask our teams to deal with children’s video app Hopster. as competition: he should see it as an make programmes that no one is watch- And the new partnerships include a opportunity that will drive more con- ing. The economics of local TV are very tie-up with Elaine Collins, producer tent to people”. tough and the expected launch of BBC of Vera and Shetland, who is developing Although she believes the new BBC Scotland will make those economics her next drama with STV. “We have big channel’s budget is “reasonable”, the even tougher. We have made a cumula- ambitions for STV Productions,” says MP has “concerns that it maybe tive loss of more than £3m on local-TV Pitts. “We’re already developing ideas doesn’t have enough to do what some since we started four years ago.” for the likes of Facebook, YouTube of us would like to see it do”. Pitts says he has “no Scottish ances- Premium, Netflix and Amazon.” Ofcom, however, appears sanguine: try [but] a love of the country”. He will These initiatives do not enjoy univer- “Some stakeholders have questioned be moving to Glasgow later this year. sal support. SNP culture spokesperson whether the budget allocated to the There is a perception that his arrival, Hannah Bardell MP, who once worked channel would be sufficient for the along with another former ITV col- at STV, worries that the changes might BBC to deliver on its plans, and have league, David Bergg, as a non-execu- lead to a “homogenous” company: called for additional investment or a tive director, hints that STV is heading “STV’s been a significant part of our different focus for the channel. While for a sale to ITV. This would, in turn, landscape and ecosystem. I hope that no full details on the channel’s sched- make ITV more attractive to buyers. will not change. Its distinct nature… is ule are available yet, we are satisfied Scotland’s First Minister, Nicola Stur- important. I wrote to Simon to express that the proposal as it is will deliver geon, said recently that this “is not a concern because I had spoken to peo- public value.” move I would wish to see”. Pitts was ple at the company. There was a level of “There’s more opportunity than quizzed by MSPs regarding STV share- concern that STV was being teed up to ever,” says Pact CEO John McVay of the holder Crystal Amber, the activist fund be sold on to ITV.” changes occurring in Scotland. “If whose investments have a history of She paid tribute to Pitts’s predecessor, Simon Pitts gets it right and generates being sold. Rob Woodward, and ex-STV Produc- better-quality production coming out So, can Pitts see why people are mak- tions Managing Director Alan Clements, of Scotland, that’s good for the Scottish ing assumptions about a sale? “It’s the for “a huge amount of work to make community,” he said. McVay adds that wrong assumption. This is not in any sure that STV kept its branding and its producers should “look for the creative way a strategy to prepare STV for sale to identity”. She recognises “that there opportunities coming down the line” ITV or to anyone else. That’s not what were challenges with STV2 [but] why as new money flows into Scotland we are doing… my job is to put in place not turn that around and do something from both Channel 4 and the BBC. a compelling growth strategy, not just different? It’s hugely disappointing.” Clements, who is setting up his own for digital but for broadcast and produc- With Brexit looming, Bardell wants production company, says that tion, and to deliver across the company.” STV and other broadcasters in Scotland increased spending represents a shift One of his priorities is attracting more to ensure that “they have journalists all from “the wind in our face to the wind young viewers by making shows for across the country”. She adds that it is being behind us, and suddenly doors STV Player. The broadcaster also has a “a shame Simon sees the BBC channel are opening”. n

Television www.rts.org.uk July/August 2018 13 Regulation In the wake of the Skripal affair,Stewart Purvis analyses Ofcom’s attitude to the Putin-backed broadcaster RT

Ofcom’s dilemma

newly appointed boss Kremlin’s news agency and radio station unlawful use of force” by Russia. But, is addressing journalists into a company called Rossiya Segod- a month later, the UK regulator had in the newsroom. They nya, which translates as “Russia Today”. gone decidedly cool on linking a state’s know him only as an Its sister news organisation is the other actions with its ownership of an outspoken TV presenter Russia Today, the TV news channel Ofcom licence. with strong links to now known as RT, and they share an “It would be inappropriate for Ofcom their government. He tells them: “The editor-in-chief, Margarita Simonyan. always to place decisive weight” on any timeA of detached, unbiased journalism So, what does a British regulator make act that a state committed, said the is over. Objectivity is a myth forced of a TV channel that transmits across regulator. It was “not possible or appro- upon us. Editorial policy will be based the UK being openly owned by the priate for us to seek to reach an inde- on the love of our country.” same state that, according to the British pendent determination on the events in When a journalist in the audience Prime Minister, poisoned Sergei Skripal Salisbury”. Instead, Ofcom preferred to tries to differentiate between “country” and his daughter, Yulia, in Salisbury? consider RT’s “broadcasting conduct” and “government”, his new boss tells And how does “objectivity is a myth” fit and was “intensively” monitoring RT’s him, with more than a hint of menace: with the British requirement for “due output. And, as it happened, seven new “Let me give you some advice. If you impartiality and due accuracy”? investigations into due impartiality are planning any subversive activities, The answers, based on the past few were ready to begin. I can tell you now that it goes right months, are that these are particularly “Since the events in Salisbury we against my plan.” difficult areas for Ofcom to navigate. have observed a significant increase in Such is the state of the world that On 13 March, when Theresa May gave the number of programmes on the RT you can imagine this happening in Vladimir Putin until midnight to explain service that warrant investigation,” said many countries, including, extraordi- how the former spy had been poisoned, Ofcom. Another three investigations narily, the US. The least surprising Ofcom said that, “should the UK investi- commenced the following month. explanation is that this scene unfolded gating authorities determine that there This made a total of 11 standards in Moscow, shot by a journalist on his was an unlawful use of force by the cases, if you include one, started last phone in 2013. It is now part of a docu- Russian state against the UK, we would year, regarding the use on air of alleg- mentary, Our New President, which pre- consider this relevant to our ongoing edly fake tweets. miered in the UK at the recent Sheffield duty to be satisfied that RT is fit and What Ofcom has done is to get out Doc/Fest. proper” to hold its broadcasting licence. of the row about who did what to Dmitry Kiselyov took up his new The UK Government did, subse- whom in Salisbury and focus instead role when Vladimir Putin merged the quently, decide that there was “an on what RT broadcast about it.

14 set up ITV. Section 3 (c) tasked the its redoubtable general counsel, Polly then-regulator, the ITA, with ensuring Weitzman, who has been at Ofcom that “any news given in the pro- since its creation. grammes (in whatever form) is pre- If breaches are recorded against RT/ sented with due accuracy and TV-Novosti the Ofcom lawyers will impartiality”. highlight the importance of precedent When asked what due impartiality and past performance in determining meant, the government of the day if a sanction is appropriate and what replied that it was whatever the regu- that sanction should be. lator deemed it to be. In 2012, Ofcom The rule was later revoked the licence extended to the BBC ‘THE TIME OF of the Iranian news and Channel 4. Previ- channel Press TV, ously secret Downing DETACHED, which, as a result, has Street papers released no longer been able to in 2016 show that, UNBIASED broadcast in the UK. back in 1990, the JOURNALISM The state-funded Prime Minister’s polit- broadcaster’s Eng- ical secretary, John IS OVER… lish-language service Whittingdale, told EDITORIAL had breached several that rules over editorial the BBC and Channel 4 POLICY WILL control and had had “consistently BE BASED ON refused to pay a fine. abused” the impartial- It seemed that Tehran ity requirements. THE LOVE OF – which condemned As it has turned out, “a clear example of the broadcasters that OUR COUNTRY’ censorship” by “the have found “due media arm of the impartiality” a useful Royal Family” – wedge are those from outside the UK, rather enjoyed the fight and has con- Russian Federation President Vladimir such as and RT, which bring tinued broadcasting online. Putin interviewd on RT in June 2013

RT a very particular point of view into the The broadcasting battles between country. Britain and Iran continue to this day, The Ofcom statement had one par- The limitations and qualifications with BBC World recently deploring ticularly curious line about TV-Novosti, that Ofcom has to take into account in what it called Tehran’s “targeted the Russian Federation-owned com- enforcing “due impartiality” were attack” on BBC Persian staff, in which pany that holds RT’s licence: “Until listed by the Competition and Markets it froze their assets. recently, TV Novosti’s overall compli- Authority in the context of its review Could it just be that, in 2018, it might ance record had not been materially of the proposed acquisition of Sky by suit RT’s owners in Moscow to be able out of line with other broadcasters.” 21st Century Fox. to accuse Britain of censorship and My own examination of the available The CMA concluded that “broad- retaliate in some way against the BBC? data on cases of due impartiality, due casters are, to some extent, able to Which brings us back to the sayings accuracy and related offences shows adapt their own approach to the pres- of Kremlin news boss Dmitry Kiselyov. that RT has had 10 breaches recorded entation of news and current affairs When, in 2016, the BBC’s Moscow against it since 2010. In other words, more generally”. correspondent, Steve Rosenberg, asked more than twice as many as any other The qualifications that create this Kiselyov if he was the Kremlin’s chief broadcaster. situation include recognising the propagandist, he replied: “If I make Quite why Ofcom would frame the importance of freedom of expression, propaganda, then you make it, too. But comparison with other broadcasters on taking account of the context of the if you’re not doing propaganda, if “overall compliance”, including adher- broadcast and “the expectation of the you’re just doing your job, that applies ence to non-editorial regulations, such audience”. to me, too. We’re doing the same thing, as advertising minutes, is unclear. As the Ofcom executive responsible we’re colleagues.” Its own figures show that “the for enforcing impartiality for two and a So, if “tit-for-tat” or “colleague for majority of the breaches, and both of half years, I was sometimes heard to colleague” would be the likely retalia- the more serious breaches, were in mutter that “audience expectation” tion for any Ofcom sanction that programming relating to Russia’s for- was another way of saying: “What else directly impacts on RT’s transmissions, eign policy and related to the require- would viewers expect from a right- perhaps a large fine would be the ment for due impartiality”. wing American TV station or one most appropriate outcome in all the The breaches related to programmes owned by the Kremlin?” circumstances. n about Libya (2011 and 2012), Syria Ofcom says that it will make the (2012, 2013 and 2014), Ukraine (2014), outcome of its investigations public as Stewart Purvis was Ofcom’s partner for Turkey (2016) and Nato (2016). soon as possible. The process that the content and standards (2007-10). He is a The regulatory requirement goes RT cases are going through is carefully non-executive director at Channel 4 and back to the Television Act 1954, which observed by Ofcom’s legal team, led by writes here in a personal capacity.

Television www.rts.org.uk July/August 2018 15 Patrick Melrose

A tale of two cities Sky

ne of the standout now lives in New York), and Wall to drama launches of Production Wall founder and ex-CEO Alex Graham. the year is unques- The pair have known one another tionably Sky Atlan- for a long time. Jackson hired Graham tic’s Patrick Melrose. Tim Dams talks to the in the late 1980s as a consultant on his The five-parter high-profile founders seminal Channel 4 series The Media memorablyO opens in London with a Show. They have been in regular con- heroin-addled Melrose, played magis- of the production tact ever since. terially by Benedict Cumberbatch, In 2014, Jackson approached Graham receiving news of his abusive father’s company responsible about working together, soon after death in New York. Melrose then travels for the acclaimed Graham had left his Who Do You Think there to bring home his father’s ashes. You Are? and New Tricks indie following While in Manhattan, he embarks on an drama Patrick Melrose its 2010 sale to Warner Bros. epic drugs binge. Expect the erstwhile Jackson’s proposition was simple: Sherlock star to win multiple awards for they should set up a drama-focused this astonishing performance. production company. “Alex had been Heroin aside, Patrick Melrose’s open- in drama quite successfully at Wall to ing scenes neatly reflect the transat- Wall. These things are better with two lantic nature of Two Cities, the heads rather than one,” he says. production company behind the serial. Jackson wanted to concentrate on Two Cities is run by two of the best- drama because it was something new known executives in British TV – the to him as a producer, and also because former BBC One and BBC Two control- “drama feels like the richest and most ler, Channel 4 boss and Chair of Uni- interesting part of television at the versal Television Michael Jackson (who moment”.

16 ‘THERE ARE MORE OPPORTUNITIES He cites the “explosion” of streaming TO DO packaging deals,” says Graham. “Fire services, such as Netflix, Amazon and and Fury is a good example of that. Hulu, which has opened up new cate- INTERESTING Michael’s relationship with the other gories of business for producers. WORK THAN AT Michael positioned us. Shows can be successful with much “But we couldn’t afford to take that smaller audiences, which means that ANY TIME I CAN book off the market. When Endeavor companies like his can win a rich and REMEMBER’ turned up, and was willing to write a diverse range of commissions. Mean- cheque, we had to go along with that. while, increasingly sophisticated audi- But, because we built relationships and ence measurement systems suggest reputation in the past for most inter- commitments, we were able to partner that broadcasters understand how national co-productions. Graham says with Endeavor.” valuable niche shows can be to them. the emergence of “niche-global” pro- Graham says that Two Cities proba- Initially, Graham wavered. He’d just gramming – bold and innovative bly won’t end up with any ownership come out of 25 years at Wall to Wall. shows possessing a real clarity of pur- of the project. “But we will be crea- “My first reaction was: ‘I’m not sure. I pose – has swept away old preconcep- tively involved and will, hopefully, be need a year to decompress.’” tions of co-produced drama. well paid for our involvement. You But, 12 months later, the idea of work- He cites Patrick Melrose as an exam- have to be more flexible and fleet of ing together still resonated. “Instinc- ple: “It is meets foot now.” tively, I agreed with Michael,” says Trainspotting. It is not an easy watch That said, Graham believes that the Graham. “We are in a golden age of and is the antithesis of what we used industry offers a much better environ- risk-taking. It is competitive, but there to talk about as mid-Atlantic fare.” ment for independent producers than are more opportunities to do interesting One of Two Cities’ upcoming pro- when he launched Wall to Wall. He work than at any time I can remember.” jects is certain to create huge waves on notes that, back then, there was just Patrick Melrose is Two Cities’ first both sides of the Atlantic when it is one buyer for ideas – Channel 4. production to air. It is very much Jack- shown. Jackson is executive producing Competition among a legion of new son’s project and, clearly, the show has Fire and Fury, based on Michael Wolff’s drama indies may be tough, but so, too, been a time-consuming job to assem- controversial book examining the first is it among broadcasters and streamers. ble. Originally developed by Channel 4, year of Donald Trump’s presidency. Jackson says that top talent is “being it was finally co-produced by Sky Jackson knows Wolff well. Nine sucked into the orbit of the streamers,” Atlantic and Showtime. months ago, he helped to sell the pro- citing Netflix’s The Crown as an example. Talking in Two Cities’ Somerset ject to Amazon Studios – only for it to But he doesn’t seem convinced by House office in London, Jackson and be dropped following a management the argument, advanced by BBC Direc- Graham make it clear that Patrick Mel- overhaul at the online giant. “The new tor-General Tony Hall, that the UK rose is just the beginning of a journey management were very afraid of it. broadcasting industry is in danger of for Two Cities. Backed by BBC World- Maybe not afraid, but they didn’t know being taken over by US tech firms. wide, which has a 25% stake, the indie what to do with it,” says the one-time “There is always material [that the last year hired BBC Northern Ireland Channel 4 CEO. streamers] will find hard to get, such as drama head Stephen Wright (Line of Shortly afterwards, Endeavor Con- Happy Valley or or , The Fall) as creative director to tent “wrote a cheque for $1m” for the Duty… I think that British buyers still help build a slate along with develop- TV and film rights, with Two Cities have quite a lot of commissioning ment executive Janet Tyler. attached as producer. In an inspired power. And they should do, as they are Two Cities now has half a dozen appointment for a drama depicting closer to the ground. They will proba- projects in script development with Donald Trump, Jay Roach (Game bly have to be faster, and will have to traditional broadcasters and streamers, Change, Austin Powers) has been named take more risks with younger, less and a similar number in unpaid devel- as director; a writer is still in the pro- established talent.” opment. The projects range from “bou- cess of being hired. Given their background, one would tique” dramas, such as Patrick Melrose, to The Endeavor deal neatly illustrates have thought that two well-connected “good, popular and long-­running tele- both the opportunities and the chal- and experienced executives such as vision series and serials”. lenges facing smaller producers such Jackson and Graham would be among Jackson stresses the transatlantic as Two Cities operating in an increas- the first in line to pick up commissions nature of the company: “Because I am ingly global and consolidated industry. of this type. in New York and Alex and the team are It is getting harder to hold on to IP. Their track record is helpful, here, we very much want to work out “One of the things that we have acknowledges Jackson: “It might get of both the UK and the US.” learned quite quickly is that we have you in the room or get your email But that doesn’t mean producing to be smarter in the range of deals that answered. But you still have to have a bland, mid-Atlantic drama – the we do. We have to be cleverer about good project.” n

Television www.rts.org.uk July/August 2018 17 OUR FRIEND IN MOSCOW

Reporting from t was late March when BBC Russia on the tunity to introduce Russians to reggae Newsgathering offered me music. With them, I got to witness a lifetime opportunity – to World Cup, Ashley how many young, white Russians are report from Russia during embracing reggae music and Jamaican the World Cup. My response? John-Baptiste finds culture with enthusiasm. This was Heck, yes! It was a no-brainer. that the vibe is something I didn’t expect. Only hours after the initial In the lead-up to the World Cup, buzz faded and I had spoken with surprisingly inclusive of course, Brits received continual matesI did concerns arise. updates on the Skripal poisoning and Would I experience racial abuse in the accompanying tensions in British-­ Russia? Would I be able to hack the Russian diplomatic relations. And then cultural and language barriers while there was Danny Rose’s warning to his consistently providing quality family: avoid visiting Russia because reports? I knew without a doubt that of concerns over racism. this would be a step up from the I admit that these headlines sea- domestic reporting that I was used to. soned my already sceptical view of The more I thought about it, the race relations in Russia and how more I fixated on the potential pitfalls Russians see British people. of being in Russia as a mixed-race, It’s against this backdrop that you British journalist. Nevertheless, my can see why I was bowled over and curiosity and sense of adventure delighted by the Nigerians’ experience, prevailed. Here I am, writing from and that of the reggae duo. Moscow, watching Uruguay butcher Of course, in my bid for impartiality Portugal. I reflected that, for many people in

So, how’s it going? Cool, I think. Photography Vitae Russia, racism and discrimination are That said, I am aware that anything still very present. I experience of Russia during the their experiences of Russian culture Despite all of these great cultural World Cup isn’t the most accurate and how they felt perceived by white encounters, something happened to reflection of normal life here. Russians. To my surprise, they were me on a train last week. A drunk Thousands of fans from across the remarkably positive. Russian called me a nigger as I was globe are colouring the streets of I even attended a fan party they queuing for the train stop. Moscow and the other host cities; invited me to. There, I met some When I told staff on the train, they every corner turned presents a new, black Russians and found myself simply said to me, via my translator, glittering display of fandom. It’s clear listening to Afrobeat and hip-hop that it was not their duty to solve con- that the Russian police and authorities while eating jollof rice… all in Mos- flict. I felt violated, but I am choosing are doing their utmost to show an cow. That night definitely felt like a to see it as an insignificant blip in what inclusive, cosmopolitan veneer. night out in Brixton. has been an incredible trip so far. As a deployable reporter in Russia Other stories I’ve covered include The incident won’t override the for BBC News, I’ve been given the the Iranian women who came to Rus- many positive cultural encounters I brilliant job of finding stories that are sia to watch the footy in stadiums have had. If any of the World Cup dust a bit more offbeat than the sports (something that they have been can leave its mark on Russia, the future headlines and Fifa updates. banned from doing back home), the looks promising here. My first few days in Russia saw me experiences of disabled fans, and an follow a group of Nigerian fans who’d interracial couple in St Petersburg who Ashley John-Baptiste is a reporter with flown in from Lagos. I reported on are using the World Cup as an oppor- BBC News.

18 The Great British Bake Off Channel 4 The fine art of the reboot

ver the past few years, managed to find a young, fresh, genu- Love Island, Dancing on Content inely new audience for something Ice and Blind Date have that still brought an original fan base,” been dusted down If you think it’s easy said Ella Umansky, head of formats and put back on pub- support at ITV Studios, which makes lic display, bringing to relaunch a hit the reality show in partnership with audiences to broadcasters and profits format, think again, the Motion Content Group. toO producers. “Having that kernel of the original If it were always so simple, broad- hears Matthew Bell brand to latch on to gave ITV2 a little casters would now be planning the bit of confidence that there would be return of At Home with the Eubanks and return of ITV2’s Love Island, which some press pick-up and a few original Young, Dumb and Living off Mum, and attracted a peak audience of 3.4 mil- fans who wanted to come back to it,” everything in between. lion during its series opener. It aver- she said. “But [then we needed to] It isn’t. Rebooting shows success- aged 2.95 million viewers, more than modernise it – you can’t just copy fully is a complicated art, as the audi- double the audience for the previous and paste it for a new generation.” ence discovered at an RTS event in year’s first episode. “We took a risk to de-format the June, when a panel of top TV execs The format first surfaced in 2005 as format and allow the producers to discussed how to breathe new life Celebrity Love Island on ITV, was refit- make the show that is coming into old formats. ted as Love Island for a further series through organically and follow those “Making shows great again” took and then scrapped. It returned in 2015 stories that are coming out from the place a day after the triumphant on ITV2. “When it came back, it contestants. �

Television www.rts.org.uk July/August 2018 19 Love Island ITV

long time – it is not news in the Bake Off was a massive risk – it took industry.… If we don’t have diverse me four years to persuade them.… QUESTION talent, we’re not representing Brit- [At Channel 4, CEO] Alex Mahon ain. [But] I don’t do Saturday-night appointing Ian Katz as director of & ANSWER shows, so you might well be right. programmes is a risk. What Ian is starting to do is exciting – he com- Are old shows being brought missioned a fast-turnaround docu- What do you look for in poten- Qback because commissioners mentary [Mo Salah: A Football Fairy Qtial Love Islanders? are too risk-averse to green-light Tale] that was made in 12 days.… It’s Ella Umansky: It’s all about original ideas? too easy sometimes to blame broad- A personality.… You’re asking Camilla Lewis: Commissioners casters and commissioners. people to bare their souls… so, A are anxious [about] taking a you’ve got to have contestant wel- risk on something new.… Trying to How do you make shows fare at heart. You’ve got to feel that persuade commissioners is really Qtravel globally? someone is going to cope well over hard and what you need is real Ella Umansky: Listen to what six weeks of having the nation’s confidence.… A the market is asking for.… It’s eyes on them.… It’s a really insecure market… for about walking the fine line between We also want to know what makes certain channels more than others. maintaining your brand and saying, them tick, because so much of the Channel 5 is pretty robust in terms “No, that is not Love Island or Come format is about trying to pair people of how it approaches commission- Dine With Me – you can’t do that,” up. We are trying to find people who ing, because it has a leader [Ben and listening to people when they are going to surprise you.… Frow] with a very clear [view] on say, “That’s not going to work here.” Casting is an area where you really what he wants to do. We represent Hell’s Kitchen, which can take risks and push the Sean Doyle: Blind Date was risky everyone thinks they know as a big, boundaries. A for us, more so because we bad, shouty show with Gordon don’t do entertainment.… I didn’t feel Ramsay, where he swears at every- Where are the black, female like it was an easy [option]. body, which, in some countries, it is. Qhosts of Saturday-night shows? Richard McKerrow: Risks [But] we have a female chef in Brazil, Camilla Lewis: Every single A are still being taken. It’s our which gives the show a different A channel is obsessed about responsibility as producers to per- [feel]. And in Bulgaria, it’s a stripped diverse talent and has been for a suade [commissioners] to take risks. show, three or four nights a week.

20 New talent in an old recipe

� “Then, you get something that feels is that Blind Date now welcomes In 2017, The Great British Bake Off 100% new and modern.” LGBTQ participants. swapped channels to Channel 4 Huge numbers of people applied to Escape to the Country, which has been and shed most of its presenters star in the latest season of Love Island. on air since 2002, is one of many for- and judges – but it has remained “We are very careful to make sure it has mats that Camilla Lewis, now the joint hugely popular with critics and a diverse [cast],” said Umansky. “It’s not CEO of Curve Media, has worked on viewers alike. just young hot things with hot bods. It is over the years. At the RTS early-evening event, that, to a degree, but also they are peo- When she was head of factual fea- Love Productions co-founder Rich- ple who you can see yourself in, who tures at TalkbackThames, she helped ard McKerrow discussed the trans- have got real characters.” to save the house-hunting show from fer of his indie’s hit show from the Richard McKerrow, the co-founder the BBC axe. “It’s still on air and still BBC. ‘It was to protect the format,’ of Love Productions, which makes The one of the greatest hit shows that BBC he said, adding: ‘It wasn’t all about Great British Bake Off, said: “I’m not Two has ever had,” said Lewis. “What’s the money, as had been reported. interested in what’s been done before.” at the heart of a [successful format] is ‘Ultimately, we felt that the for- He argued that the popularity of Love good storytelling.” mat was under threat remaining at Island had nothing to do with it being a The Great British Bake Off, Blind Date and the BBC – it wasn’t something that rebooted old format. Love Island, argued Lewis, are benefi- we wanted to do; it was something Rather, it is enjoying success ciaries of a new “niceness” in broad- we felt impelled to do. because “it’s bloody good and really, casting. “Television has woken up in the ‘Channel 4 felt the safest place really well made. And because it’s past couple of years and [decided to] do for [Bake Off], because it is a pub- doing something different and distinct nice stuff,” she suggested. “Love Island lic service broadcaster. If you look that hasn’t been done somewhere else. might tease, but it’s not mean and nasty. at the history of our productions, “That’s the real test – has it ever Blind Date is a total warm bath.” nearly all our programmes have been done before? That is what drove “Viewers don’t want to see mean- been for the BBC or Channel 4, us with Bake Off.” ness and spite,” agreed Sean Doyle. a few for ITV. Essentially, we’re a He added: “A lot of the best ideas are “They want warmth and kindness, public service producer.’ big and simple – and can be explained which is really what we wanted to Post-transfer – with original in 30 seconds.” [capture] on Blind Date.” judge Paul Hollywood joined by ITV brought Dancing on Ice, last seen Umansky said that “all of the big Prue Leith and two new hosts, on screens in 2014, out of the deep brands that last or keep coming back, Sandi Toksvig and Noel Field- freeze this year. “When everybody they’ve all got something at heart that ing – The Great British Bake Off knows what the show is, you can move is universal. They all come down to remains the same show. ‘That’s it on a lot easier because you don’t love, food, and money – something you because the format was the heart have to remind people [about] the can really identify with.” and soul,’ explained McKerrow. ‘We basic show. You can develop a new Hosts, too, are important. Doyle said had a saying, which goes back to look and feel to it,” argued Umansky. that securing O’Grady to front Blind [the first series in] 2010, “Love the Blind Date, which originally ran on Date was instrumental to its success. bakers; love the baking.” And that ITV from 1985 to 2003, was revived by “Top Gear is a really good example of is still absolutely the case.’ Channel 5 last year, with Paul O’Grady a great format, which had super hosts,” McKerrow described Bake Off as replacing one of his great friends, the pointed out Lewis. “[On the BBC,] the Love’s most ‘radical’ programme. ‘It late Cilla Black, as host. format has floundered without the doesn’t look radical,’ he said. ‘But Channel 5 commissioning editor great hosts.” These hosts – Jeremy it’s possibly one of the most all-­ Sean Doyle described the dating show Clarkson, Richard Hammond and inclusive, multicultural [shows], with as the antithesis of programmes that James May – launched a new show, cakes and baking skills from all over are “too cool and too modern”. Blind The Grand Tour, on Amazon in late 2016. the world, characters that are from Date, he said, was “sweet and warm”. “The hosts have floundered a bit anywhere and everywhere.’ The first series of the returning show, without the format,” she argued, add- He added that Bake Off cast said Doyle, was “very respectful of the ing: “There’s no one algorithm; if there people who are passionate about format”. With the second series, which was, we’d all be multimillionaires.” n baking, not ‘about being on telly’. began in June, he revealed that the Add these ingredients to the new production team has moved beyond the The RTS early-evening event ­‘Making presenters – the co-founder of the original format, taking more risks with shows great again’ was held at the Women’s Equality Party (Toksvig) the casting. “It’s more free,” he added. ­Cavendish Conference Centre in central and a ‘gothic rock ’n’ roller’ (Fielding] “Paul’s gone rogue in a big way.” London on 5 June. It was chaired by enter- – and the show, he said, became One other major change to the tainment journalist Caroline Frost and the ‘all-inclusive story of Britain’. boy-meets-girl formula of the original produced by Martin Stott and Dan Korn.

Television www.rts.org.uk July/August 2018 21 Jayde Adams hosted an inspirational ceremony on 22 June at BFI Southbank

RTS Student Host Katherine Ryan Television Awards

2018 Undergraduate Animation and Judges’ Award: Laymun

UNDERGRADUATE AWARDS Undergraduate Comedy Undergraduate Drama and Entertainment Pernicio Undergraduate Animation Best Men Dave Fox, Laura Gaynor, Alfie Hollings­ Laymun Andrew Ashworth, Edinburgh worth and Conor Donoghue, The National Catherine Prowse and Hannah Quinn, College of Art Film School, IADT, Dún Laoghaire Kingston University ‘Good storytelling, visually appealing ‘Highly ambitious and humorous, with ‘Beautifully executed and showing great and funny. Well-paced and spot on a clever script and excellent​ production use of animation, this is almost the with the characters. Nicely edited for values, this film felt real and incredibly perfect short film. Visually and narra- comedy.’ well balanced. Featuring ​accomplished tively accomplished, Laymun deals with Nominee: and complete performances from the a complex concept on a human level.’ ◗ Potty the Plant, Aeddan and actors, this drama felt like a finished Nominees: Taliah Lamont, University product.’ ◗ Consent, Aoife Moiselle and Tara Nominees: Woods, The National Film School, Insti- ◗ Antonio, Alison Still, Royal Conserva- tute of Art, Design and Technology toire of Scotland (IADT), Dún Laoghaire ◗ Lost in Loss, Gaius Brown, Jake River ◗ Liv, Sunniva Fluge Hole, Laura Perkins Parker, Heather Davenport and Jodie and Team, Arts University Bournemouth Horne, University of Central Lancashire �

22 1 3 6

2 4

5 7 All pictures: Richard Kendal Richard Kendal

1 Undergraduate Craft Skills – Editing: 3 Undergraduate Comedy and 6 Host: Jayde Adams Taraash Entertainment: Best Men 7 Undergraduate Drama: Pernicio 2 Undergraduate Short Feature: 4 Undergraduate Factual: Mm-hmm Hear Me Now

5 Undergraduate Craft Skills – Camerawork: Lost in Loss

The RTS Student Television Awards 2018 judged at a regional level by their local entries, were then judged nationally in reward outstanding work produced RTS Centre in the winter of 2017. April 2018. during the 2016/17 academic year. The winning films from each RTS No nominations are accepted for the Undergraduate entries were first Centre, along with all postgraduate Judges’ Award.

Television www.rts.org.uk July/August 2018 23 Undergraduate Factual Hear Me Now Maria Craig, Josefin Dahlin, Hannah Mc- Kelvie and Joel Rock, University of Stirling ‘Fantastic insight into a very sensitive and moving story… beautifully told.’ Nominees: ◗ Fallen Angels, Kathryn Berry, Univer- sity of Bolton ◗ Taraash, Ishan Siddiqui, Hugh Clegg, Carlotta Grimaldi and Charlotte Field, University of Undergraduate News Music on Prescription Anna Butler, Nottingham Trent University ‘Featuring lots of different strong voices and characters, this uplifting film was very well told and technically accom- plished. It was ready for broadcast and showed a sharp eye for storytelling.’ Nominees: ◗ Craig’s Story, Megan Levers, University of Sheffield ◗ Life in Europe, Martina Moscariello, University of Salford Undergraduate News: Music on Prescription Richard Kendal Undergraduate Short Feature Mm-hmm Nominees: POSTGRADUATE AWARDS Martha Halliday and Hannah McNally, ◗ Chris Norman – Morris by Himself, Kingston University University for the Creative Arts Postgraduate Animation ‘Well styled and natural, featuring great ◗ Conor Donoghue – Pernicio, National Hilal (‘Crescent’) animation, this film was incredibly Film School, IADT, Dún Laoghaire Hakim Ismail, Chourouk Zarkaoui, Sofia moving and emotive, a powerful piece El Khyari, Elena Magee and Team, Royal of work.’ Undergraduate Craft Skills – College of Art Nominees: Production Design ‘A disconcerting, uncomfortable film ◗ Morris by Himself, Ryan Morris, Chris Sunniva Fluge Hole, Laura Perkins, that tells a powerful story with great Norman, Adam Waugh and David Kelly, Lara Frank and Ching Apple Toh – Liv poignancy and impact. Particularly University for the Creative Arts Arts University Bournemouth strong use of sound and distinctive ◗ #Jumpfrompaper, Giorgia Perini, Staf- ‘Beautiful and well made. The look and design.’ fordshire University feel of the film were incredibly well Nominees: thought out and executed.’ ◗ Poles Apart, Paloma Baeza, Ser En Low, Undergraduate Craft Skills – Nominees: Jon Muschamp, Paula Gimenez and Team, Camerawork ◗ Gaius Brown and Jake River Parker National Film and Television School Gaius Brown – Lost in Loss – Lost in Loss, University of Central ◗ Snow White Cologne, Amanda Elias- University of Central Lancashire Lancashire son, Royal College of Art ‘Good lighting with excellent operating, ◗ Fiona Mitchell – Pernicio, National the camerawork in this film really Film School, IADT, Dún Laoghaire Postgraduate Comedy stood out and showcased the director and Entertainment of photography’s eye for a shot.’ Undergraduate Craft Skills – Saving Faith Nominees: Sound Alex Dizer, John Higgins, Sorcha Brad­ ◗ Adam Waugh – Morris by Himself, Max Ellis and Lulu Ladd – Liv ford, Sashko Micevski and Team, University for the Creative Arts Arts University Bournemouth National Film and Television School ◗ Hugh Clegg – Taraash, University ‘Very creative use of sound helped to ‘The whole thing was brilliant. It was of Leeds tell the story beautifully.’ fresh, original and stand-out. Casting Nominees: was gold. It had a touch of Bake Off and Undergraduate Craft Skills – ◗ Aeddan Sussex, David Lee Stothard felt like a postcard of the world.’ Editing and Baden Jack Burns – Potty the Plant, Nominees: Charlotte Field and Hugh Clegg – Middlesex University ◗ Against All Odds, Lucy Smith, Jamie Taraash ◗ Charlotte Field and Hugh Clegg – Minty and Team, National Film and Tele- University of Leeds Taraash, University of Leeds vision School ‘Great pacing, interesting cuts and ◗ Comeback Kid, Ian Robertson, Nathan techniques showcased the skill and Craig, Sam Steiner and Team, National talent of the editor.’ Film and Television School �

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1 Postgraduate Comedy and 4 Postgraduate Craft Skills – Production 6 Postgraduate Factual: Acta Non Verba Entertainment: Saving Faith Design: Poles Apart 7 Postgraduate Animation: Hilal 2 Postgraduate Drama: Wild Horses 5 Postgraduate Craft Skills – Camerawork: (‘Crescent’) Comeback Kid 3 Postgraduate News: Social Media 8 Postgraduate Short Feature: Cupid Shaming

Television www.rts.org.uk July/August 2018 25 Postgraduate Drama Wild Horses Rory Alexander Stewart, Rebecca Smith, Samira Oberberg, Celestria Kimmins and Team, National Film and Television School ‘Enjoyable, well-shot and funny with a strong female character. This accom- plished film took a risk [and] pulled it off with a lot of heart and imagination.’ Nominees: ◗ Come Out of the Woods, Jonny Blair, Holly Carrington, Shane Crowley and Anna MacDonald and Team, National Film and Television School ◗ Léo, Julian Alexander, Pilar Cartró Benavides, Luis Zarzo Escabias, Milda Baginskaite and Team, The Northern Film School at Leeds Beckett University Postgraduate Factual Acta Non Verba Yvann Yagchi, Fawzia Mahmood, Aurora Vögeli and Team, National Film and Television School ‘A very brave and compelling film, which draw you into the story. Fea- turing great access, this was a strong and authentic film told in a very nat- ural and impressive way.’ Nominees: ◗ A Secrets Act: The Double Life of Ian Postgraduate Craft Skills – Sound: Hilal (‘Crescent’)

MacKintosh, Andrew Tullis, Ross Lep- Richard Kendal pard, Samira Oberberg, Sam Boulton and Team, National Film and Television School Postgraduate Craft Skills – Postgraduate Craft Skills – ◗ Love Thy Neighbour, Irene Carter, Camerawork Production Design University College London Jon Muschamp – Comeback Kid Paula Gimenez – Poles Apart National Film and Television School National Film and Television School Postgraduate News ‘This was shot as though by profes- ‘A classic piece of work and the detail Social Media Shaming sionals who had been around the was second to none.’ Kath Paddison, University of Central industry for a while. We appreciated Nominees: Lancashire the… production values in camera ◗ Tom Coxon – Come Out of the Woods, ‘Featuring different voices, this ambi- movement.’ National Film and Television School tious piece got under the skin of a Nominees: ◗ Ana Martínez Fernández – Comeback topical subject in a distinctive way.’ ◗ Charlotte Wells – Cabbie, Bangor Kid, National Film and Television School Nominee: University ◗ National Maternity Hospital, Hannah ◗ Jon Muschamp – Poles Apart, Postgraduate Craft Skills – Lemass, Dublin Institute of Technology National Film and Television School Sound Hakim Ismail – Hilal (‘Crescent’) Postgraduate Short Feature Postgraduate Craft Skills – Royal College of Art Cupid Editing ‘The use of sound was very effective Ian Robertson, Athena Sammy, Alex Zsófia Tálas – Poles Apart on this project and… and executed at McArdle and Team, National Film and National Film and Television School a very professional level.’ Television School ‘Brilliant edit… the story was excellent Nominees: ‘Well-shot, featuring strong perfor- and very well conceived. A truly pro- ◗ Michalianna Theofanopoulou – mances from the actors. The jury fessional job.’ Comeback Kid, National Film and Tele- loved the humour in the film.’ Nominees: vision School Nominees: ◗ Charlotte Wells – Cabbie, Bangor ◗ Morgan Muse – Poles Apart, National ◗ Cabbie, Charlotte Wells, Bangor University Film and Television School University ◗ Zsófia Tálas – Comeback Kid, ◗ Christmas Tree, Meg Campbell, National Film and Television School Judges’ Award Andrew Oldbury, Donna Wade, Fiona Laymun Brands and Team, National Film and Catherine Prowse and Hannah Quinn, Television School Kingston University n

26 RTS NEWS Stanton hits half-century ONLINE at the RTS he went on to found Second City Broadcast Facilities, which provided technical n The first half of 2018 has been services to the BBC and ITV a busy time for the digital team. for programmes such as The Over the next few months, we will Sky at Night. improve our offering, from launch- “Fifty years ago, the televi- ing a new video platform on the sion set was a box in the RTS website and creating an app corner of the room; it had for the RTS London Conference, horizontal and vertical hold, to bolstering our education and and was probably showing training pages. Before we launch black and white pro- a season of new content, here are grammes,” said RTS honorary three of our most popular pages secretary David Lowen. from the first half of the year. “There’s been an enormous change in our industry in n Historical drama Versailles is those 50 years and Terry has known for its raunchy storylines, Dorothy Hobson and Terry Stanton

Jenny Wilkes been at the forefront of it but there’s a lot of other stuff In 1992, Stanton received going on, as Ed Gove discovered Terry Stanton’s sterling organise a lecture for the RTS RTS Midlands’ Baird Medal when he updated his guide to 50 years of service entitled ‘Television: the first to mark his outstanding the show’s characters ahead of on the RTS Midlands 100 years’,” he said. contribution to television. the final series. The guide is the

Midlands Centre Committee was recog- Terry Stanton’s interest He also served four years as most visited page on the website, nised by the centre in early in TV began at an early age Chair of the centre. with users coming from as far June. The TV veteran when, in 1952, his father In recent years, he has been away as Brazil, Argentina and Aus- received a certificate from bought a Marconi set to watch responsible for organising tralia (www.rts.org.uk/Versailles). Midlands Vice-Chair Dorothy the funeral of King George VI. joint lectures with the Institu- Hobson. “I hope to remain His first job at Alpha gave tion of Engineering and Tech- n If you’ve watched the RTS active to at least 2036, when him a good grounding in nology in Birmingham. award-winning comedy This it is my aspiration to television engineering and Matthew Bell Country, you’ll know why so many people logged on to read our interview with , one half of the sibling duo who created and starred in the mock- Mystery unravelled in Reading umentary. Charlie and Daisy May say the support they received from their parents was key to The Interoperable Mas- architecture at Turner Broad- creating these versions, or its success: ‘They’re massive ter Format (IMF) – a casting; and Andy Lampard, compositions, has become believers in pursuing your dreams, thing of dark mystery head of R&D at Motion Pic- urgent. The three speakers especially creative things,’ he says

Thames Valley or one of simple ture Solutions. provided the audience with (www.rts.org.uk/ThisCountry). beauty? This was the question IMF addresses the increas- a clear introduction to the debated at an early June event ing need for a true global technical aspects of IMF and n BBC correspondent Nawal at Pincents Manor, Reading. exchange format for video then discussed the benefits it Al-Maghafi was named Young RTS Thames Valley, the and audio content, as it is could bring to media busi- Talent of the Year at the Television Society of Motion Picture and moved, packaged, repack- nesses around the world. Journalism Awards for her report- Television Engineers (SMPTE) aged, localised, versioned and Many companies and ing on the conflict in Yemen. Kate and the Digital Production expensively stored to meet organisations have contrib- Holman caught up with her to Partnership hosted the well- increasing multi-format uted to SMPTE’s work and hear why she felt the need to hold attended event, which heard demand around the world. the IMF user group to decide Major-General Ahmed al-Asiri, the presentations from: Bruce As the number of potential specifications and require- leader of the Saudi-led coalition in Devlin, VP for standards at versions of a title increases, ments. These are now close Yemen, to account (www.rts.org. SMPTE; Steve Fish, VP of the need for a more efficient to being finalised. uk/NawalAlMaghafi). media and technology way of managing and Penny Westlake Pippa Shawley

Television www.rts.org.uk July/August 2018 27 RTS NEWS Roger Gage 1928-2018

oger Gage was a World, and worked often with presenter, producer Spike Milligan. and director with Roger moved to Plym- the BBC and the ITV outh’s ITV station in 1962 to Rcompanies Anglia and West- produce and direct a wider ward Television. He was a range of programming. He Fellow of the RTS, winner of commissioned a TV play, the Society’s Pilgrim Award, Time and Again, from ITN and Chair and honorary newscaster Gordon Honey- secretary of the Devon and combe, which won an award Cornwall Centre. at the International Film and Following a successful stage TV Festival in New York. Roger Gage receiving his Emmy acting career, including a spell His 1965 documentary, with the Old Vic company, Wyvern at War, which followed Roger found his first job in West Country soldiers from RTS Student Television incredibly slow Mercedes. TV, hosting Anglia’s lunch- the Normandy landings to VE Awards and and became However, we never missed time show alongside the Day, won an Emmy – a first their first Chair in 1995. the London train. actor Susan Hampshire. for any ITV region. I worked with Roger when He was a fine violinist He decided to move Roger joined the RTS in I was head of news at West- (with six violins tucked behind the camera and was 1962. He was Chair of the ward TV in Plymouth, and under his bed in later years), selected for the BBC’s direc- Devon and Cornwall Centre together we created and a strong singer in concerts tors course. from 1976 to 1980 and 1996 to produced a new politics and choirs, and an ebullient He was the first to put 1999. He was its honorary show. It was recorded in and regular Widow Twankey Dudley Moore on screen, secretary in the intervening London, which meant a long in pantomime in Modbury, directed Michael Bentine in years. Roger was also a prime journey, part of which was in South Devon. the comedy series It’s a Square mover in the creation of the Roger’s luxurious but David Lowen

RTS hosts Writers’ Guild Indie given free rein

RTS Midlands wel- Teen coming-of-age Joint MD of Lime Kate Little is ‘how the world sees Britain, comed the Writers’ adventure series Free described how the process part of the “sell” of the show’. Guild of Great Britain Rein – winner of two began when, ‘off the back Freddy Carter, who plays

Midlands Centre to Birmingham’s Col- North West Centre Emmys – was in the of hugely successful shows stable boy Pin, said the show more Club in June to net- spotlight as a prime example of [] has a ‘fiercely loyal audience work with RTS members and how to make drama for global and The Evermoor Chronicles in all these countries’ because producers from the region. audiences at an RTS North [Disney]’, the indie approached it is about ‘universal themes: RTS Midlands Vice-Chair West event in mid-June, hosted Netflix with the idea for Free friendship; staying true to your- Dorothy Hobson discussed by TV presenter Helen Skelton. Rein. Having grown up with self; right and wrong’. the centre’s work and William Made for Netflix by Liver- Black Beauty, Claire Poyser, Poyser claimed that a Netflix Gallagher, Writers’ Guild pool’s Lime Pictures – and Lime’s other Joint MD, said they commission benefits produc- Deputy Chair and an RTS created by two alumni of felt they had the ‘next iteration: ers. ‘[With] a terrestrial broad- committee member, urged stablemate , Anna modern, funny, witty, original’. caster,’ she said, ‘there’d be the creative people at the McCleery and Vicki Lutas – Girls-and-ponies plus idyl- a number of people involved reception to share ideas. “The Free Rein airs in 192 countries. lic English countryside and and the likelihood of everyone event was a great success,” Series 2 was set to launch in beaches – the show is filmed feeling the same way about a said Hobson. “We hope that early July, and the indie is gear- in Cheshire and Anglesey – project is tough to achieve. many collaborative creations ing up to shoot series 3. argued producer Angelo Abela, ‘The beauty of partnering will result from the evening.”

28 Comedian Lee Mack, best known for his studio sitcom Not Going

North West North West Centre Out and comedy panel show Would I Lie to You?, celebrated an early birthday at the Lowry Theatre, Salford, in late June. As he approached 50, Mack reflected on his career in discussion with Shane Allen, the BBC’s controller of comedy commissioning, at an RTS North West event. Allen introduced Mack as “a natural comedy brain” and there is a good reason for this: Mack is currently writ- ing his 10th series of Not Going Out – and he let on that he is in talks with Allen to Not Going Out make a further two. BBC With the current series taking the sitcom to 79 epi- sodes, the team is only one show behind Dad’s Army, and Mack goes out in Salford that’s clearly a big deal for Mack, who joked that success is in “quantity not quality”. mess around on stage and get that he didn’t know the perseverance took him from Throughout the evening, paid for it,” he said. “rules” and thought you his bedroom, via Pontins Mack kept the gags flowing as Despite battling self-doubt couldn’t make up tales – holiday camps, to his first he reflected a career in com- and a lack of confidence instead, he stuck to telling competition, the UK’s influ- edy inspired by a Les Dawson when performing in front of honest stories of what had ential stand-up comedy tour- gig he saw as a boy in the an audience, Mack persisted happened that day. A combi- nament, So You Think You’re 1970s. “I discovered you could with stand-up. He revealed nation of innocence and Funny, which he won in 1995. Mack forgot to raise his brief stint hosting BBC One sport-based panel show They 30 seconds, Netflix’s response, Think It’s All Over and laughed said Poyser, was simply: ‘How when Allen brought it up. “I long does it need to be?’ do that a lot – I never men- Abela added: ‘Netflix is tion it,” he said. rigorous in wanting the best Not Going Out was born out cast.’ Little said that this vigour of Mack’s love of Frasier and extends to dubbed versions, Seinfeld, and the show became for which Netflix holds a a British studio sitcom that ‘proper casting process to get skipped the tea and biscuits the right voices and authentic and cut straight to the jokes. dialects for territories, so it “I didn’t get bogged down doesn’t work against what we with realism,” he said. have created’. Mack admitted that he Asked if making the show wasn’t aware that British outside London was problem- sitcoms had been declared Free Rein

Netflix atic, Poyser replied: ‘The craft “dead” by the media the night base in the North West is the before filming the pilot show. with a platform with the scale Abela said Netflix was as best in the business. That’s a In the future, he hopes to of Netflix, [which is] prepared ambitious as Lime. ‘They told huge magnet for companies work in a different comedy to back you creatively and us: “Make the show you want like Netflix and Disney, which genre – one between the commercially, meant we could to make.”’ When the produc- don’t care where a programme graft of writing a sitcom and deliver what we wanted to in tion team struggled to get one is made as long as it’s good.’ starring in it, and the ease of terms of our ambition.’ episode down to 22 minutes Carole Solazzo a comedy panel show. Laura FitzPatrick

Television www.rts.org.uk July 2018 29 OFF M E SSAGE

ff Message League auction decreased by around ing the great man’s services. This makes no apol- 10% on the £1.55bn per season column, for one, will be tuning in. ogies for, er, forked out at the previous auction. Off Message isn’t alone in thinking kicking off with But even this figure, as Enders that Mair, once described by a col- the beautiful Analysis points out, is not far off the league as being “famously stroppy game. This col- BBC’s total content budget. but also annoyingly good”, would umn is not have made a brilliant presenter of immune to the sweet taste of Eng- ■ From Z Cars to Prime Suspect – not, . Oland’s first World Cup success at the of course, forgetting Broadchurch – knockout stage of an international crime dramas is written into the ■ Talking of which, Newsnight’s competition since 2002. DNA of TV. Interesting, then, to and Kirsty Wark are As we went to press, England had see Radio Times poll readers on the emerging as favourites to succeed beaten Colombia. Everyone knows 50 greatest British crime dramas. David Dimbleby as the presenter of that the victory ended the jinx of the No surprise to see that the match- Question Time. Also being tipped is team’s failure to win on penalty less Inspector Morse occupies pole Kirsty Young. shoot-outs. position. The world-weary, whisky- Their chances of landing the gig Less well known is that the triumph drinking detective, played to perfec- were helped, perhaps, by culture ended the ITV curse. Until now, of the tion by , lives on via minister Matt Hancock telling MPs World Cup games ITV has broadcast various streaming services, not that it was “about time” the BBC One over the past 20 years, England had least BritBox. show was hosted by a woman. chalked up one solitary win – 2-0 Good to see Jed Mercurio’s Line of If either Wark or Maitlis exits News- against Trinidad and Tobago in 2006. Duty not only making the Top 10, but night, expect the charismatic Emma England has a far better record of sitting very pretty in third place. Barnett to do more work for the show. winning when games are shown on Incidentally, the poll was old school Anyone who heard her Woman’s Hour the BBC. in the extreme. Voters had to fill out a car-crash encounter with Jeremy By the time you read this, Gareth voting slip and put it in the post. Corbyn during last year’s general elec- Southgate’s players may be heading Had the vote been conducted tion campaign knows that Barnett is for even bigger things – with broad- online, it’s likely the results would adept at putting politicians on the spot. casters benefiting from huge audi- have been very different. ences. Don’t forget that ITV’s ■ James Corden’s talents seem audience peaked at an astonishing ■ Eddie Mair’s decision to leave boundless. It was a total treat to see 24.48 million during the England vs Radio 4 flagship, PM, following him duet alongside Paul McCartney Colombia game. More than 3 million 20 years at the helm, is being inter- on Carpool Karaoke. watched online via ITV Hub. preted as a blow for the BBC. The co-writer of Gavin & Stacey Let’s hear it for the power of thrill- Few could disagree. couldn’t stop himself from shedding ing live content, smartly distributed. He is one of the corporation’s very a tear as the pair tenderly sang Let It best interviewers, empathetic when Be. Corden recalled how the song was ■ Here’s another statistic to savour. appropriate and, as Boris Johnson one of his grandad’s favourites. It’s calculated that the total sum once found to his cost, capable of He later tweeted that it was “possibly spent by Sky, BT and new entrant being a ferocious attack dog. the best #CarpoolKaraoke we’ve done Amazon on the recent Premier Congratulations to LBC for secur- so far”. Who could possibly disagree?

30 July/August 2018 www.rts.org.uk Television RTS PATRONS RTS Principal BBC Channel 4 ITV Sky Patrons

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