Winners & Finalists 7 February 2018

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A YEAR OF SENSATIONAL TELEVISION CATEGORIES 05 DOCUMENTARY he remarkable breadth of British TV is evident in the winners of the Broadcast Awards 2018. PROGRAMME T Traditional broadcasters and digital giants rub 07 MULTICHANNEL shoulders, while established favourites share the spoils with emerging titles. It proves that sensational 09 INTERNATIONAL programming can come from many sources. PROGRAMME SALES For Dave’s Taskmaster to edge out the likes of Strictly Come Dancing as Best Entertainment Programme 11 COMEDY Traditional is testament to the power of the slow-burn hit. 13 CHILDREN’S broadcasters and Best Multichannel Programme winner Love Island digital giants rub was one of the shows of the year, and proved that the 15 SINGLE DRAMA shoulders, while right format can still bring young people fl ocking to TV, established while Zeppotron’s San Junipero episode of Black Mirror 17 DAYTIME favourites share for Netfl ix was deservedly named Best Single Drama. 19 POPULAR FACTUAL the spoils with Left Bank’s Netfl ix series The Crown may have been emerging titles beaten by BBC One’s Three Girls for Best Drama 21 SOAP OR CONTINUING Series, but the transformative commission for DRAMA Andy Harries’ drama business was a key factor in it CHRIS CURTIS landing Best Independent Production Company. 23 MUSIC EDITOR Meanwhile, BBC One landed Channel of the Year. BROADCAST With trendy new players producing so much great 25 DOCUMENTARY SERIES content, the emotional power of Rio Ferdinand: 26 THE JUDGES Being Mum & Dad and the sheer delight of Planet Earth II proved mainstream telly still has few peers. 29 SPORTS 31 PRE-SCHOOL THE BROADCAST AWARDS 2018 WERE SPONSORED BY 33 ENTERTAINMENT 35 NEWS & CURRENT AFFAIRS 37 ORIGINAL PROGRAMME 39 DRAMA SERIES OR SERIAL 41 SPECIAL RECOGNITION 43 TIMELINE TV MOMENT OF THE YEAR 45 POST-PRODUCTION HOUSE 47 INDEPENDENT PRODUCTION COMPANY 49 CHANNEL OF THE YEAR 50 ROLL OF HONOUR

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HIGHLY COMMENDED SLUM BRITAIN: 50 YEARS ON ITN Productions for Channel 5 Film-makers Marcel Mettelsiefen and Stephen Ellis turned their lens on a haunting set of images by Nick Hedges, who was commissioned by Shelter in the late 1960s to photograph families living in abysmal housing conditions. To mark the charity’s half-centenary, the film traced children from Nick’s pictures, and heard stories from today’s homeless population. SHORTLISTED THE DRUG TRIAL: EMERGENCY AT THE HOSPITAL Raw TV for BBC Two A case study in how to make a specialist factual story unfold like a thriller, Drug Trial examined the Northwick Park drug trial of 2006, which scandalised the medical profession and gripped the media. Raw TV explored the true story behind the headlines, unravelling a spellbinding case that played out like a medical detective mystery.

HORIZON: ANTARCTICA – RIO FERDINAND: BEING MUM AND DAD ICE STATION RESCUE BBC Studios for BBC Two Only the Best Productions for BBC One Film-maker Natalie Hewit spent three months living in Antarctica, chronicling how a team of 90 people set about moving few weeks after losing his wife Rebecca to cancer, Britain’s research base Halley VI, which was in danger of splitting away from the former Manchester United defender Rio Ferdinand continent due to shifting ice and an A announced his retirement from professional foot- encroaching crevasse. Uprooting the base, ball. A year on and still trying to come to terms with his This film has which was built on skis, was one of the loss while looking after three children, Ferdinand and encouraged a toughest moving jobs on the planet. Only the Best Productions approached the BBC about making a film to explore the issue of bereavement. cross-platform THE SECRET LIFE OF PRISONS Shine TV for Channel 4 In director Matt Smith’s doc, Ferdinand shared his conversation Shine TV’s film documented the brutal reality family’s story and met others who had suffered a that is the sign of life inside UK prisons by using footage similar loss. He explored how people cope with the loss of emotionally shot covertly by the prisoners themselves. While film-makers have been denied official of a partner or parent, and why society shrinks from intelligent discussing death, grief and bereavement. access to film in UK prisons, Shine drew film-making from hundreds of prisoner-shot videos on The film had a significant appealto young viewers, the web, which are secretly uploaded to the bringing in 1.2 million 16-34s – nearly four times internet from phones smuggled into the jails. the average for factual on BBC One. In addition, the programme drew nearly double the average volume of STORYVILLE: LAST DAYS BAME viewers. On iPlayer, the film amassed 1.3 million OF SOLITARY Mongoose Pictures and Frontline PBS requests in seven days, making it one of the biggest for BBC Four factual programmes on the service last year. Bafta and Emmy Award-winning film-maker The judges said the film, which gripped 6.5 million Dan Edge and co-director Lauren Mucciolo viewers in March, was “beautifully directed” and noted were given unprecedented access to the the doc’s ability to take “what could have been an anodyne Maine State Prison as it launched a pioneering celeb format” and make it into something special. reform programme to scale back its use of solitary confinement. Filming over more “This film is creatingan impact rarely seen with such than three years, the team produced a deft a difficult subject matter. It has encouraged a cross- portrait of life in solitary, and the herculean platform conversation that is the sign of emotionally task of reforming a US prison. intelligent film-making,” they added.

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SHORTLISTED CHEWING GUM Retort for E4 Michaela Coel’s Bafta-winning semi- autobiographical comedy once again offered an original and upbeat take on working class life and culture rarely seen elsewhere, with lead character Tracey drawing viewers into her world through flashbacks, dream sequences and looks to camera. Coel not only wrote and produced the six episodes, she also composed and performed original music.

HATE THY NEIGHBOUR Viceland for Viceland UK The hybrid doc-comedy format of this show was a challenge for the production team and stand-up comedian Jamali Maddix. As well as pinning down racist and extremist groups to interview, the team staged six live comedy shows in front of audiences. Jamali’s stand- up set, written in less than a week, provided a perfect counterweight to his low-key, inquisitive, documentary persona.

MURDERED FOR BEING DIFFERENT BBC Studios for BBC Three Focusing on the tragic murder of Sophie LOVE ISLAND Lancaster in rural Lancashire, this single drama was the third film in BBC Three’s ITV Studios and Motion Content Group for ITV2 Bafta and RTS Award-winning Murdered By… strand. Told from multiple perspectives, the 60-minute drama explored themes of tribal- inners Kem and Amber (pictured) may have split ism, identity and not being afraid to be who after just five months, but the judges were unan- you are. Written by Lancashire-born Nick Leather and with a cast of non-professional imous in their praise for the third series of Love W local teens, this was an authentic portrait. Island. Describing it as the “TV zeitgeist moment of the The production year” and “channel-definingly brilliant”, the judges also team’s bold TASKMASTER noted the “perfect casting” and “brilliant storytelling”. Avalon for Dave With seven fast-turnaround shows per week on loca- willingness to Series four of the anti-panel show continued tion, the production team’s ability to react quickly to the tear up plans to give its comedians the space to be naturally funny, while allowing the chemistry fast-changing and unpredictable storylines was key to and react to between host Greg Davies and co-host (and its success. By dropping the safety net of a rigidly events in the show creator) Alex Horne to shine. The likes planned format, the team worked just a day or two in villa paid off of Noel Fielding and Mel Giedroyc helped this advance and, at times, just a few hours ahead. This bold series to maintain its strong performance, willingness to tear up plans and react to events in the in spades averaging 851,000. villa paid off in spades. THIS COUNTRY The series shook off the exploitative and nasty elements BBC Studios for BBC Three of reality TV to reveal a genuine warmth and joy. This Siblings Daisy May and Charlie Cooper’s idea was helped in no small part by Iain Stirling’s comic for this subtle mockumentary arose from voiceover. Free to point out absurdities and expose the feelings of alienation and, in their portrayal of cousins Kerry and Kurtan, the performers producers’ manipulations, he mocked vanity, pricked highlighted what happens to young people egos and poked fun without being mean. let down by social and education systems. The response exceeded all expectations, with a Shot fast and loose in natural light and with consolidated 2.5 million viewers and a 10.6% share, no rehearsal, this portrait of rural life rang up 1 million and 4.5 share points year on year. true for our judges. It was a particular hit with its target 16-34 audience and accounted for 18 of the top 20 most talked-about TV shows of the year on Twitter. A record-breaking run that cemented Love Island’s position on ITV2.

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SHORTLISTED DIANA, OUR MOTHER: HER LIFE AND LEGACY Drive When ITV aired its 90-minute programme marking the 20th anniversary of Princess Diana’s death last summer, 9.4 million tuned in and it has since been sold into more than 100 territories. In a deal brokered by UK- based distribution business Drive, the majority of licences for the show, which includes an interview with Princes William and Harry about their mother’s legacy, were negotiated as pre-sales to enable broadcasters to secure the content for transmission soon after the ITV premiere.

THE LIE DETECTIVE Fremantle Media International Less than 12 months since it aired on Channel 4, True North’s first international proposition has achieved tape sales in 10 territories and format sales in seven. The 3 x 45-minute entertainment format involves current, potential and ex-couples engaging in candid heart-to-hearts to find out whether each partner always tells it like it is. The host – polygraph expert Dan Ribacoff is used in THIS TIME NEXT YEAR several territories – then uses a lie detector Twofour Rights to find out the truth. NATIONAL TREASURE All3Media International his studio-based transformation show, which first Selling a drama inspired by specifically aired on ITV, became Twofour’s most successful British events, and with an idiomatically British name, was no small task, but more format after rapidly securing deals in 14 territories. T than 70 territories have picked up The The US, Australia and several European territories all The show has Forge’s series from All3Media. The secret lay wanted a piece of the show, which followed the pro- put the UK in putting cast members and director Marc gress of people keen to change their lives. After walking Munden centre stage at TV and film festivals through a door marked This Time, they made a pledge to back on the from Rotterdam to Monte Carlo and marketing achieve something within the next 12 months, such as front foot in the four-parter as a movie. As the awards rack up, the sales continue. ‘overcome a stammer’, before re-emerging through the the formats Next Year door just seconds later (in reality a year had business NIGHTMARE ON EVEREST passed) to reveal whether they had achieved their goal. Fremantle Media International The show has put the UK back on the front foot in the After Fremantle Media International’s sales formats business and is part of Twofour’s burgeoning team previewed clips of Arrow Media’s More 4 documentary to buyers in 30 countries, and ‘time-travel’ sub-genre. What makes the slew of sales so with a concerted push from the distributor remarkable is that by its nature, the format takes more at Mipcom, it has now been sold into 118 than a year to produce, meaning buyers couldn’t wait for territories. The 60-minute film, which the assurance of a strong UK run before committing. recounted Nepal’s earthquake of 2015 According to Twofour, the format’s unique concept, through footage shot by Everest climbers, aired on the first anniversary of the tragedy universal appeal, humour and emotional heft helped in April 2016, while the Smithsonian Channel secure the first wave of deals. in the US aired it on the second. For the buyers, it was a gamble that paid off. The entertainment reality series’ UK run, with Davina McCall as host, averaged 3.7 million, with the first episode up almost 60% on slot average. ITV’s confidence is reflected inthe commission of two more series, while Nine Networks in Australia has also ordered another run.

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SHORTLISTED CUNK ON CHRISTMAS House of Tomorrow for BBC Two Having started out as a character on Charlie Brooker’s Wipe formats, dim-witted Philomena Cunk was a natural hit in this spin-off. Directed by Lorry Powles, this one-off, in which the ill-informed Cunk, played by Diane Morgan, went on a journey to discover the history of Christmas, attracted a consolidated audience of more than 1.6 million.

HARRY HILL’S ALIEN FUN CAPSULE Nit Television for ITV Harry Hill’s debut panel show was never going to be a straightforward affair, but this anything-goes series, in which two teams are tasked with saving the planet from alien invasion, stretched the format like few shows before or since. A bright spot of ITV’s refreshed spring schedule, the series received extensive critical acclaim, and a second run has been commissioned for 2018.

PEOPLE JUST DO NOTHING Roughcut TV for BBC Three Beginning life as a series of YouTube webisodes, Roughcut discovered this CATASTROPHE mockumentary in 2012 and series four hit BBC Three screens earlier this year. Having Avalaon Television, Merman Films and already scooped Baftas for series two and Birdbath Productions for Channel 4 three, the fictional world of Korrupt FM and its DJs MC Grindah and DJ Beats is now a fixture with BBC Three’s core audience. cooping its second Best Comedy Programme PETER KAY’S CAR SHARE gong in three years, Sharon Horgan and Rob Goodnight Vienna Productions SDelaney’s six-part comedy scored a hat-trick of for BBC One nominations for its third series, which was referred to Unlike anything One of the UK’s best-loved comedians built by one judge as “unlike anything else on TV right now”. on the success of the first series of this The “fresh, funny and real” series, co-produced with else on TV right groundbreaking comedy, with each of the Amazon, once again followed the exploits of Sharon Morris now. Fresh, four episodes of series two raking in around 10 million consolidated viewers. Having (Horgan) and Rob Norris (Delaney) as work and family funny and real called time on the show, Kay has since continued to put a strain on their relationship, culminating bowed to fan pressure to complete John in some tough scenes of Rob’s relapse into alcoholism. and Kayleigh’s story with one final episode, Featuring cameos from the likes of Domhnall Gleeson, plus an unscripted special. Jordan Stephens and Douglas Hodge, the series was REVOLTING “brilliantly observed comedy”, said one judge, hailing Hat Trick Productions for BBC Two the “real chemistry of the central characters”. Heydon Prowse and Jolyon Rubinstein, the Sticking with editor Steve Ackroyd, the series was shot team behind The Revolution Will Be Televised, in a range of real locations. Horgan and Delaney opted unleashed another satirical comedy to to work with new crew, design and costume, which they challenge audiences and explore issues. The first series featured the much-talked said ensured new ideas were brought to the process. about Real Housewives of Isis sketch, which The series debuted to a consolidated audience of 1.5 became the BBC’s eighth biggest Facebook million (7.5%) in a Tuesday 10pm slot in February, and went post of all time. on to secure a 1.2 million (6.6%) consolidated average. A fourth series has already been commissioned and Merman and Horgan have gone on to secure an exclu- sive deal with Amazon for future projects. The show has now been sold to more than 120 countries worldwide, including Lifetime in the US.

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SHORTLISTED DANGER MOUSE CBBC and Fremantle Kids for CBBC Judges praised the “beautiful” animation of this fast-paced action comedy, noting too the careful layering of scripts to appeal to children and parents alike. Alexander Armstrong and Kevin Eldon returned on lead voice duties for series two, with memorable turns from John Oliver and Game Of Thrones’ Lena Headey.

FREE REIN Lime Pictures for Netflix Netflix’s first British kids’ drama impressed our judges for its high production values and “outstanding” performances from a female- led, multicultural and international cast. Its positive tone, coupled with a bit of sass, brought something new to the market: a UK show with clear appeal to those hard-to- reach viewers who were outgrowing CBBC. Series two is now on the way.

MY LIFE: NEW BOYS IN TOWN Drummer TV for CBBC Adel, the Syrian-born narrator of last year’s winner, The Boy On The Bicycle, got his own HORRIBLE HISTORIES chance to shine in this sweet and moving film about friendship among child refugees Lion Television for CBBC in Bristol. By showing them as children first, rather than just refugee statistics, the doc impressed the judges with its lightness of aving bedded in a new cast in a series of biopics touch and universal themes. “It’s rare to see of historical characters and specials, CBBC’s boy friendships like this in kids’ TV,” said one. H phenomenally popular sketch show rebooted REVOLTING RHYMES once again for its seventh run. It was back to the It’s got its Magic Light Pictures for BBC One original format that zapped between different eras, swagger Magic Light Pictures took a break from its but with a unifying theme at each episode’s core. successful run of Julia Donaldson/Axel The team exploited the comic potential of explorers, back. They’ve Scheffler adaptations for this delicious two- US presidents and artists over 12 episodes, but it was the taken the parter that weaved together Roald Dahl’s twisted fairy tale poems into a rich multi- opener, Monstrous Musicians, that truly stood out. From format and stranded narrative. Quentin Blake’s images the Stone Age’s ‘golden age of rock’ to Beethoven and revitalised it leaped off the page, with 50 3D characters Purcell’s ‘H Factor’ boot camps, via detours into Elvis and with a real dropped into 50 beautifully designed land- Jimi Hendrix, no corner of music was left unturned in this scapes. “A Christmas treat with a nice, dark whistle-stop tour, which tied in with BBC Music Day. energy heart,” said one judge. Judges remarked on how well the principal cast of THE ZOO Jessica Ransom, Gemma Whelan, Samson Kayo, Jalaal BBC Studios Natural History Unit Hartley, Tom Stourton and Richard David-Caine had for CBBC gelled into a tight ensemble in a format that had The judges found echoes of Johnny Morris’ evolved from the star vehicle of the earlier biopics. children’s classics in this comedy show, in which natural history clips are lip-synched “It’s got its swagger back,” said one judge. “They’ve with a little CGI to reimagine their subjects taken the format and revitalised it with a real energy.” as characters such as Jurgen, the pompous The creative team’s continued attention to detail and German silverback gorilla, and Sid and Gaz, ability to drop “real goblets of knowledge” into a fast- the ‘geezer’ seagulls. “Funny, silly and with paced half-hour also impressed, as did the show’s some really educational stuff that doesn’t feel worthy,” said one judge. “This could ability not to talk down to children – or exclude parents. easily sit on BBC One or BBC Two.” “It’s still one of the funniest shows on TV,” one judge declared, while another summed up the mood of the room: “I’ve fallen in love with Horrible Histories all over again.”

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SHORTLISTED AGAINST THE LAW BBC Studios for BBC Two Commissioned out of BBC Factual, this centrepiece­ of the Gay Britannia season was shot for £500,000 in just 10 days, with judicious use of distinctive tableaux to avoid resetting scenes too often. First-time drama director Fergus O’Brien brought out a career- best performance from Daniel Mays and successfully wove real-life testimonies into this unflinching look at the brutality homo- sexuals faced prior to the 1967 Sexual Offenses Act.

DAMILOLA, OUR LOVED BOY Minnow Films for BBC One Writer Levi David Addai worked closely with the Taylor family to bring their son’s story to life. Early on, Addai deliberately sought to avoid true-crime clichés about the tragic death of a child, opting instead to craft a film showing Damilola’s effervescent personality and the loving domestic life of his family. The drama also successfully immersed the BBC One audience in Lagos as well as London.

MURDERED FOR BEING DIFFERENT BLACK MIRROR: SAN JUNIPERO BBC Studios for BBC Three BBC Three explored a true-life case of hate House of Tomorrow for Netflix crime in the third of its Murdered… fact- based dramas. Drawing on his experiences growing up in Lancashire, writer Nick Leather’s harlie Brooker impishly set out to wrongfoot script deftly weaved the gritty and romantic, anyone who worried that in switching from while director Paul Andrew Williams coaxed a revelatory performance from lead Reiss Channel 4 to the global sandpit of Netflix, he would C Jarvis, one of a cast of non-professionals somehow ‘sell out’ and Americanise his anthology. A Science fiction drawn from the deprived area of Bacup day-glo fantasy set in a fictional California town, an often with heart. where the murder took place. sweet love story chock-full of bombastic 1980s tunes and even a sort of happy ending – was this the same show? Beautiful, NW Of course, this was a deliberate provocation. Beyond original, funny Mammoth Screen for BBC Two Zadie Smith gave the thumbs-up for Rachel its surface sheen, San Junipero was a smart riff on the and touching Bennette’s 90-minute adaptation of her drama antho­logy’s preoccupation with the impact of sprawling 300-page novel, proclaiming that it technology on human lives. Its soundtrack, meanwhile, “improves upon my efforts in so many provided a running commentary on the unfolding places”. High praise indeed for a 90-minute story – Belinda Carlisle’s Heaven Is A Place On Earth piece taking in race, class, love, desire, sex, gender, hatred and violence, which director will never sound the same again. Saul Dibb shot in semi-guerilla style over San Junipero became an instant classic of its kind, three weeks on the streets of Kilburn. anchored by compelling performances from Mackenzie Davis and Gugu Mbatha-Raw. It picked up Emmy and TO WALK INVISIBLE Bafta Craft nominations, its light-touch treatment of a BBC Studios, BBC Wales, Lookout Point, Masterpiece and Open University mixed-race gay relationship won much praise, and it for BBC One entered the US zeitgeist as a touchstone reference on In this bold passion project, writer-director Saturday Night Live and Riverdale. Sally Wainwright focused on the lives of the “Science fiction with heart” is how one judge summed three sisters as they battled for recognition. up the hour, while others praised its “uplifting” and Heartache and mischievous comedy blended in a film that managed to feel both contem- “moving” qualities, noting that Brooker did not sacri- porary and authentic. fice his dark humour in this atypically sunny episode. As one concluded, this Black Mirror was “beautiful, original, funny and touching”.

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SHORTLISTED ILL GOTTEN GAINS Tiger Aspect for BBC One By gaining access to a key auction house and law enforcement bodies, Ill Gotten Gains followed the process of seizure right through to final auction, as well as following the live investigation work and early morning raids. The judges praised the format – which has already been recommissioned – as a “new and exciting way to design daytime content” that “delivers investigative factual and shines a light on a new area”.

POINTLESS Remarkable for BBC One The BBC One staple reached its 1,000th- episode milestone during its 16th series and for one episode, hosts Alexander Armstrong and Richard Osman swapped roles – with both admitting they didn’t appreciate how hard the other’s job was. With this winning formula, Pointless retained its title as the highest-rated quiz show in the UK, with series 16 peaking at 4.7 million (27%).

RICHARD OSMAN’S HOUSE OF GAMES Remarkable for BBC Two EXTREME CAKEMAKERS “A slice of peaktime good humour in a day- time slot” is how the judges described this Boomerang for Channel 4 stripped 15 x 30-minute celebrity general knowledge quiz. The humour often stemmed from gaps in the celebrities’ knowledge – rom a cake designed to reveal the gender of a with much debate over Florida’s location and couple’s unborn child, to a Wallace and Gromit the identity of Chas and Dave. A consoli- dated audience of 1.2 million watched the creation that produced its own bakes on a conveyer F debut episode, 10% above slot average. belt, Extreme Cakemakers took the nation’s baking Never for a obsession to a whole new level. second does THE SECRET LIFE OF THE The Cardiff-based production searched nationwide HOSPITAL BED to find eight sugarcraft specialists whose skills, person- it look like Crackit Productions for BBC One alities and passion for cake-making stood out, with anything less Fixed-rig cameras were used to tell patients’ stories at several NHS hospitals, with the those chosen representing a diverse slice of the UK. than a show bed as the central point of focus. The The 15 x 30-minute series uncovered stories about four times challenge was to produce a moveable fixed- the cake-makers and their clients in locations from the budget rig series on a budget of just under £40,000 Penzance to Lancashire, via Caerphilly and Essex. per episode. The production team’s hard According to the judges, the series managed to “capture work paid off, catching candid exchanges between fellow patients, families and stories from communities through the lens of baking”. medical staff as the beds travelled between The glossy scenes of the cakes’ show-stopping hospitals, wards and theatres. reveals, coupled with the emotional shots of the recipients who commissioned these startling creations, STREETMATE prompted one judge to comment that “never for a Tiger Aspect for Channel 4 C4’s ’90s dating show received a youthful second does it look like anything less than a show four reboot without sacrificing any of the original’s times the budget”. spontaneity. Scarlett Moffatt took the reins Extreme Cakemakers was Channel 4’s most successful from Davina McCall, injecting warmth and launch for five years in its weekday 5pm slot and has humour into her first solo presenting role. been recommissioned for another 15 episodes. The The launch episode delivered a 10% share of the channel’s target audience of 16 to 34 show averaged more than 750,000 viewers – up 16% on year-olds – up 27% on slot average. the slot average and up 28% in audience share. It also performed well internationally, with the format selling into more than 60 territories.

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HIGHLY COMMENDED MUSLIMS LIKE US Love Productions for BBC Two Before seeing this BBC Two reality show, the judges were concerned that it could have been manipulative or exploitative. They could not have been more pleasantly surprised. Praised for tackling religion, and specifically Islam, in an accessible way, the series was expertly cast and well-paced. It demon- strated the breadth of the Muslim faith in a modern and entertaining way. SHORTLISTED MUTINY Windfall Films and Motion Content Group for Channel 4 The unlikely combination of Ant Middleton, Captain Bligh, two embedded cameramen and a volunteer crew made Windfall Films’ Mutiny one of Channel 4’s most distinctive fact ent formats of the year. A tough show to make, the hard work of the production team paid off in spades.

THE REAL FULL MONTY Spun Gold TV for ITV WHO DO YOU THINK YOU ARE? ITV celebrated the British movie’s 20th anniversary by pulling together a celebrity Wall to Wall for BBC One re-enactment – and delivered its most impor- tant piece of new event programming of 2017. It managed to be hugely entertaining all to Wall’s BBC One genealogy show is one and filled with tension, while at the same time exploring issues around male health. of the best-established formats on British tele- W vision (now 14 series and counting) and this RICH HOUSE, POOR HOUSE award is recognition of both its continued excellence The Danny Hat Trick Productions for Channel 5 and a creative high point in its own right: the episode Dyer episode Channel 5’s life-swap format was a warm and in which Danny Dyer uncovered his royal lineage. well-made exploration of inequality in British The judges felt the series was popular history at its was surprising, society. Eschewing conflict in favour of high- lighting the similarities between the two best, with one describing it as “brilliantly uplifting”. funny and families as much as their differences, it Another ladled on the praise for this episode: “It was unmissable quickly established itself as a commercial surprising, funny and unmissable.” and critical bedrock of the C5 schedule. They weren’t wrong. Dyer kicked off the episode by explaining that he hoped to discover a family history SPY IN THE WILD John Downer Productions for BBC One that “freaks a few people out”. By the end, he was Cute animals and robot cameras – what’s coming to terms with his discovery that he is a direct not to like? Some 36 different spy creatures descendant of King Edward III. were built from scratch for this BBC One There was plenty of drama along the way. Dyer’s series and the judges were impressed by visit to Helmingham Hall, the ancestral seat of the the way cutting-edge technology was used to create a family-friendly, mainstream Tollemaches in Suffolk, was just one of the standout natural history programme that built on moments. The EastEnders actor was on fine form its smaller-scale predecessors. meeting his distant relative Lord Tollemache and struck up a great rapport with historian Tracy Borman, a biographer of another of Dyer’s famous relatives, Thomas Cromwell. Add in a final scene in which a herald from the College of Arms took Dyer to Westminster Abbey to show him the tomb of his royal ancestor and you have a show that delightfully confounded expectations.

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SHORTLISTED CASUALTY BBC Studios for BBC One With the help of doctors at London’s St Mary’s Hospital, Casualty delivered one of the most moving and realistic depictions of the powerlessness of nurses in a crisis situation that one judges had ever seen. The premature delivery of nurse Robyn’s baby won praise for its truth and sensitivity and for the two “amazing” puppets used to depict the babies.

CORONATION STREET ITV Studios for ITV Nathan Curtis’ grooming of Bethany Platt was a powerful depiction of predatory behaviour, aided by an impressive performance from Lucy Fallon and painstaking research in collaboration with the NSPCC. The judges praised Corrie for taking a risk with a dark storyline.

EASTENDERS BBC Studios for BBC One Kicking off 2017 with the drowning of Roxy and Ronnie Mitchell in a hotel pool, events in Walford didn’t let up for the rest of HOLLYOAKS the year. Taking in bullying and social media, a bus crash and the introduction of bad boy Lime Pictures for Channel 4 Keegan, the action reached its zenith in September with a week filled with a gas explosion, a shooting, a fire and a death. he judges were unanimous: Hollyoaks’ ‘What is Consent?’ storyline, and the associated campaign- EMMERDALE ITV Studios for ITV ing and discussion around it, was a new creative T The ITV stalwart pulled off a coup in 2017 peak for the long-running drama. I don’t think with an experimental episode that put Carefully plotted and seeded, Ellie Nightingale’s rape any other show viewers into the mindset of dementia- at the hands of Nick Savage after a boozy ‘traffic light’ sufferer Ashley, with sound effects and party was the culmination of an extensive development could have visuals combining to disorientating effect. process with youth advisers The Mix and Rape Crisis. told this story “It was very brave to break the cosiness of the show and risky to play around with time “I don’t think any other show could have told this as well as and location,” observed one judge. story as well as Hollyoaks did,” declared one judge, Hollyoaks did while another marvelled that it was “impressive story- HOLBY CITY telling for the timeslot without being crass or obvious”. BBC Studios for BBC One The judges noted that the writers were careful to paint Jasmine’s accidental death, following the team’s abortive efforts to save her, was a Savage in shades of grey – neither a monster, nor a jock. reminder that Holby’s heroes don’t always He was a likeable, funny character. That this sort of save the day. Audiences were gripped by carefully considered issue-based storyline can exist the antagonism between Jasmine and the alongside Hollyoaks’ particular brand of heightened psychologically fractured Fran that led to soap drama was taken as a sign of a show in good hands. the moment – and Fran’s subsequent fall off the hospital’s roof. Fully aware of its audience’s media habits, the storyline was supported by a Facebook Live Chat featuring cast members and an All 4 documentary that explored the lines of consent through a fictional case study. The powerful story came in a strong year for the soap, with the judges also praising a self-harm storyline and some rule-breaking narrative conceits. “Hollyoaks tackles important subjects across different platforms, encouraging discussion,” said one judge.

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SHORTLISTED ABERFAN: CANTATA MEMORIA Rondo for S4C This production sensitively commemorated the 50th anniversary of the Aberfan tragedy, centring on a specially commissioned work by Welsh composer Sir Karl Jenkins, with a libretto by Welsh poet Mererid Hopwood. Rondo and S4C worked with both of them over a two-year period, during the run-up to the work’s expertly handled televised premiere.

THE BRIT AWARDS BRITs TV for ITV The annual show, hosted by Dermot O’Leary and Emma Willis, was on air for 30 minutes longer than in previous years, it had a bigger set than before, and most acts performed live, including Little Mix, Ed Sheeran, Coldplay and Katy Perry. But the highlight was a moving tribute to George Michael, pulled together in just three weeks, on which the production team worked closely with the late singer’s family and friends.

GLASTONBURY 2017 BBC Studios for BBC Two FOUR TO THE FLOOR The BBC’s wide-ranging coverage of the festival featured more than 120 perfor- Lemonade Money for Channel 4 mances across six stages, supplemented by exclusive acoustic sessions. It spanned BBC Two and BBC Four, with a substantial emonade Money’s late-night music show for red button offering and extensive online Channel 4 was authentic and creative, and content. In all, 20.9 million people sampled the BBC’s coverage. L appealed to a far wider demographic than its intended youth audience. The judges were universal A programme HARRY STYLES – BEHIND THE ALBUM in their praise, crowning it winner of the Best Music made with Fulwell 73 for Apple TV Programme category for the second time. This 60-minute introduction to Styles’ debut The aim of the series was to create something that obvious love album was built around a live performance at genuinely spoke to its audience and represented what it and passion Abbey Road Studios, shot in a fluid way with a circular track in the round. The production means to be young and British. It was largely shot with a for its subjects provided a window into Styles’ private world, single camera, with anything from 4K cameras to iPhones following him throughout the day. The inti- used to capture stories. Each piece was presenter-less and mate nature of the performance was further turned around quickly, with booking, creative and the enhanced by an ambiance mic picking up the on-location shoot typically happening within 24 hours. unguarded chat between the band members and crew between songs. With a very short post-production period, the team used Adobe Creative Suite to deal with the different THE ROLLING STONES – OLÉ, OLÉ, camera formats. To further enhance the look and feel, OLÉ!: A TRIP ACROSS LATIN AMERICA After Effects and Cinema 4D sequences were mixed JA Films and Eagle Rock Entertainment with the live performance and documentary clips. for Channel 4 Shot with a small crew across 10 Latin One judge pointed to the “great stories and great American cities, this film combined beauti- music” and the “joyful” nature of the production as fully captured live footage from The Rolling factors in its repeat victory. It’s “a programme made with Stones’ South American tour with a series obvious love and passion for its subjects”, said another. of mini-documentaries about the lives of the A third judge called it “a continually innovating band’s audience in Latin America. It explored the local culture and revealed the fascinating standout music show, highlighting unsigned artists bond between the Latin American people across the UK with style”, while another singled it and the band. out for giving “the audience access to acts they might never otherwise have found”.

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HIGHLY COMMENDED HOSPITAL Label1 Television for BBC Two Hospital took a warts-and-all look at the NHS, capturing staff making tough decisions on complex medical ethics, A&E overcrowding and health tourism at five London hospitals. Edited and broadcast within weeks of filming, the series – which boasted peak viewing figures of 3.8 million – merged the speed of a fast- turnaround documentary with the scale and coverage of a rig show. “A well-timed and well- crafted piece of film-making,” said the judges.

SHORTLISTED AMERICAN HIGH SCHOOL Swan Films for BBC Three This 6 x 60-minute series, filmed over the course of a year at a high school in South Carolina, was praised for depicting what it means to be young and black in America. The film followed a charismatic principal and his students, including star football players, Ivy League hopefuls, male cheerleaders and young mothers, as they prepared for the next step in life.

PLANET EARTH II CATCHING A KILLER True Vision for Channel 4 BBC Studios Natural History Unit, BBC America, True Vision secured a remarkable level of ZDF, Tencent and France Télévisions for BBC One access with Thames Valley Police for this documentary following two murder investiga- tions from start to finish. The Search For he late 2016 series that kept us on the edge of our Natalie Hemmings episode was a no-holds- seats as an iguana attempted to outrun a pack of barred film about domestic abuse, with director Anna Hall covering every aspect of the inves- T racer snakes was the most-watched natural history tigation, including a police interview with the show in 15 years, with a ratings peak of 14.43 million. Visually victim’s son, who was revealed as an eye The production, which involved 117 shoots in 40 witness to his mother’s murder. different countries over 2,089 filming days, delivered beautiful, many other key moments. Capturing elusive snow technically KIDS ON THE EDGE Century Films for Channel 4 leopards on film is a holy grail for nature film-makers astounding Century Films secured access to the Tavistock but to filmone being reunited with her cub was an and utterly and Portman NHS Foundation Trust to investi- extraordinary achievement. life-affirming. gate the unprecedented numbers of children The show also captured another elusive species: 16 to being diagnosed with mental health disor- 34 year-old viewers. More young people watched Planet It shows what ders. The company had been warned that television children dealing with complex mental health Earth II than The X Factor – and clips, memes and issues was ‘too dark’ for mainstream TV, tweets contributed to a rich social media conversation. can do but found a champion in C4 commissioning Climate change and human impact on nature were editor Amy Flanagan. treated as part of the story. A sequence featuring hatch- ling turtles travelling the ‘wrong way’ up a Caribbean THE LAST MINERS beach after becoming confused by lights on the shore Keo Films for BBC One Shot in extreme and challenging conditions generated a huge reaction in the media. as the crew travelled more than 800 metres Everything about the series felt epic, from narrator underground, the series captured the experi- David Attenborough’s entrance in a hot-air balloon at ences of the last deep-coal miners in Britain. the beginning of the first episode to the musical score With exclusive access to Kellingley Colliery in by Hollywood composer Hans Zimmer. North Yorkshire, it revealed the men’s emotions as they went to work for the last time. The judges were impressed: “Visually beautiful, technically astounding and utterly life-affirming. It shows what television can do.”

BROADCASTNOW.CO.UK Broadcast AWARDS 2018 | 25 METHODOLOGY AND LIST OF JUDGES

Almost 90 industry fi gures came Josh Buckingham Channel 4 Jen Kenwood Drama Republic Rob Pursey Mighty Atom TV together to judge the Broadcast Tim Carter Shiver Tim Key Red Planet Pictures James Quinn Producer Awards 2018 at The Hospital Naomi Carter Tinopolis Factual Ian Lamarra Producer Tanya Qureshi Channel 4 Club in Covent Garden. The Robert Charles Broadcast Steve Lawes Cinematographer Steve Regan Channel 5 judges were split into groups and sports consultant Jago Lee Antenna Pictures Charlotte Reid DNI presented with longlists in each Donna Clark DSP Matt Leys Writer/script editor Mark Roberts Firecrest Films category, which they whittled down Martin Clarke Sound recordist Duncan Lindsay Metro Sarah Sapper Blink Films to a shortlist of six. After debating Alan Clements STV Jake Lushington World Productions David Sayer Channel 4 the merits of each conten der, Andy Culpin 12 Yard Productions Danielle Lux CPL Productions Ed Sayer DNI a secret ballot took place to Melanie Darlaston Motion Billy Macqueen Darrell Macqueen Saskia Schuster ITV determine the winner. The judges Content Group Katy Manley Initial Emma Scott Beano were looking for shows that Moz Dee Contented Digital Debbie Manners Field Day Paul Simper The Sun demonstrated originality, insight Media Group Productions Chris Sussman BBC and great story telling. They were Ana DeMoraes Shiver Nigel Marchant Carnival Pete Thornton UKTV not disappointed. Thanks to all Robi Dutta BBC Lee Mason Channel 4 Alan Tyler BBC who took part. Toby Earle Journalist Preethi Mavahalli Yonni Usiskin Vice Angela Ferreira A Joy Media Mammoth Screen Helen Veale Outline Koulla Anastasi A+E Networks Ben Gale Little Gem Media Nick Mirsky Channel 4 Tom Ware Yeti Media Simon Andreae Naked Tom Giles ITV Beren Money Channel 5 Karl Warner Electric Ray Entertainment Max Gogarty BBC Siobhan Mulholland Sky Richard Webster Sky Sarah Asante BBC Nicki Gottlieb Brown Bob Steven Murphy Inside Soap Donna Wiffen Duchess Chris Aylott Channel 5 Productions Rick Murray Endemol Street Productions Ben Barker Monterosa Martin Haines Kudos Shine North Jes Wilkins Firecracker Films Mike Beale ITV Studios Anna Hargreaves Sky Helen Nightingale UKTV Amanda Wilson Sharp Jack Grant Best Only The Best Cassian Harrison BBC Ruby Norris Heat Josh Wilson Wilson Worldwide Productions Kate Harwood Euston Films Steve North UKTV Steve Wynne Strawberry Blond Clare Birks Oxford Scientifi c Films Alan Hayling Renegade Pictures Liz Pearson Post-production Patrick Younge Sugar Films Richard Bond Dragonfl y Bill Hobbins Sky supervisor Jan Younghusband BBC Penny Brough Viacom Jamie Isaacs Avalon Television Tom Porter Channel 4 Asif Zubairy ITV

Chris Aylott Ed Sayer Katy Manley

Asif Zubairy Nicki Gottlieb

26 | Broadcast AWARDS 2018 BROADCASTNOW.CO.UK THE JUDGES

Helen Nightingale David Sayer

Sarah Asante Tom Giles Ian Lamarra

Saskia Schuster Robi Dutta Patrick Younge

Siobhan Mulholland

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SHORTLISTED ABU DHABI GRAND PRIX Sky Sports for Sky Sports F1 From exclusive access to Bernie Ecclestone, to expert pundits and new technology analysing every aspect of the race, the breadth and depth of Sky’s coverage of the Abu Dhabi Grand Prix stood out. Sky took a feed from Formula One Management for the race itself – but every other element of its coverage was exceptionally produced to add value for the F1 fan.

THE LIONS TOUR Sky Sports for Sky Sports 1 The judges said that Sky truly captured the passion of the fans, players and past of the iconic Lions Tour, while delivering exceptional analysis and insight. The broadcaster was there for the British and Irish rugby team’s entire six-week tour of New Zealand, which ended in a draw after three epic tests.

MONDAY NIGHT FOOTBALL Sky Sports for Sky Sports 1 This show has brought a step-change to football coverage with outstanding punditry and insightful analysis. It is at the very top ANTHONY JOSHUA V of the coverage of our national sport, said one judge of Sky’s Monday Night Football. The WLADIMIR KLITSCHKO analysis, passion and insight of Gary Neville and Jamie Carragher made it must-watch TV Sky Sports for Sky Sports Box Office for fans of top-flight analysis and comment.

his was a heavyweight winner in every respect. THE NFL SHOW Whisper Films for BBC One The fight between Britain’s own Anthony Joshua The NFL Show brought American Football to Tand boxing legend Wladimir Klitschko had ‘block- mainstream audiences for the first time on buster’ written all over it. This huge BBC One. The judges were impressed with The event showcased both Sky Sports’ mastery of sports event was the show’s ability to explain and entertain, production and its marketing power. “This was more than and appeal to fans both old and new. US a sports event – it was covered from every angle. Self- matched every pundits Osi Umenyiora and Jason Bell, and presenter Mark Chapman, were praised for produced throughout, it utilised social and all of Sky’s step, every their easy chemistry. channels and marketing muscle,” said one judge. punch and The buzz around the fight had been building since every minute UEFA WOMEN’S EURO Whisper Films for Channel 4 December 2016, when Joshua knocked out Eric Molina of the bout by in the third round of their IBF world title fight at Only The Great British Bake Off delivered a an outstanding bigger audience for Channel 4 in 2017 Manchester Arena – and Sky Sports announced his than its coverage of England’s women’s next bout would be a world-title fight with Klitschko. production by team during the summer tournament, with From that moment, the Sky Sports machine went into Sky Sports a peak of 4.3 million. The judges praised overdrive and months of marketing, build-up and the production’s approach for really moving anticipation led to the live Sky Sports Box Office fight ahead the way women’s football is covered in the UK through its commentators, pundits, under the spotlights of Wembley Stadium. on-site production and packages. Everything viewers saw on that April evening was made by Sky Sports’ production team, which created an incredible atmosphere inside the 90,000-capacity venue. “This huge event was matched every step, every punch and every minute of the bout by an outstanding production by Sky Sports,” said one judge. The fight itself lived up to the hype, with Joshua stop- ping Klitschko in the 11th round of a barnstorming bout.

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SHORTLISTED DO YOU KNOW? 7 Wonder for CBeebies “A clever way of doing pre-school factual with- out it feeling like a lesson,” was the judges’ verdict on the first series of technology vlogger Maddie Moate’s exploration of how things work and how they are made. From cranes and bricks to toilet flushes, pasta, dishwashers and bin lorries, the series offered bite-sized bits of information about the world for its young audience to take away.

GET WELL SOON HOSPITAL Kindle Entertainment for CBeebies Armed with songs, Dr Ranjit Singh and his puppets sought to ease children’s fears about all things medical in this factual series. The judges found its take on medical procedures, illnesses and medicines fun, reassuring and inclusive, concluding: “The production team are in their stride and know exactly what they’re doing.”

GO JETTERS CHRISTMAS SPECIAL: THE NORTH POLE CBeebies & BBC Worldwide for CBeebies APPLE TREE HOUSE Jet-setting friends Kyan, Lars and Foz, plus their disco-dancing unicorn teacher Ubercorn, Five Apples for CBeebies journeyed to the ends of the Earth in a double-length episode in which they had to help Santa recover his presents from his riginally pitched as an animation, Apple Tree sleigh after it was stolen by Grand Master. House got a new lease of life when it was instead After the initial batch of 52 episodes, a second series is now in the works. Ocommissioned as a live-action drama. Making 30 episodes of a new show on location with These terrific LILY’S DRIFTWOOD BAY a young cast is, of course, no small undertaking, but performers Sixteen South for Nickelodeon Jr under the guiding hands of the Rastamouse team of The second successive nomination for Eugenio Perez and Gregory Boardman, what emerged were really this animation, which uses natural objects was something quite special. exceptional throughout, is recognition that it has “upped its game”, said our judges, who noted its Shooting on a real inner-city estate in east London and they never attention to detail and increased use of gave the stories an instant authenticity, reflecting made any part close-ups. It won praise for its “aspirational” the childhood and communities of its creators: of the show qualities and ability to deal with complicated Akindele Akinsiku, Maria Timotheou and William dilemmas with warmth and reassurance. Vanderpuye. The show retained some animated seem worthy SCHOOL OF ROARS flourishesin its ambitious but seamless transitions Dot To Dot Productions for CBeebies into the inner thoughts of its characters. Vocal turns from Kathy Burke, Andrew Scott The drama captured the fun and value of close neigh- and Sarah Lancashire sealed the deal for bourhoods and friendships. Deploying a light touch on this animated series, which took some of the politics, race and recycling won praise from the judges, sting out of starting school by showing it through the eyes of five fun-loving monsters. as did its joyful soundtrack and songs from composer From learning to stop fidgeting and avoid Andrew Kingslow. toilet problems in class to counting the legs But what truly made it stand out were the fresh, of spiders, School Of Roars offered a fun natural performances from the three young actors in take on childhood life lessons. the lead roles. Cast from more than 1,000 auditions, the children were “superb”, said one judge “These terrific performers were really exceptional and they never made any part of the show seem worthy,” another judge concluded.

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SHORTLISTED ALL ROUND TO MRS BROWN’S Hungry Bear Media and BOC Pix for BBC One Brendan O’Carroll took his all-conquering creation into uncharted territory with this comedy chat show. Stars ranging from Nick Knowles and Adam Woodyatt to Judy Murray and Pamela Anderson graced Agnes Brown’s sofa. The anarchic format proved an irresistible Saturday night hit for BBC One, delivering a peak of 5.9 million (28.3%) in a post-watershed slot.

I’M A CELEBRITY... GET ME OUT OF HERE! ITV Studios for ITV The 16th series of ITV’s evergreen format announced its bold intentions from day one, with celebrities confronted with a plank some 350 feet in the air before they even got to the jungle. Inter-generational bonding between Carol Vorderman and Scarlett Moffatt, and Larry Lamb and Ashley Banjo, brought warmth to the series, which was third only to The Great British Bake Off and Sherlock among 16-34s in 2016.

TASKMASTER LOVE ISLAND, ITV Studios and Motion Content Group Avalon for Dave for ITV2 Scoring record ratings – peaking at 3.1 million – making the tabloid front pages and blazing a ighly original”, “innovative, fun and just trail through Twitter, Love Island was arguably plain silly”, “incredibly clever” and “best the most talked-about entertainment show of 2017. It stepped up several gears for series series yet” – the judges’ plaudits poured “ H three, with the production team fi nessing out thick and fast for the fourth series of Avalon’s Highly every element of the format while allowing anti-panel show. original, for the unpredictable to leak through and Combining elements of a panel game, a comedy guide the narrative. sketch show and a reality series, the fourth run of innovative,

Dave’s format featured comedians Hugh Dennis, fun and just STRICTLY COME DANCING BBC Studios for BBC One Joe Lycett, Lolly Adefope, Mel Giedroyc and Noel plain silly. Politics’ loss was light entertainment’s gain Fielding competing against each other in a series The best as Ed Balls took to the dancefl oor with a of tricky – and very silly – tasks in the hope of series yet gusto unmatched in Strictly’s history. Balls’ impressing Taskmaster Greg Davies. unlikely success in the early heats became Though playing the adoring side-kick to Davies’ a major talking point. With an average of 11.1 million viewers and a peak of Taskmaster, it is co-creator Alex Horne who devises the 13.3 million, the contest hit new heights tasks and the bulk of the show, which has a production in autumn 2016. team of just eight people. Series four highlights included Fielding legally THE VOICE UK marrying a rubber duck, Giedroyc crafting the ultimate ITV Studios and Talpa for ITV The singing contest lost none of its sparkle chocolate sandwich, Dennis’ unexpected basketball on its ITV debut; indeed, it felt richer and victory, Adefope’s hide-and-seek skills and Lycett fresher than ever. With Tom Jones and staging a real-life Where’s Wally? will.i.am providing some continuity, new Taskmaster continues to pay dividends for Dave, judges Jennifer Hudson and Gavin Rossdale where the show’s irreverent tone and character has brought their A-game, aided by format tweaks such as judges not being allowed to found a natural home. This series drew an average meet or give feedback to a contestant who audience of 851,000, up 196% on the slot, and took failed to get them to turn their chairs. With 46% of 16-34s. A fi fth series has already aired, as 5.6 million (24%) across its run, this was well as a two-part Champion of Champions special. one effective transfer.

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SHORTLISTED THE FORGOTTEN CHILDREN Wild Pictures for ITV Robin Barnwell’s hour-long film investigated Europe’s refugee crisis from a child’s point of view, uncovering new evidence that many face violence, homelessness and police brutality. The documentary raised questions in the House of Commons and House of Lords, and prompted Swansea City FC to pay the legal fees for seven Iraqi children facing deportation.

PANORAMA: LONDON TOWER FIRE: BRITAIN’S SHAME BBC Current Affairs for BBC One Over the six days that followed the Grenfell fire, Panorama told the story in a compelling way, using footage from the night, graphics and eye- witness accounts, while reporter Richard Bilton spent time with the survivors and the families of those who died. The programme was the first to lay out clearly what had gone wrong at Grenfell and uncovered fresh revelations that were picked up by the wider media. It peaked with 3.4 million.

ROSS KEMP: LIBYA’S MIGRANT HELL JO COX: DEATH OF AN MP Freshwater Films for Sky 1 Libya has become the most common and Amos Pictures for BBC Two deadliest route for refugees travelling to Europe and this documentary followed the dangerous journeys made by migrants fleeing mos Pictures’ documentary did not just recreate East and West Africa across the Sahara. the events of the day that Labour MP Jo Cox was Kemp’s crew faced kidnap threats as they ventured into southern Libya and the judges killed, but also brought a new perspective on A praised Kemp and his team for bringing a the killer and his motives. The judges described it as The film global story to a mainstream audience. “chilling and heart-breaking”. succeeded in Director Toby Paton and executive producer Dan STACEY DOOLEY INVESTIGATES – Reed secured exclusive access to the investigating shining a light MUMS SELLING THEIR KIDS FOR SEX officers attached to the murder, which enabled them to on extremism True Vision for BBC Three At the heart of Stacey Dooley and director look deeply into the stories of both Cox and her killer in the UK Joyce Trozzo’s film on child exploitation and Thomas Mair. during a time sex tourism in the Philippines was the The result was a unique film that paid tribute to Cox, of political complex fact that Filipino adults involved in a year on from her death, and answered questions the trade often exploited their own children. about Mair’s motivations. upheaval Despite its difficult subject matter, its Face- book video version reached 18 million views The stories were revealed through a series of in the 10 days following its release. exhaustive interviews and the film-makers gave them- selves room to dwell on the detail and subtleties that WASTING AWAY: THE TRUTH can get easily overlooked in rolling news coverage. ABOUT ANOREXIA The film succeeded in shining a light on extremism Brook Lapping Productions for Channel 4 In this personal film, ITN News anchor Mark in the UK during a time of political upheaval. The Austin and his daughter Maddy looked at life judges said it was “brilliantly constructed” and with anorexia, exploring the devastating handled with “real journalistic integrity”. impact that the illness has on its victims and Airing three days before the first anniversary of their families, as well as scrutinising the NHS’s Cox’s death, the 60-minute film was praised for its approach to treatment. Maddy’s interviews with Prince William and Health Secretary sensitive handling of the incident. Jo Cox: Death Of Jeremy Hunt raised the profile of an illness An MP was watched by 1.3 million viewers on BBC2 that causes the highest number of mental and was selected as the closing filmat last year’s health-related deaths in the UK. Sheffield Doc/Fest.

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SHORTLISTED THE ACCUSED Brinkworth Films for Channel 5 The feature-length procedural documentary aimed to offer an insight into the life of a young mother accused of failing to protect her children from her abusive partner. The one- off – dubbed “brave and beautifully realised” by one judge – gripped an audience of more than 1 million and went on to spawn a full series.

MUTINY Windfall Films and Motion Content Group for Channel 4 SAS veteran Ant Middleton led a crew of nine men attempting to replicate Captain Bligh’s journey across the Pacific Ocean in 1789 for this four-parter. Transporting an average audi- ence of more than 2 million viewers, this was a triumphant mix of action and adventure with a strong historical narrative.

THE REAL FULL MONTY Spun Gold TV for ITV Raising awareness of prostrate cancer was as vital for the producers as celebrating the 20th anniversary of the iconic British film. Peaking with 6 million viewers, a challenging OLD PEOPLE’S HOME FOR 4 YEAR OLDS casting process involved approaching 600-plus men to find the handful prepared CPL Productions for Channel 4 to strip naked on camera, including Dom Littlewood and Wayne Sleep. A 90-minute second special follows in 2019. alfway through this social experiment, 89-year- old naysayer Hamish was captured rolling around THE TRIAL: A MURDER IN THE FAMILY on the floor roaring like a lion for a group of H Dragonfly for Channel 4 excited children. A smart and The fixed-rig, unscripted retelling of a fictional The unscripted moment, which surprised his peers as seductive way murder allowed viewers to get a glimpse much as the CPL production team, was a clear indicator inside off-limits areas, including a trial’s that the brave format would work. of tackling jury room. Following a nine-day, 35-camera Inspired by a retirement community established in a a sad and shoot, producers were faced with editing a five-part series that kept the audience nursery in Seattle 25 years ago, Old People’s Home For heavy subject guessing. One judge called it a “compelling 4 Year Olds mixed 11 residents from Bristol care home and extraordinary piece of programming”. St Monica with a group of 10 children. It was the first attempt to medically assess the impact THIS TIME NEXT YEAR of bringing together the old and young on a daily basis Twofour for ITV The genre-bending ‘time-travelling’ studio for a series of shared activities. format, fronted by Davina McCall, allowed As well as improving the quality of the old people’s viewers to see in an instant whether partici- lives, the programme set out to establish whether it pants had succeeded in a series of year- would benefittheir health in a measurable way. long personal changes. One judge praised A series of geriatric specialists were consulted to its ability to “innovate in a saturated part of the schedule”. It was quickly recommis- see what kind of tests were possible and to find out sioned for two further series. if anyone believed a set of measurable and credible results could be delivered. The two-parter was stripped across two nights in August to an average of 3 million viewers. “A smart and seductive way of tackling a sad and heavy subject,” said one judge. Underlining the success of the format, the two-parter was followed by an hour-long festive special.

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SHORTLISTED APPLE TREE YARD Kudos for BBC One Amanda Coe’s adaptation of Louise Doughty’s thriller, in which an eminent scientist is caught up in a compromising affair, was put together by a predominantly female team. Airing in a 9pm Sunday night slot, the four-parter became the highest- rated new drama launch in almost 12 months and went on to grip an average audience of more than 7 million.

THE CROWN Left Bank Pictures for Netflix Peter Morgan’s sophisticated story has come to symbolise the inexorable rise of the SVoD giant. The sumptuous 10-part first series, with its meticulous attention to detail, focused on Queen Elizabeth II’s relationship with Winston Churchill to offer viewers some insight into the life of Britain’s longest- serving monarch.

LITTLE BOY BLUE ITV Studios for ITV Shot on location across Liverpool and Manchester, Jeff Pope’s hard-hitting four- THREE GIRLS parter followed the police investigation into the tragic killing of 11-year-old Rhys Jones in BBC Studios and Studio Lambert for BBC One 2007. The show, which achieved a 26% share in its 9pm slot, included a standout scene shot at Everton FC’s Goodison Park in hile the true story of the 2012 Rochdale grooming front of 38,0000 fans. case, which led to nine successful prosecutions, was the debut drama for Studio Lambert, it was NATIONAL TREASURE W The Forge for Channel 4 produced by a highly experienced team including exec The most Jack Thorne’s intensively researched producer Susan Hogg and director Philippa Lowthorpe. powerful series tackled head on the issues raised The three-part BBC Studios co-production was put by the police’s sexual abuse investigation, together by screenwriter Nicole Taylor, following multiple indictment Operation Yewtree. The Forge’s provocative interviews with the victims of rape and trafficking and of a system drama, starring Robbie Coltrane and Julie their families. It resulted in a drama that gave the that failed Walters, contained many scenes involving abused the voice they had previously been denied. long, continuous takes to produce a these girls claustrophobic version of events. While Maxine Peake and Lesley Sharp were cast as the whistleblowers, hundreds of young actresses were TIN STAR auditioned to find a trio with the ability to be natural on Kudos for Sky Atlantic screen. The youngest, Liv Hill, was just 16 and required With the ambition of delivering a 10-hour a psychological assessment to make sure she was show of cinematic proportions, Rowan Joffe’s darkly comic thriller was four years in the strong enough to handle the piece. making. The emotional rollercoaster, shot Stripped across three nights in May, the show gripped across six months against the backdrop of an average of 9 million viewers and added a further western Canada’s mountainous landscapes, 2.3 million iPlayer views for the first episode alone. followed Tim Roth as an anarchic detective The judges’ comments reflected their admiration for who lands in a small town transformed by the arrival of an oil company. the way in which a “gruelling” story was told with aplomb. “Powerful, devastating and compelling,” said one, adding that the decision to tell the story from a dif- ferent perspective challenged viewers’ preconceptions. “The most powerful indictment of a system that failed these girls,” said another judge. “It is your civic duty to watch this show.”

BROADCASTNOW.CO.UK Broadcast AWARDS 2018 | 39 Congratulations to tonights winners from your friends at CTV

CTV Outside Broadcasts Ltd - 3 The Merlin Centre, Lancaster Road, High Wycombe, HP12 3QL Adam Berger: [email protected] / Bill Morris: [email protected] / [email protected] / 020 8453 8989 / www.ctvob.co.uk

Photo credits: London Marathon: Ian Davidson/Alamy Stock Photo. Burghley Horse Trials: Paul Marriott/REX/Shutterstock. NFL International Series: Action Plus Sports Images/Alamy Stock Photo Cricket: Pakistan Tour of England: Matt West/BPI/REX/Shutterstock. BAFTA Awards: BAFTA/Richard Kendal. Boat Race: Duncan Grove/Alamy Stock Photo Brit Awards – Robbie Williams: David Fisher/REX/Shutterstock. Golf Open Championship: DDP USA/REX/Shutterstock. Victoria’s Secret Fashion Show: WENN Ltd/Alamy Stock Photo Award sponsored by SPECIAL RECOGNITION

SIR DAVID ATTENBOROUGH Natural history pioneer and British broadcasting legend

rom Zoo Quest in the 1950s to last Shard in London. In total, the series year’s Blue Planet II, Sir David reached 51% of UK households. F Attenborough’s career in natural In 2015, Attenborough met with history programming is unparalleled. then US president Barack Obama, His endless His endless delight and curiosity in the who expressed his admiration for the delight and world, and his immense programme- broadcaster’s work and told him that making craft, have made him among the world was not moving fast enough curiosity in the most infl uential producers in to combat climate change. It is a the world, British TV history. subject close to Attenborough’s heart. and his Of course, he also had an infl uential From The Private Life Of Plants to immense career as an executive, overseeing the Life Of Birds, there are a vast number programme- fi rst ever colour broadcasts as controller of career highlights, yet Attenborough’s of BBC Two and commissioning brand of natural history has never making craft, Kenneth Clark’s Civilisation, the land- been more popular than it is now. have made mark series that is being reimagined Blue Planet II was 2017’s most viewed him among the this year for the same channel. Atten- programme, with consolidated most infl uential borough adopted a similar form of epic ratings of just over 14 million even producers in storytelling for Life On Earth, which in before iPlayer requests. many ways became the template for the Ahead of the launch of the series, British TV blue-chip natural history programming Attenborough told BBC Science editor with which he is so closely associated. David Shukman: “What we are discov- Planet Earth II, the unanimous ering, almost always, is that the world winner of Best Documentary Series, is more intricate, more wonderful and was four years in the making. It more astonishing than we ever dreamed opened with Attenborough in a of.” That he has helped television play hot-air balloon above the Alps, and a vital role in those discoveries is his closed with him at the top of The crowning achievement.

BROADCASTNOW.CO.UK Broadcast AWARDS 2018 | 41 Broadcast Awards 2018 Ad Chosen 2.indd 1 19/1/18 18:48:17 Award sponsored by THE TIMELINE TV MOMENT OF THE YEAR

WHAT WAS TV’S MOST MEMORABLE MOMENT OF 2017? The 10-strong shortlist was chosen by Broadcast subscribers in the weeks leading up to the awards, with the winner voted for by everyone in the room on the night. What was your pick?

BBC WORLD NEWS HAVE I GOT NEWS FOR YOU BBC NEWS FOR BBC WORLD NEWS HAT TRICK PRODUCTIONS FOR BBC ONE Professor Robert Kelly’s live interview Jo Brand puts male panellists in their place is gate-crashed by his kids Jo Brand hosted the comedy panel show in a Who would have thought a news interview about week when the news was dominated by allega- South Korean politics would become one of the tions of sexual harassment. She rebuked the all- most shared clips of the year? Professor Robert male panel of Ian Hislop, Paul Merton, Quentin Kelly will surely never forget to lock his home offi ce Letts and Miles Jupp for not taking the allega- door again, after he was hilariously disrupted by tions seriously, and pointed out she was the “only his curious offspring and his panic-stricken wife. representative of the female gender here today”.

BLUE PLANET II ITV ELECTION NIGHT BBC STUDIOS & THE OPEN UNIVERSITY ITV NEWS FOR ITV FOR BBC ONE George Osborne and Ed Balls revel in The phenomenon of transgender Theresa May’s election catastrophe fi sh is revealed Former political foes George Osborne and Ed Viewers were left stunned when a female Asian Balls had many a battle over the despatch box, Sheepshead Wrasse fi sh, having been rebuffed but formed a formidable partnership for ITV on by a potential male partner, entered a hole in the night of the general election. The pair strug- the coral reef, only to emerge months later gled to hide their grins when exit polls indicated having switched gender. that Theresa May had lost her majority.

DOCTOR WHO LOVE ISLAND BBC WALES FOR BBC ONE ITV STUDIOS AND MOTION CONTENT Jodie Whittaker is revealed as the fi rst GROUP FOR ITV2 female Doctor Amber’s face is a picture when new girl The Time Lord’s regeneration has become a huge Georgia picks Kem event in recent years, but none has attracted Former TOWIE star Georgia Harrison set the cat so much attention as number 13. When Jodie among the pigeons when she was dropped into Whittaker lifted her hood to reveal herself as Peter the reality show, choosing to couple up with Kem Capaldi’s successor, she set social media ablaze within hours of arriving. That did not go down and brought the series fully into the modern era. well with Amber, who’s reaction was priceless.

GAME OF THRONES RICH HOUSE, POOR HOUSE HBO & BIG LITTLEHEAD FOR SKY ATLANTIC HAT TRICK PRODUCTIONS FOR CHANNEL 5 Drogon roasts the Lannister army AJ is gifted football boots HBO’s drama pulled out all the stops for the epic Warehouse worker Anthony Williams opted to The Spoils Of War episode. During a battle spend his new £1,700-a-week budget on gifts between the Dothraki forces and the Lannister for his family. His son AJ had been unable to army, Daenerys Targaryen unleashed her fi ery play football at school as he had grown out of and rampaging Drogon upon the enemy, allowing his boots and his family couldn’t afford a new the Dothraki to break through and slaughter the pair. When his dad presented him with some, knights and foot soldiers of Westeros. AJ cried with joy, as did many of those watching.

GONE TO POT TASKMASTER BETTY FOR ITV AVALON FOR DAVE Christopher Biggins pulls a whitey Song from the fi nal: ‘Rosalind’s One of ITV’s most eye-opening 2017 commissions a Fucking Nightmare’ sent fi ve celebrities on a tour of the US in a Mark Watson and Nish Kumar arguably had the psychedelic bus to explore the legalisation of better-crafted ditty, but Bob Mortimer, Sally Phillips cannabis. In a bid to learn more about the drug, and Aisling Bea’s unbridled gusto in belting out Christopher Biggins helped himself to some a mean-spirited song about someone they had marijuana ice-cream, before retreating to the just met was infectious. The trio spared nothing back of the vehicle, vomiting and crying “help.” in their hilarious 90-second string of put-downs.

BROADCASTNOW.CO.UK Broadcast AWARDS 2018 | 43 Congratulations to all of this year’s winners and nominees

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Broadcast Awards Programme Guide _FA.indd 1 15/01/2018 4:30 PM Award sponsored by BEST POST-PRODUCTION HOUSE

SHORTLISTED DOCK 10 It was a busy year for the Salford post- production house, which acquired Manchester’s long-standing VFX studio 422, rebranding it as Dock 10 VFX. It was a move that enabled Dock 10 to provide a full range of post services to a wider client base working across broadcast, commercials and corporate productions.

ENVY Envy is now 12 years old and has had a huge impact on the post scene during its rapid expansion across its Fitzrovia heartland. Towards the end of 2016, it opened its sixth Fitzrovia facility – the home of commer- cials and short-form wing Envy Advertising – and continued its growth shortly after, with a new floor on top of the building, housing yet more edit suites.

HALO POST PRODUCTION Halo underwent significant growth last year, opening a dedicated offline editing facility on Brewer Street that eliminated the need to set up ‘pop-up’ cutting rooms during busy periods. It also bolstered its immersive FILMS AT 59 sound-mixing facilities through major Dolby Atmos updates to two of its audio suites, including its flagship Studio One. ilms at 59 has been a dominant force in Bristol’s post-production community for 28 years. It MOLINARE TV & FILM employs 120 people and has offices acrossthe city Molinare became an early pioneer of 4K UHD F picture post when it worked on one of Netflix’s – in Cotham Hill, West Park and Whiteladies Road – as To deliver first UK commissions, The Crown. It was also well as a base in Cardiff. world-class heavily involved in the development of the In addition to its extensive post-production offering, workflow for the pioneering drama series. it runs a large-scale camera-hire operation that pro- productions, The facility has continued to invest in a vides filming kit for many of the productions it posts. through best- wide range of technology to support a new The post side of the business recently underwent infrastructure designed specifically for the in-class talent growing demands of 4K post-production. significant expansion, with an additional Baselight Two from a regional grading system installed to meet increasing demand, post house, TECHNICOLOR plus upgrades to its online suites and investment in its Technicolor acquired respected VFX company storage and archiving systems. deserves Munky towards the end of 2016 in a move One of the highlights for Films at 59 in 2017 was celebration that added extensive VFX services to its landmark natural history series Planet Earth II. The audio and picture post facilities. The firm works across TV and feature films, and judges admired its work on this and other standout recently enjoyed a 20% growth in demand productions, including BBC One drama series Three for broadcast work, in particular for high-end Girls (pictured), with one commenting that Films at 59 4K and HDR work for OTT providers. works on an “impressive range of programmes and a diverse slate. The content looks great.” Another judged added: “I am particularly impressed with the way it takes the multi-format Planet Earth footage and turns the material into a seamless piece of beauty.” Films at 59 was also recognised for providing best-in- breed post-production services outside of London. One judge summed it up: “To deliver world-class productions, through best-in-class talent from a regional post house, deserves celebration.”

BROADCASTNOW.CO.UK Broadcast AWARDS 2018 | 45 “Good night, and good luck.”

We’ve been delighted to sponsor every Broadcast Award for the Best Independent Production Company since the very start all those 23 years ago. Now we’re preparing to take our own final bow, we want to send a huge thank you to all the friends we’ve made along the way. We’ve loved every minute of it.

P.S. For television historians, the famous sign-off catchphrase belonged to 1950s CBS News personality Edward R. Murrow. Award sponsored by BEST INDEPENDENT PRODUCTION COMPANY

SHORTLISTED KUDOS The old and the new combined in Kudos’ most profitable year to date. Broadchurch, 2017’s most-watched drama, was on fine form for its final series, while Apple Tree Yard, Tin Star, The Boy With The Topknot, Gunpowder and Man In An Orange Shirt demonstrated scripted excellence across the board.

LOVE PRODUCTIONS The knives were out for Love Productions when it decided to take the nation’s favourite programme from BBC One to Channel 4. That The Great British Bake Off won plaudits and delivered huge audiences in its new home was testament to the indie’s hard work and skill. Muslims Like Us was another significant highlight of a super-strong year.

TWO BROTHERS PICTURES The youngest indie on the shortlist had an incredible breakthrough year, attracting investment from All3Media and at times dominating the schedules with its brand of distinctive drama. The Missing and Fleabag were supreme launch pads for BBC One’s LEFT BANK PICTURES Rellik and, in particular, ITV’s smash hit Liar. TWOFOUR Aptly enough, transformation format This lushed with royal success, it was hard to look beyond Time Next Year has been transformative for Left Bank in the Best Independent Production Twofour. The winner of Best International Company category. Few shows have attained land- Programme Sales was a global smash that F inspired spin-offs, and added to the indie’s mark status in the manner of its Netflix seriesThe With its broad barnstorming slate of The Real Marigold Crown (pictured). In many ways, it has come to repre- Hotel, The Jump and The Hotel Inspector. sent the vast, arguably unique, opportunity that the customer base, global SVoD revolution offers British producers. outstanding WALL TO WALL With so much focus on The Crown’s budget and signifi- relationships Few indies would have been able to respond cance, it is easy to overlook just how good it was. Peter with talent and to the loss of The Voice UK as well as Wall to Morgan’s scripts, sharp direction from Stephen Daldry, Wall. From Anita Rani’s acclaimed BBC Two cross-genre series My Family, Partition And Me to Danny Philip Martin and others, and outstanding performances expertise, Dyer’s award-winning turn on Who Do You from Claire Foy and Matt Smith, combined in a series Think You Are?, a stripped week of Channel 4’s that offered character development, well-paced narrative Left Bank sits Child Genius and ITV’s Little Big Shots, it and beautiful visuals. It cut through in a way that is at the top table remains a non-scripted powerhouse. normally reserved for drama on BBC One or ITV. of scripted The Crown wasn’t the only Left Bank SVoD success, producers either. Amazon pilot Oasis, an adaptation of Michel Faber’s The Book of Strange New Things, was another show with an eyewatering budget and vast ambition (it was set on Mars). Then there was Origin, a 10-part sci-fi thriller for emerging platform YouTube Red, created, written and executive produced by Mika Watkins. And it delivered for traditional broadcasters too: The Replacement picked up more than 7 million viewers on BBC One, Electric Dreams lit up C4 and AMC, and Strike Back made a strong return to Cinemax and Sky 1 after a break. With its broad customer base, outstanding relation- ships with talent and cross-genre expertise, Left Bank sits at the top table of scripted producers.

BROADCASTNOW.CO.UK Broadcast AWARDS 2018 | 47

Award sponsored by CHANNEL OF THE YEAR

SHORTLISTED BBC THREE The reigning Broadcast Digital Awards Channel of the Year, BBC Three has turned its controversial reinvention as an online-only proposition into a strength. Scripted shows such as Clique, This Country and Murdered For Being Different all made waves, and Things Not To Say was a perfect illustration of snappy, short-form public service content.

CHANNEL 4 Buying The Great British Bake Off was a risk that generated plenty of wrath towards Channel 4, but the show launched fantasti- cally – albeit with a Twitter mishap from one of the judges. Elsewhere, Mutiny, The State, The Trial and Old People’s Home For Four Year Olds were highlights, and The Handmaid’s Tale was arguably the acquisition of the year.

CHANNEL 5 The momentum around Channel 5 is undeni- able. Some 80% of the peaktime schedule is origination and shows such as The Yorkshire Vet, GPs: Behind Closed Doors and Rich House, Poor House have given it a clear and appealing identity. Reputational docs such BBC ONE as Slum Britain 50 Years On and The Accused dovetail with the likes of Blind Date and One Night With My Ex. t could have been a disastrous year for BBC One: no Bake Off or The Voice UK, a sixth episode of Coronation ITV Street to contend with on ITV and not a World Cup A barnstorming conclusion to Broadchurch I was just one of ITV’s highlights as Kevin or Olympics in sight. Instead, the channel unleashed a The channel Lygo’s schedule comes together. The Real raft of critically acclaimed shows that struck the perfect unleashed a Full Monty pointed to a future of event pro- balance between distinctiveness and popularity. gramming, psychological thriller Liar got the Planet Earth II rewrote the rules for natural history, while raft of critically nation talking, Harry Hill’s Alien Fun Capsule The Moorside (pictured) and Three Girls did the same for acclaimed was a zany delight and Little Boy Blue pushed real-life drama. The former was a hit with younger viewers shows that crime drama into an interesting new space. thanks to its fresh contemporary feel, while the latter two struck the ITV2 tackled tough social issues with impeccable tone and craft. perfect balance There is an argument that Love Island was Elsewhere, Michael McIntyre emerged as premier the show of the year, proving that not only will league Saturday night talent, with his Big Show joining between young people still watch telly, but they will do Strictly Come Dancing as an entertainment banker, distinctiveness so night after night, day after day. Expertly while the excellent Rio Ferdinand: Being Mum And made – there’s no sneering at its contest- and popularity ants, and it was unafraid to rip up story plans Dad showed that a documentary about grief can play in favour of interesting developments – it perfectly to a mainstream audience. helped ITV2 become the top digital channel There was plenty of innovation elsewhere too: dark for 16-34s for the first time ever. drama Taboo played in a Saturday night slot, the decision was taken to introduce the first femaleDoctor Who, and the automated cameras of Spy In The Wild provided a different perspective on wildlife programming. Its returners were at the top of their game – see Country­file, the quickly established Eat Well For Less and the Danny Dyer episode of Who Do You Think You Are? – while new gems included Ambulance, Damilola Our Loved Boy, The Last Miners and Apple Tree Yard. With the biggest budget in British TV, BBC One needs to do a lot to win Channel of the Year. In 2017, it did plenty.

BROADCASTNOW.CO.UK Broadcast AWARDS 2018 | 49 ROLL OF HONOUR

ENTERTAINMENT CHILDREN’S DRAMA SERIES OR SERIAL ORIGINAL PROGRAMME 2018 Taskmaster Avalon for Dave 2018 Horrible Histories Lion Television 2018 Three Girls BBC Studios and Studio 2018 Old People’s Home For 4 Year Olds 2017 The Last Leg Open Mike for C4 for CBBC Lambert for BBC1 CPL Productions for C4 2016 Britain’s Got Talent Thames/Syco 2017 My Life: The Boy on the Bicycle 2017 This Is England ’90 Warp Films for C4 2017 Fleabag Two Brothers Pictures for Production for ITV Drummer TV for CBBC 2016 Doctor Foster Drama Republic BBC3 2015 Ant And Dec’s Saturday Night 2016 So Awkward Channel X North for for BBC1 2016 Car Share Goodnight Vienna Takeaway ITV Studios/Mitre CBBC 2015 Happy Valley Red Production Productions for BBC1 Television for ITV 2015 Operation Ouch! Goes Back In Time Company for BBC1 2015 Glasgow Girls Minnow Films 2014 Ant And Dec’s Saturday Night Maverick TV for CBBC 2014 Broadchurch Kudos for ITV for BBC3 Takeaway ITV Studios/Mitre 2014 Mr Stink BBC Productions in 2013 Top Boy Cowboy Films/Easter 2014 Gogglebox Studio Lambert for C4 Television for ITV association with Bert Productions Partisan for Channel 4 2013 Holy Flying Circus Hillbilly 2013 Dynamo: Magician Impossible for BBC1 2012 Downton Abbey Carnival Film & Television for BBC4 Phil McIntyre Entertainment/ 2013 Newsround: My Autism And Me Television for ITV1 2012 The Trip Revolution Films/Baby Inner Circle Films for Watch BBC Productions for CBBC 2011 Five Daughters BBC Productions Cow/Arbie for BBC2 2012 Dynamo: Magician Impossible Phil 2012 Grizzly Tales Grizzly TV for for BBC1 2011 Misfits Clerkenwell Films for E4 McIntyre Entertainment for Watch Nickelodeon UK 2011 The Cube Objective Productions 2011 The Gruffalo Magic Light Pictures in SOAP OR CONTINUING DRAMA MUSIC for ITV1 association with Studio Soi for BBC1 2018 Hollyoaks Lime Pictures for C4 2018 Four To The Floor Lemonade Money 2017 Emmerdale ITV Studios for ITV for C4 MULTICHANNEL POPULAR FACTUAL 2016 Emmerdale ITV Studios for ITV 2017 Adele at the BBC BBC Studios for 2018 Who Do You Think You Are? Wall to 2018 Love Island ITV Studios and Motion 2015 EastEnders BBC Drama Production BBC1 Wall for BBC1 Content Group for ITV2 London for BBC1 2016 Four To The Floor Lemonade Money 2017 The Real Marigold Hotel Twofour for 2017 Fleabag Two Brothers Pictures 2014 Coronation Street ITV Studios for ITV for C4 BBC2 for BBC3 2013 Coronation Street ITV Studios for ITV1 2015 Coldplay: Ghost Stories JA Digital for 2016 The Secret Life Of 4 Year Olds RDF 2016 Reggie Yates’ Extreme Russia 2012 Coronation Street ITV Studios for ITV1 Sky Arts Television for Channel 4 Sundog for BBC3 2011 Emmerdale ITV Studios for ITV1 2014 Glastonbury 2013 Glastonbury 2015 The Great British Bake Off Love 2015 Uncle Baby Cow for BBC3 Festivals for BBC2/3/4 Productions for BBC1 2014 A Young Doctor’s Notebook Big Talk NEWS & CURRENT AFFAIRS 2013 The Queen’s Diamond Jubilee 2014 Gogglebox Studio Lambert for C4 Productions for Sky Arts 1 2018 Jo Cox: Death Of An MP Amos Concert BBC Entertainment and 2013 Make Bradford British Love 2013 Cardinal Burns Left Bank Pictures Pictures for BBC2 Events for BBC1 Productions for Channel 4 for E4 2017 Three Days of Terror: The Charlie 2012 Frankenstein’s Wedding BBC 2012 Hugh’s Fish Fight Keo Films for C4 2012 Our War BBC Productions for BBC3 Hebdo Attacks Amos Pictures for Productions for BBC3 2011 Embarrassing Bodies Maverick 2011 Misfits Clerkenwell Films for E4 BBC2 2011 Glastonbury 2010 BBC/Glastonbury Television for C4 2016 Dispatches: Escape From Isis ITNP/ Festivals for BBC2 DOCUMENTARY SERIES Ronachan Films/Evan Williams DOCUMENTARY PROGRAMME 2018 Planet Earth II BBC Studios Natural Productions/Mediante for C4 POST-PRODUCTION HOUSE 2018 Rio Ferdinand: Being Mum And Dad History Unit, BBC America, ZDF, 2015 Dispatches: Nigeria’s Hidden War 2018 Films at 59 Only the Best Productions for BBC1 Tencent and France Télévisions Evan Williams Productions for C4 2017 Envy 2017 Interview with A Murderer Monster for BBC1 2014 Syria Across The Lines Channel 4 2016 Halo Post Production Films and ITN Productions for C4 2017 Exodus: Our Journey Into Europe Dispatches/Quicksilver for C4 2015 Envy 2016 The Paedophile Hunter Amos Keo Films and The Open University 2013 Sri Lanka’s Killing Fields: War Crimes 2014 Halo Post Production Pictures for Channel 4 for BBC2 Unpunished ITN Productions for C4 2013 Envy 2015 Storyville: Pussy Riot – A Punk 2016 The Romanians Are Coming Keo 2012 The Fall Of Tripoli Sky News for Sky 2012 Molinare Prayer Roast Beef TV for BBC4 Films for Channel 4 News 2011 Clear Cut Pictures 2014 The Murder Trial Windfall Films for 2015 Bedlam The Garden for C4 2011 Our War, Their War: Afghanistan ITN Channel 4 2014 Educating Yorkshire Twofour for C4 for C4 SPECIAL RECOGNITION 2013 7/7: One Day In London Minnow 2013 Educating Essex Twofour for C4 2018 Sir David Attenborough COMEDY Films for BBC2 2012 Our War BBC Productions for BBC3 2017 Later… With jools Holland BBC 2012 Panorama – Undercover Care: the 2011 Welcome To Lagos Keo Films for BBC2 2018 Catastrophe Merman Films and Studios for BBC2 Abuse Exposed BBC Productions Birdbath Productions for C4 2016 Have I Got News For You Hat SINGLE DRAMA for BBC1 2017 Mum Big Talk Productions for BBC2 Trick Productions for BBC1 2011 Cutting Edge Katie: My Beautiful 2018 Black Mirror: San Junipero 2016 Catastrophe Avalon TV/Birdbath 2015 Match Of The Day Face Mentorn Media for Channel 4 House of Tomorrow for Netflix Productions/Merman Films for C4 2017 Ellen Touchpaper Television for C4 2015 Harry And Paul’s Story Of The Twos INDEPENDENT PRODUCTION COMPANY INTERNATIONAL PROGRAMME SALES 2016 Marvellous Fifty Fathoms and Tiger Balloon Entertainment for BBC2 2018 Left Bank Pictures 2018 This Time Next Year Twofour Rights Aspect for BBC2 2014 A Touch Of Cloth II: Undercover Cloth 2017 Big Talk Productions 2017 The Last Panthers Sky Vision and 2015 Common LA Productions for BBC1 Zeppotron for Sky One 2016 Tiger Aspect Productions StudioCanal for Warp Films and Haut 2014 The Girl Wall to Wall/Warner Bros 2013 Cardinal Burns Left Bank Pictures 2015 Love Productions et Court TV Entertainment/Moonlighting for HBO for E4 2014 Twofour 2016 Fortitude Sky Vision for Fifty Fathoms and BBC2 2012 The Inbetweeners Bwark Productions 2013 Red Production Company 2015 The X Factor UK Fremantle Media Int’l 2013 My Murder BBC Productions for E4 2012 Carnival Film & Television 2014 Broadchurch Kudos for ITV for BBC3 2011 The Thick Of It BBC Productions 2011 Left Bank Pictures 2013 The Audience ITV Studios GE 2012 Appropriate Adult ITV Studios for ITV1 for BBC2 2012 Big Fat Gypsy Weddings Zodiak 2011 Small Island Ruby Films/AL Films for CHANNEL OF THE YEAR SPORTS Rights BBC1 2018 BBC1 2011 Undercover Boss Studio Lambert 2018 Anthony Joshua v Wladimir Klitschko 2017 Channel 4 PRE-SCHOOL Sky Sports for Sky Box Office 2016 Channel 4 DAYTIME 2018 Apple Tree House Five Apples 2017 Rio 2016 Paralympic Games 2015 BBC1 2018 Extreme Cakemakers for CBeebies Sunset+Vine for Channel 4 2014 ITV Boomerang for C4 2017 Topsy and Tim Darrall Macqueen 2016 The 2015 Investec Ashes Series 2013 BBC2 2017 The Question Jury for CBeebies Sky Sports for Sky Sports Ashes 2012 Sky 1 Monkey Kingdom for C4 2016 Clangers Clangers Production team 2015 The Grand National 2014 IMG 2011 E4 2016 The People Remember BBC for CBeebies Productions for C4 Productions Wales for BBC1 2015 Lily’s Driftwood Bay Sixteen South 2014 The 2012 Ryder Cup Sky Sports 2015 Couples Come Dine With Me Shiver for Nick Jr for Sky Sports and Sky 3D for C4 2014 Rastamouse The Rastamouse 2013 The Olympics BBC Sport for BBC 2014 The Sheriffs Are Coming Company for CBeebies 2012 F1 Abu Dhabi BBC Productions Screenchannel Television for BBC1 2013 Baby Jake Darrall Macqueen for BBC1 2013 The Chase ITV Studios for ITV1 for CBeebies 2011 Indian Premier League Final 2012 The Indian Doctor Avatar 2012 Rastamouse Three Stones Media/ IMG Media for ITV4 Productions/Rondo Media for BBC1 Rastamouse Company for CBeebies 2011 Climbing Great Buildings ITN 2011 Something Special CBeebies for Productions for BBC2 CBeebies

Broadcast Editor Chris Curtis Supplement Editor Robin Parker Production Editor Dominic Needham Art Editor Abi Hardwick Group Art Director, Media Peter Gingell Contributors Ann-Marie Corvin, Alex Farber, Matt Goldbart, Jessica Goodfellow, Manori Ravindran Senior Sales Manager Talia Levine Senior Account Manager Richard Hewes Awards Manager Dee Adeosun Managing Director, MBI Alison Pitchford Chief Executive, MBI Conor Dignam

Broadcast AWARDS 2018 | 50 BROADCASTNOW.CO.UK broadcastawards.co.uk