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September 2020

Gripping drama from ITV Television www.rts.org.uk September 2013 1 HOW DO WE CREATE MODERN ORCHESTRAL MUSIC?

We fuse a classical approach with modern production techniques – from epic, panoramic and inspirational to bold new hybrid soundscapes.

From big screen to small, tell incredible stories with Modern Orchestral music.

Find out more Naomi Koh [email protected] | +44 (0)207 566 1441

MODERN ORCHESTRAL_AD SUITE_A4_FA_2.indd 1 24/06/2020 11:28:33 Journal of The Royal Television Society September 2020 l Volume 57/8

From the CEO Our summer may have epitomised by David Olusoga’s forward to ITV’s The Singapore Grip, been highly unusual, MacTaggart Lecture at the Edinburgh adapted by the great Christopher but I am proud to say International Television Festival, a Hampton. Caroline Frost discovers that RTS events came sobering account of his experience what it was like to make the series. thick and fast from of racism while working in television. We also hear from Sky Arts head head office and our Our TV Diarist, Pat Younge, recalls an Phil Edgar-Jones about his plans for centres across the UK. alienating episode of his own during the channel, which goes free-to-air This issue reports some outstanding the early part of his career. He also later this month. sessions: “In conversation with James praises a new generation of black With production recovering, there Purnell”, the BBC’s director of radio activists demanding lasting change. is a growing sense that TV is getting and education, expertly chaired by Also inside, Channel 4’s Maria St back on the front foot after lockdown. Miranda Sawyer; a discussion of The Louis looks at social justice from an Massive credit to the ingenuity of our Salisbury Poisonings from RTS Futures advertising perspective, while Ofcom’s industry for making this happen. Northern Ireland; and a fascinating Vikki Cook responds to Marcus Ryder’s look at the importance of TV brands piece in our last issue. in a cluttered digital landscape. Autumn is traditionally the time Diversity and inclusion remain top when viewing figures surge as the of our sector’s agenda, and were nights draw in. I, for one, am looking Theresa Wise Contents Cover: The Singapore Grip (ITV) Pat Younge’s TV Diary Heart-melting viewing David Olusoga’s powerful MacTaggart lecture contained ITV family favourite Dancing on Ice has broken 5 uncomfortable personal echoes for Pat Younge 16 taboos. Now it is preparing to socially distance Take Five... Inspiration to all Kate Holman and Imani Cottrell update Sky Arts is about to debut as a free service. 6 us on five social media trends 18 Phil Edgar-Jones, the man in charge, explains to Steve Clarke what new viewers can expect Our Friend in the North East Graeme Thompson asks if the infamous ‘exams algorithm’ Brand recognition is only half the story 7 also informed the BBC’s plan to axe regional services An RTS event showed how platforms and broadcasters 20 can cut through digital clutter Working Lives: military advisor HOW DO WE CREATE MODERN Military advisor Paul Biddiss is interviewed by Matthew Bell Time for truth 8 The writers of The Salisbury Poisonings tell the RTS why Comfort Classic: Gilmore Girls 22 gaining the confidence of local people was critical to the ORCHESTRAL MUSIC? A gentle guide to getting older and wiser, which drama’s success Moya Lothian-McLean returns to again and again 10 Diversity: Ofcom puts action before words Ear Candy: HBO’s Succession Podcast Vikki Cook responds to Marcus Ryder’s article in our We fuse a classical approach with modern production Podcast host Roger Bennett takes character analysis 24 last issue by outlining what Ofcom is doing to improve techniques – from epic, panoramic and inspirational 11 to a new level, hears Harry Bennett minority ethnic representation in television An epic story of imperial hubris A lesson for the BBC’s future? to bold new hybrid soundscapes. ITV’s adaptation of JG Farrell’s novel The Singapore Grip has James Purnell tells Miranda Sawyer how the BBC acted 12 many contemporary resonances, discovers Caroline Frost 26 fast to transform its education service in lockdown – and why he’s a licence-fee fundamentalist From big screen to small, tell incredible stories with A sketch show defying gravity Shilpa Ganatra examines why BBC Three’s Famalam, a Brands and broadcasters must seize the time Modern Orchestral music. 14 huge hit on social media, is making big waves with its Maria St Louis puts forward a three-point plan to build third series 28 genuinely diverse teams in the media sector

Editor Production, design, advertising Royal Television Society Subscription rates Printing Legal notice Find out more Steve Clarke Gordon Jamieson 3 Dorset Rise UK £115 ISSN 0308-454X © Royal Television Society 2020. [email protected] [email protected] London EC4Y 8EN Overseas (surface) £146.11 Printer: FE Burman The views expressed in Television News editor and writer Sub-editor T: 020 7822 2810 Overseas (airmail) £172.22 20 Crimscott Street are not necessarily those of the RTS. Naomi Koh Matthew Bell Sarah Bancroft E: [email protected] Enquiries: [email protected] London SE1 5TP Registered Charity 313 728 [email protected] | +44 (0)207 566 1441 [email protected] [email protected] W: www.rts.org.uk

Television www.rts.org.uk September 2020 3

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David Olusoga’s powerful MacTaggart lecture contained uncomfortable personal echoes for Pat Younge

t’s been an unusually ■ We have a series in production, Am about, because David tackled head- domestic and turbulent Dro!, for S4C, showcasing the beauty on that hoary old race/class question month. Covid-19 wiped out and characters of the Welsh country and the pernicious ways race and the idea of piggy-backing side. However, because of Covid class biases push you to the industry’s on my wife’s work trip to guidelines, we’ve had to review and edges and often out of the door. Tokyo, the family holiday rework everything from minibuses It happened to me, when I was a in Greece and travelling to to toilets to packed lunches. It’s been local news correspondent at BBC Edinburgh for the TV festival. an interesting creative and logistical Newsroom South East. It was 1994 and I IBut it’s not been quiet, as the challenge. So far, so good. was taken aside by my boss and told reverberations of the death in May I just wish we could rework the that, “while your accent sounds just of George Floyd, under the knee of bloody weather. like most people in this region, it’s not an American cop, are still being felt RP and we have a lot of BBC senior in August. ■ I thought this month would be a execs who watch our show”. The It triggered an interest in race and good time to start to learn the Welsh solution was to enrol me, aged 30, race relations that we’ve probably not language. I studied in Cardiff for in elocution lessons. seen here since the New Cross fire five years, support Welsh rugby and One night, it took me three hours and Brixton riots in 1981. And, after a can sing the national anthem – but to record a 40-second voice piece. It lot of soul searching in the TV indus- never learnt the language. Given our was confidence-sapping and soul- try, the commitments have come long-term commitment to Cardiff, destroying. Luckily, I had producing thick and fast. and working closely with Welsh- experience from LWT and managed I’m old enough to have been here language producers and S4C and to get into an off-screen role and before, many times, so it was great to BBC Cymru/Wales, it seems like the restart my career. Many didn’t have see a new generation of activists on right thing to do. the opportunity of a second chance. the scene taking up the battle, such as I took advice from Adrian Chiles, Adeel Amini and the BAME TV Task who’d been learning the language for ■ The month ended with our second Force. Let’s hope they will find the an S4C show, and have subscribed to broadcast, again for Channel 4, Peter: allies to get this done. a tuition service. Come back to me The Human Cyborg. If you wanted a next August to find out how I’m doing. film that showed you how technology ■ In May, along with Narinder could be a hedge against the worst Minhas, I left Sugar Films to launch ■ If it’s August, it must be the Mac- impacts of extreme disability, and Cardiff Productions. Early August Taggart lecture, kicking off the how the power of a positive mind- saw the transmission of our first Edinburgh International Television set and unquestioning, devoted love show, The Talk, a co-production with Festival. This year it was digital and could possibly conquer all, this is the Whisper, which also part-funded delivered by David Olusoga. Wow! film for you. the show. What a speech he delivered, not just It is also a fitting tribute to the It went from a casual conversation deeply personal but also with some director, Matt Pelly, who died follow- with Fatima Salaria at Channel 4 to policy prescriptions that invited ing a fatal fall during a filming hiatus, broadcast in just six weeks. Ofcom to regulate diversity or step but who set the style and tone of the Despite Covid-19 and the tight aside for someone who will. film. This one was for him. turnaround, all the talent in the A lot of my black and brown col- senior roles was black, including leagues on social media used the Pat Younge, former chief creative officer camera, sound and editing. I guess it same phrase: “Now I feel seen.” I of BBC Vision Productions, is Managing shows that where there’s a will… understood what they were talking Director of Cardiff Productions.

Television www.rts.org.uk September 2020 5 Take five... Kate Holman and Imani Cottrell update us on five social media trends

enough content to help us all survive Once the reality of spending days, TikTok screen wipes the socially distanced months. The even weeks, creating one small loaf TikTok has allowed any of us to one currently doing the rounds is the set in, people turned their attention to become social media famous, with #2020Challenge. Started by Reese banana the app showcasing new talent sur- Witherspoon, the meme shows the bread. Less facing from viral trends that anyone months of the year so far represented work than can participate in. by different characters. Witherspoon the demand- One of the most popular trends is pulls a range of hilarious facial ing sour- the #WipeItDown challenge, which expressions that become increasingly dough, but shows users as their normal selves in a dramatic as the year goes on. with more mirror before wiping the mirror down Since Witherspoon posted the failed to reveal a surprising alternative image. meme on Instagram, influencers, attempts Stars such as Jason Derulo and Will celebrities and even brands have than suc- Smith have had fun with the trend. recreated the #2020Challenge to show cesses, the The videos are set to the song Wipe It banana bread

Down by BMW Kenny and Theelboy. phase was @happytummy_702 Instagram short-lived. Depop dramas The latest bread trend spreading Who could have known there would across the social platforms is cloud be so much drama on social shopping bread. Soaring in popularity due to app Depop? The weird and wonderful its fluffy, colourful appearance and world of Depop has been catapulted skimpy recipe (a mere three ingredi- to the mainstream after an app user ents), #CloudBread has accumulated set up an Instagram account that 2.5 billion views on TikTok and nearly showcases the best of #DepopDrama. 36,000 posts on Instagram. From outlandish excuses as to why All you need is egg whites, sugar an order was not shipped (“I fell off and cornflour – mixed in with some the edge of a swimming pool and got food colouring to create your own concussion”), to someone acciden- rainbow creations. tally paying £12,000 instead of £12 for a second-hand top, the comments Fitness freaks never fail to shock and amuse. Since lockdown, gyms may be empty

Instagram @hulu Instagram but that hasn’t stopped people from turning to social media to “feel the their own versions of 2020, from burn” with home workouts. Kerry Washington to Netflix. Our Workout queen Chloe Ting has favourites are the depictions of the more than 2.7 million followers on ever-shocking Killing Eve and the Instagram and 14 million subscribers emotional rollercoaster Normal People. on YouTube. She has been spearhead- ing some major fitness transforma- Bread heads tions, uniting people with the hashtag When the UK went into lockdown #ChloeTingChallenge. The hashtag in March, the nation saw a bigger rise involves a daily 20-minute workout to in amateur baking than when a new sculpt a toned and athletic physique.

Instagram @depopdrama Instagram series of Bake Off hits our screens. Ting is not the only one getting With self-raising flour like gold dust, people moving: fitness guru Kayla people found solace in their Insta- Itsines is the personal trainer behind #2020Challenge grammable sourdough creations. the popular #BBG, which stands for Social media is the place to go if you Soon, everyone wanted a slice, and the Bikini Body Guide, and has gar- want to find a great meme to make no social media platform was free nered a legion of fans who credit the light of a difficult situation. And the from the hourly updates of Insta- workout regime with helping them to pandemic has provided more than grammers “feeding” their starters. stay fit and healthy. n

6 OUR FRIEND IN THE NORTH EAST

Graeme Thompson t was Groundhog Day for new current-affairs strand serving six me when news broke that asks if the infamous super-regions led by a commission- the BBC was proposing to ‘exams algorithm’ ing team based in Birmingham. cut £25m from the BBC The 11 existing production teams England budget by 2022. also informed the will be replaced by six slimmed-down Flashback to redundancies hubs, where journalists will make way across regional programme BBC’s plan to axe for content producers. The new York- teams, the culling of popular titles and regional services shire and North West replacement in Icomplaints from audiences seeing and 2021 will have an audience stretching hearing less about where they live. from Haverigg in the west to beyond I was regional director of ITV Tyne Holbeach in the east. Tees & Border when, in 2008, Michael In mileage, that’s the equivalent of a Grade announced £35m of cuts to region spanning Newcastle to London. local news and programmes. Popular In my experience, viewers like network titles such as The Dales Diary, Grundy’s and they value local, but other people’s Wonders and The Way We Were vanished local programming is a hard sell. alongside production teams who also Since the 1990s, the UK has increas- made shows for the network. ingly slashed investment in local econ- No amount of protests and talk of omies to power that of its capital. I ratings success in the regional slots (up remember visiting newsrooms in the against the mighty EastEnders) were US during that period and being told ever going to change ITV’s determina- that TV audiences wouldn’t put up tion to replace local favourites with with a network that spent more time cheaper products. And, from Ofcom’s on Washington news than local activ-

perch overlooking the Thames, the of Sunderland University ity. Not true of England, apparently. commercial arguments all seemed At a time when democracy is under perfectly reasonable. people living in the North East and threat as a result of widespread cuts Fast forward 12 years and the BBC Cumbria, has a BBC TV budget of in commercial radio bulletins and is making the same case. The long- £29m – that’s £15 of TV spend for newspapers, the BBC appears intent running Inside Out current-affairs every viewer. In my English region, on further alienating loyal audiences series and its production teams – the equivalent spend is £1.87. outside London by reducing opportu- who also produce award-winning One of the BBC’s justifications for the nities for them to see and hear their documentaries for the BBC network cuts is its desire to focus on “under- lives and localities reflected online channels – are being axed. served” audiences. I think you could and on-screen. In the case of the North East and safely argue that a publicly funded So, fewer jobs and fewer opportu- Cumbria, Inside Out performed strongly broadcaster already commissioning nities for the next generation of against Coronation Street and ranked little content from a region whose programme-makers. At least the cuts alongside ratings phenomenon The population is bigger than Northern don’t extend to the regional politics Repair Shop in audience appreciation Ireland’s and about the same as Wales slot. These may not be award-winning scores. is, indeed, significantly underserved. programmes, but they’re highly valued Regional TV news and radio services It feels like a rationale utilising the by local MPs, whose opposition to the are also in the line of fire. The axe is same algorithm that levelled down downsizing might just be appeased. not as sharp in the BBC nations. Quite A-level results for comprehensives Ofcom, on the other hand, may prove rightly, home-grown production in but boosted schools teaching Latin. more difficult to convince.n Wales, Northern Ireland and Scotland In its defence, the BBC’s senior is more protected. If only it were the managers argue that the English Graeme Thompson is pro vice-chancellor same for the English regions. regions need to take a share of the for external relations at the University of Northern Ireland, with a population target savings (£125m). Furthermore, Sunderland and Chair of the RTS Educa- smaller in size than the 3 million Inside Out is being replaced with a tion Committee.

Television www.rts.org.uk September 2020 7 WORKING LIVES

Vanity Fair ITV Military advisor

rom staging the Battle action series Strike Back, I was actually suggestion for a scene. I didn’t know of Waterloo for the ITV in the writers room, helping to make that extras on set were meant to be adaptation of Vanity Fair to the stories authentic. seen, not heard. The director, George recreating trench warfare When I have the script, I advise the Clooney, liked my idea. for the Oscar-winning 1917, costumes and props departments on Word got around and I got called in Paul Biddiss ensures that military uniforms and equipment. to run the extras’ boot camps for Fury, battle scenes in TV and film are as Then, I train the cast and supporting starring Brad Pitt as a Second World authenticF as possible. artists in how, for example, to use War tank commander. It all took off weapons realistically and safely. from there. What does the job involve? My job is to support the director and How did you become a military advisor? What was your first TV work? make films realistic from a military It wasn’t planned. I served 24 years as BBC One’s 2016 adaptation of War & perspective. On Sam Mendes’ First a paratrooper in the British Army, sta- Peace was my first big TV project as a World War movie 1917, I was running tioned around the world. After leaving military advisor. I wanted to show up and down the trenches with 500 the army, I worked as a private investi- guys knocking seven bells out of each men, checking they were holding their gator and a bodyguard. other, because that’s what the battle- weapons and equipment the right way. I had a lean period before answering field was like back then when you got an ad for a job as an extra on the 2014 to close quarters. When do you start work on a show? Second World War movie The Monu- There were 500 Lithuanian extras. I Ideally, I’m brought on to a production ments Men. The military advisor was had three days’ notice to study Napo- as early as possible. On the Sky 1 with the main film unit, so I made a leonic warfare. Then, I had to carry out

8 1917 Entertainment One a risk assessment, put a boot camp – the Russian soldiers’ green tunics in hasn’t got the money to keep you on together and train them for the shoot. War & Peace were not always right as set. It’s so frustrating when they get the the shade changed three times details wrong during filming because Do you have to have been in the army between the periods depicted. there’s no military advisor on hand. to work as an advisor? But a production isn’t going to pay Sometimes, productions don’t Yes – you have to have experienced for 500 uniforms three times over just understand the value an advisor brings military life. You have to be able to to appease the purists. – we can save them money by helping articulate to an actor the thoughts and On 1917, Sam Mendes said he was them to avoid reshoots. feelings of a soldier as he potentially making the film for an audience of faces his death. It’s about much more millions, not to satisfy a few nitpickers. Are there any tricks of the trade you than knowing how a rifle works. Military advisors are helping to make can share with us? an entertainment, not a documentary. Keep yourself fit – if you’re training an Can real soldiers play TV armies? actor and you want them to take you It’s not always a good idea – sometimes, What work are you most proud of? seriously, you have to be able to do you need a blank canvas. Trained, mod- I’m hugely proud of 1917. It was a hard exactly the same things that you’re ern-day soldiers would march perfectly job due to the nature of the shoot, asking them to do. in step but during, say, the Battle of which used a series of long takes – if Waterloo, many soldiers were not that one of the extras had screwed up dur- What TV series or film would you love polished, so it wouldn’t be realistic. ing a nine-minute take and we had to to work on? do it again, everyone would have been I’d love to do a series set in Roman Can you advise on all types of warfare? looking at me. times – that’s an interesting period. All through history and beyond – I do And Star Wars – the storm troopers sci-fi, too. For a new series, I’ve devel- What are the best and worst parts of need sorting out! oped a system incorporating Roman, the job? Napoleonic and modern-day drills. The best is when I see the people I’ve Is it a great life as a military advisor? trained on screen, getting everything My ex-army mates think I’m a lucky What do you bring to work with you? on point and doing it effortlessly. I use bugger to get myself into film and TV. My experience. I drill actors until it’s a three-bar system of excellence to It’s even worse when I tell them it all natural, so they can concentrate on encourage the actors: “good”; “the kicked off after a chance encounter their acting. dog’s bollocks”; and “airborne”, the with George Clooney. n highest. Do military advisors always get it right? The worst is when a production Military advisor Paul Biddiss was inter- You never get everything 100% correct brings you on board to train a cast, but viewed by Matthew Bell.

Television www.rts.org.uk September 2020 9 COMFORT CLASSIC Amazon Gilmore Girls A gentle guide to getting older and wiser, which Moya Lothian-McLean returns to again and again

n the face of it, a com- Hitting screens in 2000, the show At the centre of its appeal are Lorelei ing-of-age story about ran for seven seasons, its cross- and Rory Gilmore, a mother and a mother and daughter generational popularity such that it daughter navigating the world. When who live in a quirky was revived for a four-part Netflix we meet them, both have a lot of Connecticut town and mini-series in 2016, nearly 10 years growing up to do; Lorelei is a formerly speak at the pace of an after the last episode aired. teen mother who has a fraught rela- Aaron Sorkin script doesn’t sound that There’s no secret about why the show tionship with her wealthy, old-money comforting.O But that would be to judge is so beloved; sinking into the world of parents. Rory is literally a teenager. Gilmore Girls, the cult comedy-drama Gilmore Girls is like sipping on your first Often, their relationship is more like created by Amy Sherman-Palladino hot chocolate of autumn or swaddling siblings than parent and child. too quickly. yourself in a thick duffle coat. Which is part of what makes Gilmore

10 Ear candy Girls so magic; both Lorelei and Rory are fully fleshed out women charac- Succession ters. This shouldn’t be rare but, all too often, it is. These two are more than the sum of their parts, not just “a mother” or “a daughter”. They have individual hopes, dreams, loves and losses. At times, each makes mistakes or does horribly unlikeable things. Sher- man-Pallindo wasn’t afraid to allow the women she wrote to be real and learn the lessons of life the hard way. It makes Gilmore Girls both a refreshing show but also a comforting one. Life is messy, the show says. And that’s OK. However, some of the joy also lies in the fact it stops short of full reality. The Gilmore Girls exist in a golden bubble: despite family tensions, there’s always a large pot of money on hand if needed to bail them out. Lorelei and Rory live in Stars Hollow, a unbelievable little town, stuffed with zany characters, who make up a tight- knit community that’s simply too good to be true. Viewers will also notice the dark side of this; a huge lack of non- white faces. It’s not the show for you if HBO’s Succession you’re watching for proper representation in 2020. Frankly though, as a woman of colour, I’m not. Time and time again, I return Podcast to Gilmore Girls because of its pseudo-

reality, its slow-burn soap opera, its Sky gentle guide to getting older and wiser. It’s a programme from another era, o provide succour to their Succession characters’ story arcs. before everything was on-demand and desperate Succession As the Roys are all in severe need you could binge an entire season in a fans faced with a long of therapy, there is ample material for day. The plots reflect that: arcs that last wait for series 3, HBO psychoanalysis. And Bennett does his several seasons, calm pacing (despite has assembled the best to unearth the roots of the relent- the fast talking) that allows the viewer cast for a sequence of less conflict and abuse by digging deep to sit with the storylines and fall in longform, one-on-one into their past traumas. No stone is left love with the world that is being care- interviews. Loosely inspired, it is said, unturned, no trait unanalysed and no fully created in front of their eyes. Tby the Murdochs, the Roy family of wardrobe uninspected. Gilmore Girls is smart and savvy but Succession boasts some of the most Each actor’s devotion to the craft also a cocoon of safety, one that, at its complex characters on the small screen. shines through, but none more so than warm heart, shares a spirit with the Series 2 saw the Roy siblings vying to Jeremy Strong, who plays Kendall Roy. likes of Anne of Green Gables or Little ascend the Waystar Royco throne once He confesses to taking method acting House on the Prairie. It’s a story of com- the aging, raging patriarch Logan Roy to mentally detrimental extremes. munity and mutual support. That’s the (Brian Cox) finally steps down. Sprinkled and bookended with quality that renders it timeless and Sports journalist Roger Bennett memorable quotes from the character why, when I’m in need of a bit of light hosts with infectious enthusiasm. His in question, HBO’s Succession Podcast and optimism, I’ll always head to Stars emphatic introductions to each actor will enlighten and leave you laughing. Hollow. n have become something of a trademark. “If it is to be said,” as a wise Greg once He breezily steers the conversation from said, “so it is.” Gilmore Girls is on Netflix and Amazon. their origins to the peaks and valleys of Harry Bennett

Television www.rts.org.uk September 2020 11 ITV’s adaptation of JG Farrell’s novel The Singapore Grip has many contemporary resonances, discovers Caroline Frost ITV An epic story of imperial hubris

t’s a false sense of entitlement exploration of the consequences Hampton was determined to keep that we have to get rid of, of colonialism. the comic, often bemused, tone of the because it can have cata- Japan’s victory at Singapore was author’s prose in his screenplay, high- strophic results. This is a story overshadowed globally by the events lighting the military incompetence, that recommends modesty. I of Pearl Harbor just two months previ- casually racist society and all-round think arrogance was the main ously, but it was, nevertheless, calami- complacency that led to Britain’s ‘problemI and it’s big a problem today in tous for the British Empire: it led to the downfall in the region. the way things have been handled capture of nearly 80,000 Allied soldiers, “He treats a serious subject with wit recently in this country.” the death of thousands more, and an and lightness, which gradually darkens Screenwriter Christopher Hampton, evacuation on a massive scale. as the story darkens,” explains Hamp- who has adapted The Singapore Grip for Hampton’s own uncle was among ton. “I wanted to preserve the comedy the small screen, clearly sees recent the desperate throng who boarded where I could, and it’s very amusing in parallels to the tale told in JG Farrell’s ships and fled the island just before the places. I also wanted to keep the bal- last novel. invasion. The screenwriter (an Oscar ance between the real-life military His epic treatment of Farrell’s 700- winner for Dangerous Liaisons) therefore characters and the family saga, giving plus pages comes to ITV this month felt a personal connection to the story. them context.” and tells the story of what Winston He had also known and admired Hampton, who also served as an Churchill called “the largest capitula- JG Farrell when they both lived in executive producer on the project, tion” in British history – the fall of London’s Notting Hill during the 1970s. sounds almost embarrassed when he Singapore in 1942. The book was the Tragically, Farrell drowned off the adds: “I found the whole process of third in Farrell’s “Empire” trilogy, his coast of Ireland in 1979. adapting the book immensely

12 enjoyable. Nobody should be paid for firmly where Matthew’s values are. its very different inhabitant. “We can having so much fun.” In the scene where I’m asking Walter all identify with the beautiful, cool He was blessed with a cast able to about how he treats his workers, I house the Blacketts have created,” she swing with these nuances of light and found myself getting angry with him, laughs. “It’s fashionable, cool, abso- shade. David Morrissey plays Walter and everyone like him.” lutely pristine, the perfect house for Blackett, a complacent rubber- While it is all too easy to see the a modern European living in Asia.” company executive focused only on complacence and arrogance of Farrell’s Mr Webb’s house is darker, pokier what works best for him. Charles characters in many of our contempo- but more characterful. “He’s immersed Dance is his more principled colleague, rary public figures, Treadaway is himself in the country’s culture. He’s Old Mr Webb, and Luke Treadaway stumped when I ask for a real-life collected things that are quite unique. his equally well-intentioned but wet- modern equivalent of the more ear- It’s a true reflection of his personality.” behind-the-ears son, Matthew. nest, honourable Matthew Webb. Other locations that jump out on Jane Horrocks and Georgia Blizzard Hampton believes the challenge screen include: the “Blue House”, play Blackett’s wife and daughter, lies in the character’s innocence. He where a bizarre dinner party takes while Coronation Street alumna Eliza- explains: “I don’t think this is a very place in the second episode; “an old beth Tan is the mysterious and disrup- innocent age. I feel that part of the clan house that dates back centuries, tive Vera Chiang. story is that of an innocent who, in the with little bits of water, dark wood, so Treadaway clearly delighted in his course of the story, gradually gets edu- much history”; and the recreation of role: Matthew Webb is a late arrival to cated. I think that there are genuine the Battle of Slim River, filmed in southern Malaysia – “lots of Japanese extras cycling over rocky ground on bicycles from the 1940s – it looked magical”. Abushwesha still can’t decide which was more temperamental – one of their leading men, who happened to be a monkey with very strong facial expressions, or the weather. Certainly, the latter failed to behave on one of the most important and, no doubt, expen- sive, shooting days of the entire project. “It was a circus day. We had hun- dreds of extras, special effects, groups of singers, a cannon to shoot someone from. We’d flown people in from Thai- land. We had 10 hours to shoot, and it rained for seven and a half of them. “There was a foot of water on the ground. What could we do? We Luke Treadaway (left) with the principal cast

ITV couldn’t drink, so we went to a café across the road, ate loads of cake and the party, and it is he who takes the idealists in the world, though, and he’s waited. Finally, we got the shots, but it audience on his journey into the rich, in that family.” was maddening.” complex world of Singapore, beginning The challenge of creating an epic Treadaway says acting in these huge six months before the invasion. feel for “a Second World War film shot street scenes was thrilling, “the nearest He soon becomes the subject of two in the tropics of Southeast Asia” has I’ll have to time travel”. He hopes the rival women’s affections, but it is in his made this the biggest professional series will spark conversations about protestations against Walter Blackett’s project yet for producer Farah Abush- the past: “We look at it and say, what’s machinations for his rubber company wesha, who previously worked with changed? It’s a fascinating prism to look that Matthew emerges as the most the same company, Mammoth Screen, into another world, and have our own generous-minded of the characters. on The ABC Murders. world reflected back at us.” Treadaway describes him as “progres- The series was shot entirely in South- Is there hope, too, amid all the hubris sive for his time” in his attitude to east Asia, with Kuala Lumpur doubling and eventual devastation? Hampton native workers’ rights and not wanting for wartime Singapore. The neighbour- believes so: “It resides in the under- to strip the country of its assets with- ing houses owned by Walter Blackett standing that arises between the races out putting something back. and Mr Webb on screen are, in reality, and the open-mindedness that leads The actor says he saw his character a stone’s throw from one another in the to that. That’s the big positive of the as one who learnt as he went along. highest part of the city, which remains story, and in the young people who “He wasn’t putting his body on the surprisingly lush and green. are open to what’s happening. They’re line, he was just less shackled to the The producer was delighted with the aware of the world in a way that the status quo. different moods the design team were older generation have become too “My ethics and values come down able to create, each interior reflecting boiled in aspic to notice.” n

Television www.rts.org.uk September 2020 13 Shilpa Ganatra examines why BBC Three’s Famalam, a huge hit on social media, is making big waves with its third series

hen Famalam came to our screens in 2018, British television was ready and waitingW for a high-profile comedic exploration of the contemporary black British experience. It tapped the same vein as Michaela Coel’s Chewing Gum and the 1990s ensemble show The Real McCoy – and another hit sketch show was long overdue. It was squarely on target on both counts. In the two years since then, the show has earned RTS and Bafta recog-

nition for its driving force, Akemnji BBC Ndifornyen (known as AK), and actor/ writers Samson Kayo and Gbemisola Ikumelo. The show’s clips are among the BBC’s most-viewed social content. “A large part of [it] was to appeal to black folk, and for us to have agency over our stories,” says AK of its crosso- ver success. “Because it has served us first and has now gone broader, we’re thrilled.” With the cast completed by Vivienne A sketch show Acheampong, John Macmillan, Tom Moutchi and Danielle Vitalis, the troupe continues the winning formula in the third series. AK believes it to be defying gravity “the strongest yet”. Certainly, it’s found its stride: alongside familiar characters, such as the imposing gaggle of aunties executive producer of all three series. Interracial Couples Selling Stuff, per- and the Nigerian philanthropist Prince “So we’ve brought in Danielle, and formed by AK as if channelling Errol Alyusi, its 22-minute episodes are she’s brilliant. The change has widened Brown from Hot Chocolate. The every- crammed with absurd situations up our comic angles and it’s brought a day lyrics against the sexiness of the pushed to their extreme and smart freshness to it. It excites the writers song is funny in itself, but poking fun observations about life today. and keeps us on our toes.” at ad companies’ formulaic output The opening gambit is a Narcos-style While the dominating type of com- notches up the comedy – even when skit in which two avocado cartels meet edy is irreverence, the smarts are in the point is the same as that made by to do a dangerous deal; “You know we the density of ideas, the multilayered social media trolls. For AK, it’s a case are going to have to test it,” says one, observations and unexpected left of “classic message and messenger”, chopping up a line of avocado to smear turns. “Life provided a wealth of inspi- he says. “Two people can say the same on toast and taking a rush-inducing bite. ration to lampoon and satire,” says AK. thing, but, because one person has the The new series sees a change of the It helps that, with a largely black licence to say it, it means different core cast, with Roxy Sternberg step- British cast and crew, otherwise- things.” ping out and Vitalis stepping in. sensitive topics that have bubbled to That is a large part of its unique posi- “All the cast are becoming harder to the foreground this past year are han- tion in 2020’s TV landscape, explains nail down, but Roxy had a massive job dled from a place of experience, rather Shane Allen, controller of BBC comedy offer in the US and we couldn’t make than judgement. commissioning: “People in mainstream it work,” explains Ben Caudell, an A case in point is a musical number, white culture walk on eggshells in

14 Vivienne Acheampong in Famalam BBC certain areas, working out how they that this approach has proved popular: two to three minutes,” he says. “I think can keep pushing the boundaries, but “Turf wars” has been viewed more that’s a great training ground for writ- it’s more likely that the boundaries are than 30 million times, and “There is no ers to then go on and write longer-form going to be pushed by people who white Jesus” stands at 27.5 million pieces or rounded sitcoms. Father Ted aren’t the mainstream voice. views, making these Famalam sketches creators Graham Linehan and Arthur “If you have people from those among the BBC’s most successful social Mathews wrote for Alas Smith & Jones backgrounds who own the joke, then media content. Which, as a blunt meas- and, in the US, Tina Fey went from that’s what the line is. Culturally, it’s ure of success, matters. Saturday Night Live to 30 Rock.” really important that comedy still has a “The overnights are not as relevant Famalam is already proving success- bite and is able to ruffle feathers. It as they were even two or three years ful in developing talent, with Stern- keeps comedy relevant in an age when ago – now you’re looking for social berg’s move to the US, and AK’s Bafta people are saying, ‘It’s all gone PC and media impact, cultural impact, and a Television Craft Award for Break- they’re trying to take away our com- little bit of industry impact,” says Allen. through Talent suggesting that “he’s edy’. Actually, we’re trying hard for that “Social media figures are one factor in going to be a lot of people’s boss soon”, not to be the case.” a wide array of how you judge a show, according to Allen. The BBC comedy Crucially, in this politically weighty but, because the BBC is trying to reach chief also commissioned Brain in Gear, age, the show isn’t only about the black the young, underserved audience, it’s Ikumelo’s comedy short, for a full experience. Jokes are made about the an important one – this audience isn’t sitcom to air on BBC Two. affront involved in leaving a WhatsApp lining up to watch a specific show in a The better news is that, even if the group and people who thwart conver- specific time slot on a specific channel cast and crew outgrow the show, the sations when there’s a spoiler involved any more. There isn’t that brand loyalty.” Famalam series could keep running – in other words, ribbing every aspect It helps greatly, of course, that short- regardless. “It’s not like writing a soap of contemporary life. form content viewed on social media opera or a new series of Line of Duty, “If something pops up as part of the fulfils the BBC’s remit as much as tra- where you have to keep thinking of zeitgeist, it’s like a Hungry Hippo: you ditional viewing. The format also aids new stories,” says Caudell. “Sketches are have to knock it down,” says AK. “I its remit of seeking out emerging tal- often about life and there’s always going apply the Family Guy model of laughs: ent, a specific forte of sketch shows. to be new aspects coming through, and that nothing and no one is sacrosanct. Allen reels off TV royalty such as new talent coming through, too.” So, while my name is one of the black- Lenny Henry, Meera Syal, and Rowan AK agrees: “In a show where we’ve est, most African names you can ever Atkinson, whose talent was nurtured set a template for regeneration, any- find and, when I cross my mother’s in sketch shows Three of a Kind, The Real thing’s possible. And this country has no threshold, I’m in Cameroon, the reality McCoy and Not the Nine O’Clock News, shortage of black talent, because that’s is that there are some aspects of life respectively. what this show is about. This can be a that we all encounter. Love, relation- “Sketch shows encourage mastering great platform for the next generation of ships, aliens – we’ll cover it all.” of the short form: creating a character, people. I can see this show continuing The social media figures indicate finding a concept and playing it out in and having a long-lasting legacy.” n

Television www.rts.org.uk September 2020 15 Heart melting viewing

2019 Contestants Ian ‘H’ Watkins (left) and pro Matt Evers ITV

t was a remarkable moment in going to do this.’ It shouldn’t be a thing British TV, when two men skated The makers of the so I didn’t quite realise what a big deal on to the ice to perform together ITV family favourite it was.” in a prime-time show. Hearts The RTS event host, Richie Ander- melted across the nation, from Dancing on Ice have son, part of the BBC’s Radio 2 Breakfast the Dancing on Ice studio to mil- Show team and a reporter on its TV lions watching at home. broken taboos. Now magazine The One Show, said: “As a gay IThe same-sex pairing of Ian Watkins man, I felt it was empowering and there they’re preparing to – “H” – from Steps with pro skater Matt was an element of acceptance. It was a Evers was a new development for the socially distance beautiful moment.” flagship ITV show – and, as a member Dancing on Ice superfan Anderson of the production team told an RTS any show. I was so proud and delighted was the perfect upbeat host for the Midlands online masterclass, judge John by the viewers’ reaction – we thought entertaining masterclass, as he admit- Barrowman wasn’t the only one in it might be more negative. ted to having “anorak knowledge” of tears. Executive producer Clodagh “I remember when I rang Matt and his favourite TV show. He even con- O’Donoghue recalled: “It was such an said, ‘H has approached us about doing fessed to wanting judges and Olympic iconic moment and there wasn’t a dry this, what do you think? It’s a brave champions Jayne Torvill and Christo- eye anywhere in the studio. I’ve never thing to do.’ He started crying on me, pher Dean to be his TV mum and dad. heard an audience reception like it, on saying, ‘I can’t believe the network is He’s not alone in his love for Dancing

16 on Ice, which has dazzled as a Sunday- up in coats – but it can get steamy on Gemma Collins falling flat on her face night family favourite over 12 series. the ice. The show has led to three last- on the ice in last year’s show, which Originally titled Stars on Thin Ice, it ing relationships and a baby. Former O’Donoghue said was initially a began in 2006. So far, 154 contestants England goalkeeper David Seaman and “heart-wrenching” moment. have put their skates on, from Joe Pas- Frankie Poultney are married, as are “All of us honestly thought she was quale and Todd Carty to Kelly Holmes Coronation Street’s Samia Ghadie and seriously injured. We felt sick. But she and Vanilla Ice. There have been Sylvain Longchambon, who have a son. just got up and started waving and smil- 18 judges, including Louie Spence, The last series saw the engagement ing at the audience. It was amazing.” Katarina Witt, Robin Cousins and the of footballer-turned-BBC-pundit O’Donoghue picked actor Ray Quinn acerbic Jason Gardiner. Kevin Kilbane and skater Brianne as the show’s best celebrity skater but The show will look a little different Delcourt – who had previously dated said that she has a soft spot for the when it returns in January. One solu- soap-star contestants Danny Young, reigning champion, Joe Swash: “He tion to filming with social distancing is Sam Attwater and Matt Lapinskas. was a real surprise. When we first to have Perspex panels between the “Maybe there’ll be a romance this met him he was falling over all the judges on the Ice Panel. But one time, who knows?” said O’Donoghue. time. If you had asked me to bet on advantage Dancing on Ice has in a pan- “I was delighted about Kevin and Bri- who would be in the final, I would demic is that it’s filmed in an never have said Joe. And isolated studio, a mile along then to win it – and what a runway on a disused RAF a lovely bloke. base in Hertfordshire. “If I could sign up anyone, O’Donoghue said: “We Beyoncé would be incredi- have to look at what works ble. She would come out of with cameras and lighting. that tunnel looking amazing, Will there be a reflection off and I bet she can skate the Perspex at a certain because she can do any- angle? We have all these thing, can’t she?” decisions to make. When asked for tips on “The cast start training in getting into TV, creative October and will go into a sort producer Sita Patel said: “I of isolation separately in order applied for every traineeship for them to come together and and runner scheme. Hunt train. There will be a lot of down those opportunities, testing for Covid and being because they are out there. ‘clean’ – a period where you’re “Be enthusiastic, persis- not going out to nightclubs tent and respectful about the and rubbing up against people. show you’re hoping to work “Our studio isolation works on. Watch it! And don’t say: very well for Covid. It’s just ‘The last series wasn’t very us, there aren’t any other good’. Quietly getting on shows around. Dancing on Ice with your job, staying late used to come from Elstree to clean up and helping out and Shepperton Studios, but with photocopying is what they were booked up when a producer will notice more Reigning Dancing on Ice champion Joe Swash the show relaunched in 2018, ITV than the person chatting so we purpose-built a studio loudly in the bar.” at RAF Bovingdon. It’s big enough for anne. We pair them up on the basis of O’Donoghue, the daughter of publi- two ice rinks, a rehearsal and main their heights and personalities. When cans, revealed that her big break came studio rink, and for all the crew, dress- we first meet a celebrity – and that’s thanks to common sense and a jug of ing rooms and parking.” always on the ice, whoever they are, to sangria: “I was on work experience The on-screen talent consists of make sure they can get from A to B with TV production company Initial. It 13 celebrities and 13 professional skat- – we ask what sort of pro they’d like. had a late meeting one night and they ers, four judges, two presenters – Phil- Are you competitive, do you need a asked me to buy some sangria from a lip Schofield and Holly Willoughby pro who will push you? Do you just tapas place down the road. I thought, – and a commentator. want to have a laugh? Do you want a ‘That’s crazy, to spend all that money.’ Backstage, there is a crew of 250, pro who is kind and nurturing? “So I made a jug myself and brought including medics and physios, catering “We want people to have a good it in. The boss, Malcolm Gerrie, thanked staff and a wardrobe department for all time. There’s no point doing it unless me and when I told him what I’d done, the colourful, sequinned costumes. you’re going to enjoy it. It’s full on but he said: ‘You are going to go far’.” n Then there are the more unusual jobs, so rewarding. They often keep skating skate sharpeners and a tanning team to for fitness – you get a really firm bum Report by Roz Laws. The RTS Midlands make sure the sun-deprived contest- on Dancing on Ice.” ‘Dancing on Ice Masterclass’ was held ants aren’t the same shade as the ice. Inevitably, there are falls, which is on 29 July and hosted by Richie Anderson. It may be freezing in the studio – it’s secretly what viewers may be waiting The producers were Caren Davies and no wonder the audience are wrapped for. Everyone remembers reality star Megan Fellows.

Television www.rts.org.uk September 2020 17 Sky Arts is about to debut as a free service. Phil Edgar-Jones, the man in charge, explains to Steve Clarke Portrait Artist of the Year: what new viewers can expect Painter Toby Michael and sitter Wunmi Mosaku Sky Inspiration to all

or many of us, starved of for another milestone in Sky Arts’ his- be distinctive and do something differ- enjoying a real perfor- tory when, on 17 September, Sky Arts ent to the BBC and Channel 4?’ I can mance in a theatre or a stops being a subscription-only service say to an artist, ‘You can have the concert hall these past and goes free-to-air. channel for as long as you like, we’ll months, watching Sky The move is bound to increase the take out the ad breaks, it’s yours, do Arts in lockdown was a network’s popularity. In some quarters, what you like with it’.” revelation.F Most of us knew about its it is being interpreted as a direct chal- Why, then, is Sky Arts removing its flagship showsUrban Myths and Portrait lenge to the BBC. Several commenta- pay wall? The channel’s impressive Artist of the Year. We were less familiar tors have remarked on what they on-demand programming, amounting with the service’s sheer eclecticism, perceive as a diminishing number of to around 2,000 hours of cultural con- which encompasses everything from regular arts slots available on BBC tent, will remain exclusive to Sky sub- ballet to the blues and Bono. television. Even BBC Four has latterly scribers. “We’ve been looking at it for “On some occasions, our audience pivoted away from the arts to the a while, the best part of 2019. We did a figures increased by as much as 40%,” extent that presenters such as the bril- lot of research around the channel and says Phil Edgar-Jones, who runs the liant Andrew Graham-Dixon are rarely talked to people in the arts world, channel. “During lockdown, we found seen on the channel. practitioners and leaders, to see what that, across the board, there was a real Edgar-Jones, who joined Sky as head it was about the channel that was hunger for cultural content. It wasn’t of entertainment in 2012, plays down important to them.” only Sky Arts that benefited from this.” any suggestion that having Sky Arts on Three conclusions were drawn from A spin-off show,Portrait Artist of the Freeview is likely to lure viewers away this process – the desire to make Sky Week, perhaps reflecting a desire by from BBC TV’s arts coverage. Arts more widely accessible, the need some people in lockdown to take up “The BBC’s arts content is fantastic. to help drive diversity and inclusivity, painting, was one notable success. It’s very different to ours. We think and the aim of increasing participation The programme, which will return in about how we can create work that has in the arts. October, was first shown on Facebook a Sky flavour to it. Participation is at the “So it made logical sense to allow the Live before transferring to the channel. heart of that,” he insists. “I don’t see it channel to reach more people,” explains “What we took away from this was as a zero-sum game. We’re all in it Edgar-Jones, who says he is now going that there is a great sense of commu- together. I’d like to work with [the out again to sample the arts. Recent nity that can be built around people’s BBC], not against it. I’d love to partner forays have included a local art-house passion points,” he observes. with the BBC on projects.... cinema in north London and the opera, Edgar-Jones will soon be responsible “We always ask ourselves: ‘Can we socially distanced of course, at

18 Thankfully, not everything on Sky Urban Myths: Joan Rivers, Arts requires that kind of dedication or played by Katherine Ryan stamina. Upcoming shows this autumn (right), and Barbra Streisand, include: series 4 of Urban Myths, includ- played by Jessica Barden ing Steve Pemberton starring in Les Dawson’s Parisienne Adventure; live coverage of ENO’s first drive-in opera, a new production of La bohème; No Masks, a new drama from Theatre Royal Strat- ford East based on the pandemic stories of key workers in east London; Life & Rhymes, a celebration of the spoken word hosted by Benjamin Zephaniah; and Danny Dyer on Harold Pinter. “A lot of our work is trying to think of ways to work beyond television. We’re uniquely positioned to be more than just a TV channel. We can commission in the real world and meet people in a way that other channels can’t,” says Edgar-Jones. “We’re moving beyond being a spectator in the arts to being an active participant. We want to get communities involved in creating art with us.” An example of this approach is a new show, Landmark, in which artists and local communities across the UK attempt to create a new British landmark. “We want artists to be at the forefront of our programmes and not

Sky presenters,” he says. Sky doesn’t reveal its programme Glyndebourne. He also plays guitar Having run it for five or six years, I’ve budgets. Edgar-Jones says it is less and recently mastered David Bowie’s always wanted to get it to more people. about their size than where the money 1970s classic Starman. The business has always supported goes. “In the arts, every practitioner “Sky is a public service broadcaster,” Sky Arts as something that doesn’t is able to stretch things further than he continues. “Giving Sky Arts away have to be massively commercial or people who buy drama can,” he free is part of our service to the pub- populist. I don’t get judged on ratings. notes wryly. lic.… I always say to people, ‘You won’t “It enhances the Sky brand. From a Edgar-Jones needs no reminding of like everything on the channel, but I Sky perspective, that’s a very positive the existential crisis that arts organisa- guarantee you’ll find something that thing. There is no commercial pressure tions are undergoing and is anxious you like.’” around the channel. that “a layer of new talent”, potentially When James Murdoch was running “In fact, quite the opposite. I’m a forgotten generation, risks being BSkyB in 2005 he purchased the encouraged to do things that are bold, extinguished by the pandemic’s eco- remaining shares in Artsworld that noisy, creative, and to encourage new nomic impact. BSkyB didn’t already own and turned work, help support the arts and help Sky Arts is looking at what it can the channel into Sky Arts. “James support arts practitioners,” says Edgar- do: a bursary scheme is being set up deserves a lot of kudos for doing that,” Jones, who, in common with many to support new and diverse voices in says Edgar-Jones. “He’s a passionate viewers, enjoyed Grayson’s Art Club, with the arts industry. supporter of the arts and making them Grayson Perry, on Channel 4 during He concedes that, overall, British more accessible. James pioneered £10 the early weeks of lockdown. broadcasters need to try harder on opera tickets for people who wouldn’t How, then, will Sky Arts change diversity: “We have to do a lot more. normally go to see a live opera.” when it is free? Might it become less It’s been a perennial problem. There Could having a bigger audience eclectic and more populist, perhaps has been scheme after scheme after eventually lead to more advertising more pop and less Prokofiev? scheme. Sky has put money into some revenue when the market begins to “We’re not afraid of being popular of these. turn? “You might not believe this, but and accessible,” he says. “There’s a “We’ve made great strides.… When I we haven’t had a commercial discus- wide range of stuff on the channel. At started in television, diversity was sion,” replies Edgar-Jones. “We think one end of the scale, we can do Portrait about whether you were from Oxford we’ll reach a bigger audience, which Artist of the Year, which we expect to or Cambridge [Edgar-Jones went to is attractive to all the partners we become more popular still, while also neither]. Television has come a long work with. doing 15 hours of The Ring cycle in way from that. We include voices from “I’m passionate about this channel. German in one sitting.” all communities.” n

Television www.rts.org.uk September 2020 19 Brand recognition is only half the story

t was easier in the old days of new shows out there, you don’t watch – if a show was good enough, An RTS event showed those unless they’re coming from a families in their millions how platforms and trusted brand.” watched it from their living Selma Turajlic, co-founder and COO rooms. But as choice, channels broadcasters can cut of digital broadcaster and producer and platforms mushroomed, through digital clutter Little Dot Studios, however, stressed findingI an audience for a programme the importance of content over brand: became more complicated. The fight “This idea that we are creating brands to be heard now requires broadcasters highly competitive, and you’ve got to and destinations just doesn’t cut it any to break out to digital platforms, mobile make stuff that people want to watch. I more. What drives engagement and devices and new audiences – who honestly believe that, if you do that, audience attachment is content. increasingly receive their recommen- you cut through,” said Zaid Al-Qassab, “The fundamentals of how we make dations from social media. Channel 4’s chief marketing officer. and broadcast television are being An RTS event in July looked at “In a world of massive choice, of challenged because of the fragmenta- whether TV brands can still cut through different platforms and different con- tion of the audience.” and find an audience in today’s cluttered tent, you need brands more than ever,” For traditional broadcasters, she said, landscape. Yes, said the panel of experts he said. “That’s how you know what to the challenge was to keep their “core assembled for the event, but only those trust and what to watch. linear-TV audiences, but also to start to broadcasters with the best content and “It’s all very well with an exciting talk to those who are not sitting in strongest brands would prosper. show that’s already built credibility and front of a TV screen”. “It’s a crowded marketplace and you’ve heard of, but, with the plethora Turajlic added: “We’re all trying to

20 figure out how we get heard, make coming out of your ears.” But her terms of what you’re making,” said meaningful connections and make background in digital television Campbell. audiences our audiences.” counted for little when it came to “I don’t think many of the channels “I wholly believe in the importance making social media content at Little today will remain successful if they try and value of brands,” said Rob Camp- Dot Studios: “[We were] absolutely to be old-fashioned linear brands as bell, at the time the executive strategy clueless, [I] had to relearn everything.” linear viewing declines,” said Al-Qassab. director for EMEA at advertising and Turajlic maintained, however, that “At Channel 4, we’re pretty agnostic marketing agency R/GA. If he didn’t, as data did not dictate the creativity behind about where people consume our an ad man, Campbell conceded, he the content, which was based on coming content as long as it’s fantastic content would be “fired immediately”. Campbell argued that “great brands know very clearly who their audiences are and where they’re going”. He conceded that content was “obviously important”, but noted that too many brands “churn any stuff out”. He pointed to Apple: “It has got a lot of money to spend and it is having a hard time right now.” A platform is more than the sum of its content, Campbell added. A broadcaster needs to understand “what the soul of a brand actually is, its position- ing and who it is appealing to”. Zaid Al-Qassab identified the Chan- nel 4 brand as one that “champions diversity and unheard voices, that is constantly taking risks. It’s not main- Little Dot Studios production The Man stream and yet tries to produce enter- Who Learned To Fly taining, engaging and broadly accessible Channel 4 stuff despite all of that. That’s a hard balance to find and, because we’ve up with “the right idea with that digital that’s on-brand. I think that’s the way found that balance for decades, people DNA that understands the audience forward. As Rob rightly said, ‘You can’t know that’s what we’re for.” we’re trying to talk to”. Data, though, out-Netflix Netflix’.” Netflix enjoys a supremely recognised could determine the way that content A second poll asked how broadcast- brand and was a recurring subject dur- was edited, its length and scheduling. ers were faring with their brands: Dis- ing the RTS lunchtime discussion. All4 had more than 23 million active ney and the BBC were thought to be “Netflix, what a nightmare – a global registered users, revealed Al-Qassab, doing best; Apple TV+, worst. platform, so much money – it has which the company used to “under- The panellists were largely positive absolute freedom to release stuff in the stand” and “develop better content for” about the future of broadcasters. way that it wants,” said Turajlic. its audience. Data, he said, “is going to “They’re not stupid,” said Rob Camp- Campbell said he found it fascinat- become a more important part of the bell. “[Although] the landscape will ing that everyone looked at Netflix and ecosystem”. change, it doesn’t mean they will dis- wanted to be more like Netflix. “That’s Campbell, however, denied that data appear. They can play a really valuable literally playing into Netflix’s hands was a miraculous silver bullet. “It’s a role in it.” because no one is going to be better moment of understanding. Ultimately, “It’s not scary at all [for Channel 4],” than Netflix.… What everyone should if you only go with what the data’s told said Al-Qassab. “Will it look different? be doing is embracing who they really you, you’re basically trying to move Of course, it will look different. There’ll are and what they really stand for.” forward using the rearview mirror. be some players you haven’t even Warming to the subject, he added: “Data has huge value but it also needs heard about who do it brilliantly; “When [Netflix] gets something right, an understanding of who you are and there’ll be some old guard who don’t you go, ‘Oh, my God, that’s fantastic.’ where culture is heading. Data gives learn and change fast enough who go But there’s a shitload of content there understanding rather than answers.” by the wayside. But we are very well that is just horrific. I could say that The RTS event featured two audi- positioned as a brand… and, as Rob about every network in some respects.” ence polls, the first of which asked: kindly said, ‘we’re not stupid’.” n A lot of content, argued Turajlic, was “Will channel brands matter in five driven by data and algorithms: “It’s not years?” Almost no one thought brands Report by Matthew Bell. The RTS event just about making the content, it’s how would disappear, but around 50% of ‘TV brand cut-through re-envisioned: you get that content seen in an eco- the sample thought that broadcasters’ How do you find an audience in an nomic landscape that is extremely catch-up brands would be more increasingly cluttered video landscape?’ challenging. Like it or not, you’re important than their linear-TV services. was held on 9 July and chaired by Boyd forced to understand that data.” “People are going to decide how to Hilton, entertainment director of Heat She continued: “In the world of watch [your content] – you don’t get magazine. The producers were David social platforms, you’ve got data that choice. But you do get a choice in Amodio, Kate Bulkley and Liz Reynolds.

Television www.rts.org.uk September 2020 21 aking successful factual TV drama The writers of The Salisbury Poisonings tell is fraught with the RTS why gaining the confidence of local difficulties. The stakes are even people was critical to the drama’s success higher when programme-makersM tackle real-life events – and no more so when they are as recent and raw as the ones depicted in the summer hit BBC One’s three-parter The Salisbury Poisonings. The series portrays the shocking and incredible events that occurred in the Wiltshire cathedral city when Russian military intelligence officer and double agent Sergei Skripal and his daughter, Yulia, who was visiting from Moscow, were hospitalised after being poisoned by the Russian nerve agent Novichok in March 2018. For The Salisbury Poisonings, screenwriters Declan Lawn and Adam Patter- son needed to fashion a compelling narrative without being cavalier with the truth. “To what extent can you use dramatic licence? That is the most fun- damental question in factual drama,” Lawn told the RTS in July. “All drama, whether it’s theatre or a screenplay, has a set of rules. You can write a three- or five-act structure. There are things that have to happen, but there has to be conflict and it has to be resolved. “As a factual dramatist, you have to integrate real life, which is often messy, with the prescribed rules of television drama. That is hard to do. “It takes a long time but, on this show, we were blessed. What unfolded in Salisbury was inherently dramatic. There was lots of conflict and chaos. It Real-life drama in Salisbury in 2018

felt a bit like the movie Jaws – you Salisbury Journal have this invisible threat taking over a small city. It lent itself to drama. We put a lot of work into making sure that we were factually right. I think, factually, we are right on almost everything.” That is a bold claim and one unlikely Time for to be made lightly, given that the background of both Lawn and Patterson is in investigative journalism, rather than TV drama. Having worked together since 2013, the pair turned to drama the truth because they wanted to do something more creative. “Investigative journalism tends to be scripts were all rejected, though some commissioned, we weren’t expecting about how the world works. Drama is nearly made it through. it. We knew the BBC liked our writing, about how people work,” said Lawn. “Your first big rejection is such a but we’d been there before.” “We had a vision of making a kind of blow,” said Lawn. “It’s hard to describe The idea to tell the story of what factual drama that could encompass the disappointment but, the more it happened in Salisbury in the spring both of those things.” happens, the more you get used to it. and summer of 2018 via TV drama Inevitably, winning their first com- You realise that the chances of a script came from Toby Bruce, head of devel- mission proved difficult: prior to what getting made are quite slim. opment at independent producer became The Salisbury Poisonings, their “When The Salisbury Poisonings was Dancing Ledge. “We had an affinity for

22 telling stories and the ability to discover new info, so Toby sent us to Salisbury to see if there was a story to be told,” said Lawn. “We were told to ‘have a sniff around and discover if there’s a way to tell this global story that we haven’t already heard’.” At first, he and Patterson were scepti- cal: “We weren’t sure it was a good idea. The world’s media had been in Salis- bury for almost a year. There had been saturation coverage. Everyone knew the story. Why were we going there? “Eventually, we found something that not many people knew about – the story where the heroes are ordi- nary people, civil servants, NHS workers, people who’ve been ignored by history. Their lives aren’t juicy enough for drama, but the BBC trusted us to tell those stories, which is why I think the drama resonated so well.” At first, they approached the task by doing what they’d always done at the start of a journalistic investigation The Salisbury Poisonings

– listing everyone they wanted to talk BBC to and making some relevant contacts. They were helped by Caroline Ban- that deadline-chasing Fleet Street and at getting them under control.” nock, The Guardian’s community editor, local journalists lacked was the luxury Unusually, the programme was who lived locally. She introduced them of time: the BBC paid them for six commissioned solely on the basis of to several of the families whose lives had months to research the story, with no Lawn and Patterson’s research and been transformed by the poisonings. guarantee that it would be made. without a script. That came later. One of the key characters in the Patterson explained: “We told people, Throughout the discussion, the writ- drama is Tracy Daszkiewicz, at the ‘This is a big ask, you’re going to be ers stressed the collaborative process time of the poisonings director of pub- putting your lives out there for the of making the drama. “We weren’t lic health for Wiltshire, played by world to judge. It’s going to change precious about the script,” Lawn said. Anne-Marie Duff. “We chose Tracy your life and we can’t exactly tell you “We had between 40 and 50 drafts of because her story was amazing,” how it will change your life. And you’re each episode. There were so many explained Patterson. “When we came going to have to trust us, people you voices coming in. It might sound hor- out of the first meeting with her, don’t know. We’re not going to call you rific, writing by committee, but the job Declan and I looked at each other and and ask you if you’ve made your mind of a TV dramatist is to be a rewriter, a said: ‘That’s the story.’ Also, it hadn’t up – it’s up to you to get back to us.’ collaborator and not to be a novelist.” been heard before. She was the glue “That is why people start to trust Ultimately, it was the determination binding the society together after it you. Not only that, you collaborate with to double down and get to the truth of had been torn apart.” them through the whole process.” the story that enabled Lawn and Pat- Another seminal meeting was with This was particularly true of the Stur- terson to succeed in telling their ver- Ross Cassidy, Sergei Skripal’s neigh- gess family. Dawn Sturgess was the only sion of the poisonings. bour, who was initially reluctant to talk. person to die as a result of the poison- “At the end of the day, the best yard- Bannock provided the introduction. ings – her partner gave her a birthday stick was that all of the real people “He didn’t entirely dismiss us – he present of what he believed was a bottle who were in the show watched it a said he’d think about it. A few days of perfume that had been dumped by couple of months before it aired and later, he called me and agreed to meet the Russian poisoners in a skip, which, said, ‘Yeah, that’s essentially what hap- me, again at his house. During that tragically, contained Novichok. pened, even if it’s not the literal truth,’” second meeting, I spent three of the Dawn’s parents felt that elements of said Lawn. “As soon as we had their most interesting hours of my journal- the press had created the wrong sign-off, we thought that, ethically, we istic life,” said Lawn. impression of their daughter. The writ- were in a good place.” n Added Patterson: “Caroline would ers were able to set the record straight. often ask us, ‘Why are people like Ross Lawn said: “They felt their daughter Report by Steve Clarke. ‘Q&A – Writing Cassidy talking to you when they hav- had been misrepresented and carica- The Salisbury Poisonings’ was an RTS en’t spoken to anyone else? You’re tured in the national media as a drug Northern Ireland event held on 6 July. getting stories that haven’t been told addict, which she wasn’t, and as some- Declan Lawn and Adam Patterson were before. Everyone’s tried but they’ve one who was homeless, which she interviewed by Scott Duffield, Chair of come away empty-handed.’” wasn’t. She did have alcohol addiction RTS Futures Northern Ireland, who also What the two screenwriters did have problems but was making great steps produced the session.

Television www.rts.org.uk September 2020 23 he thought, back in January, that 2020 was going to be a challenging year now feels like the understatement of the Diversity: century. Shortly after the pandemicT took hold in the UK, we slammed into lockdown and everyday Ofcom prioritises life as we knew it was upended. Covid-19 dominated every headline. Viewers tuned into the news in record numbers as reports of its merciless actions over words spread and millions of victims shook us to the core. But then came the horrific story of another victim who was Vikki Cook responds to Marcus Ryder’s article in also shown no mercy. The deplorable killing of George Floyd, in May, sent our last issue by outlining what Ofcom is doing to shockwaves through our society. improve minority ethnic representation in television The subsequent outpouring of hurt and anguish on to the streets of cities across the globe rightly forced every one of us to sit up and listen. It triggered long-overdue conversations about the inequality that persists throughout modern life. Within Ofcom, our Race (Raising Awareness of Culture and Ethnicity) network led many discussions and held a mirror up to the organisation, which revealed just how much more we have to do. We will continue to talk. We will continue to listen. We will prioritise actions over words. Broadcasters played a vital role in keeping this debate in the public eye. Alongside daily coverage, they aired hard-hitting and thought-provoking dramas and documentaries. Like so many industries, broadcasters have struggled in achieving greater diversity and equality in their work- forces over the years. Since joining Ofcom four years ago, I have overseen our diversity and inclusion work within the broadcast sector. Before that, I spent more than 20 years working at the heart of broadcasting. It’s an industry full of brilliantly creative people and is increasingly diverse – but not enough. The reaction to George Floyd’s killing highlights how the debate around diversity in the media industry goes to the heart of the wider conversation about social inequality. Broadcasters must work harder to be leaders of change. The UK is a rich mix of cultures and identities that people rightly expect to see reflected on-screen and within creative industries. We know, from our extensive audience research, be it our John Boyega as Leroy Logan representation and portrayal review, in Small Axe, made by BBC our review into news and current Studios and Amazon Studios

BBC affairs or our current review into PSB,

24 “Small screen: Big debate”, that people broadcasters’ delivery against their Critics often become frustrated by want to see and hear people like public commitments, with an even what they perceive to be a lack of themselves portrayed on-screen. greater focus on people from minority progress – and I have shared similar Greater diversity in front of and ethnic backgrounds. We will expose frustrations in the past – but recent behind the camera – and among the employment trends for different events have forced an acceleration in decision-makers – is key. minority ethnic groups. We will also thinking and brought about a change Ofcom’s voice is also crucial here. look at how broadcasters have consid- of pace and commitment from the We use our regulatory powers to hold ered diversity in their commissioning very top of the industry. broadcasters to account in our annual decisions. This is pivotal to increasing It would be unfair of me to single out diversity reports, highlighting where opportunities for minority ethnic tal- individuals, but I can honestly say that things are improving and where ent and other under-represented I am working today with some of the broadcasters need to up their game. groups, off and on screen. most dynamic diversity leads within Because of our work, there is unprecedented transparency as to who is working in TV and radio. Since launching our “Diversity and equal opportunities in television” work in 2017, we have seen the amount of information on people from under represented groups working in UK broadcasting grow. This is crucial to help us understand the state of the industry. The percentage of TV employees from whom data is collected has risen across a number of different charac- teristics: from 83% to 89% for race/ ethnicity, from 49% to 65% for sexual orientation and from 41% to 59% for religion or belief. The representation of people from minority ethnic backgrounds Noel Clarke in ITV’s Viewpoint increased from 11% to 13% across the ITV industry as a whole, compared with 12% of the general UK working popu- Audiences expect high-quality con- our major broadcasters. These are lation. This is far below the equivalent tent that reflects the world they live people, working closely with those at figures for the major UK cities, such as in. And talented people across the UK the apex of those organisations, who London (36%), where most broadcast- expect to have opportunities in the are driving genuine change. So, with ers have their head offices. broadcasting industry – wherever they this renewed focus, I am optimistic for And we need to see more progress come from. Ofcom’s role in making this the future. at senior levels in television, where happen is more important than ever. At Ofcom, we, are also working on representation stands at just 8%. Covid is creating the risk that diver- ways to improve our own diversity. But it is not just in data that we are sity in the industry will be eroded. If We will do more and faster, to better making a difference. Our close relation- companies cut back on recruitment reflect the society we serve. We ship with broadcasters of all shapes and and risk-taking, there is a fear that acknowledge that we, too, have further sizes enables us to further influence broadcasters may revert to tried and to go, specifically on ethnicity at senior attitudes and drive real change in the tested “factory settings” within com- levels, broadening the diversity of our sector. With the support of a panel of missioning as the production sector boards and advisory committees, and independent experts, we have been fires up and scrambles to meet an improving our own data. able to highlight some of the different unprecedented demand for content. As we emerge from the current crisis, ways inequality is present within But there is also an opportunity to we will continue to work with industry broadcasting. We held the first ever place diversity at the heart of future leaders to hold them to account and industry round table on social mobility, recruitment drives. Collaboration is challenge inequalities. We will continue which focused on socio-economic more important than ever. One of our to listen, learn and work with partners status in the sector. We revealed in our key messages to broadcasters through- committed to this cause. 2019 report that TV workers were twice out 2020 has been to collaborate more, From the shocking events that have as likely to have attended a private so that equality of opportunity can be dominated 2020, we must pull together school as the average person in the UK. achieved throughout the sector. to seize this unique chance and make We believe that increasing social We are supporting that goal of shared a lasting difference. mobility in the sector is one of the key working by hosting regular round tables We are unequivocal in our message hurdles to overcome, which is why it with broadcasting diversity leads. And to industry – the time for talking has will also be at the heart of our own we are agreed on the need for shared passed, the time for action is now. n new diversity and inclusion strategy, best practice and collective action. New out later this year. cross-industry initiatives are currently Vikki Cook is Ofcom’s director, content This year, we will again assess in development as a result. and media policy.

Television www.rts.org.uk September 2020 25 A lesson for the BBC’s future? James Purnell tells Miranda Sawyer how the BBC acted fast to transform its education service in lockdown – and why he’s a licence-fee fundamentalist BBC

ew media initiatives dur- service in lockdown – 10 hours of new intent. It was a moment of crisis that ing the pandemic have TV a week, 150 lessons a week, which galvanised people. The commercial been as successful or as hit a chord with the public,” he said. sector was brilliant in saying, ‘Fine, you significant as the expan- Bitesize Daily lessons attracted record can use our content’. We cut through a sion of the BBC Bitesize numbers, as 3 million children tuned whole bunch of licensing and rights education service. For in on day one. issues. parents attempting to homeschool their The need for a rapid response to the “I do think that there is a general offspringF while also working from coronavirus crisis for once forced the lesson for the future in how we can home, having famous faces such as BBC to ignore traditional processes and move quickly.… We created a new edu- Marcus Rashford or David Attenborough regulatory hurdles. Consequently, the cation service in four weeks – maybe helping children with their lessons was expanded service was up and running we can bring that to our business as nothing less than a lifesaver. at record speed. “We had an education usual.” No wonder the BBC’s director of service and lots of resources that we Time will tell if the BBC, so often radio and education, James Purnell, could suddenly point at this crisis. We criticised for being a management- who helped spearhead the service, were able to think about what the heavy organisation that moves slowly, sounded so confident and relaxed audience needed,” Purnell recalled. can be as fleet of foot in the future. during a recent RTS event, when he “We found the money quickly. Purnell, who was once regarded as a was interviewed by The Observer’s radio “In difficult circumstances we were future Director-General, not to mention critic, Miranda Sawyer. “Amazingly, we able to move faster than we can some leader of the Labour Party, acknowl- provided an entirely new education other times, because of that very clear edged that Bitesize Daily’s success had

26 helped to enhance the BBC’s reputa- to radio rather than listen to podcasts, – the corporation’s response to the tion after what had been, in the months Spotify and other digital platforms – pandemic, which included delaying before lockdown, a politically trying Purnell said that audience figures had the axing of free TV licences for all time for the corporation. held up. over-75s, has so far required it to plan He said: “Public service broadcasting He revealed that, at the beginning of an extra £125m of cuts – Purnell said is important in normal times but, in a the crisis, the BBC had considered clos- that money was being redeployed to moment of crisis, we are reminded ing some of its radio stations when it invest more in podcasts, bigger Radio 4 why we need public service media.… found it difficult to keep shows on air drama budgets and longer investigations. The BBC has always been more than a with many staff working from home “We have to be able to move our broadcaster. We’ve always been there and others, including high-profile pre- money because our audiences are to make a difference to people and to senters, reluctant to travel to work. moving and because there are new society.” “At one point, we were planning to creative opportunities,” he stressed. Purnell denied that, under a govern- close down various stations but, because And quite how the pending licence- ment led by Boris Johnson and his of the flexibility and ingenuity of our fee negotiations will pan out is any- influential advisor Dominic Cum- one’s guess; a review of the level of the mings, the BBC was “in peril”. But he fee is due in 2022. But Purnell, culture acknowledged that it faced “jeopardy”, secretary in Gordon Brown’s Govern- particularly from the US streamers and ment, described himself to Sawyer as a tech companies: “There’s unlimited “licence-fee fundamentalist”. He money. People can come into this added: “I think that, with every day market and say, ‘I’m going to have a go that goes by, the licence fee is more at TV and my minimum [programme] justified. Look at all the issues people budget is a million quid’. have with what information to trust, “Having said that, I think we’ve got a making content about our country, very clear plan [to deal with that] and I making programmes that people can think it’s working, both with iPlayer, see themselves reflected in. Sounds and podcasts. That consump- “There’s hugely greater choice from tion is broadly making up for the loss streamers but that has not replaced the of linear consumption. People some- need for public service media. I think times ask, ‘Isn’t there a tension the licence fee, probably modernised, between those two?’, but we absolutely is a very good way of funding that.” feel the opposite.” Another hot potato for the BBC is Purnell told Sawyer that he saw diversity, no more so than in recent growing synergies between the tradi- weeks. Purnell admitted that, in the tional radio networks and the contro- immediate aftermath of George Floyd’s versial BBC Sounds app, which hasn’t murder, he had failed to comprehend always pleased everyone. the enormous impact of the crime on He explained the BBC’s thinking: so many people: “I followed it as a Bitesize Daily presenter Katie Thistleton

“Can we provide the kind of sched- BBC news story, but I simply hadn’t under- uled, lean-back experience that radio stood until Lorna Clarke [BBC Radio’s provides, but with the benefit of per- technical staff, we suddenly found that controller of pop] texted me that this sonalisation? We’re going to try to a lot could be done from home,” was something that was affecting peo- innovate what true digital radio can be explained Purnell. ple viscerally. within Sounds, a bit like we did with He declined to say which radio net- “They were feeling it themselves. It iPlayer, which grew a whole new sec- works were earmarked for closure but was because most parts of BBC Radio tor of the market. implied that Radio 4 and Radio 2 were are naturally diverse that they got to “Maybe we can do that with radio regarded as priorities to keep. “Obvi- that issue fast; and they created amaz- and provide a continuation of the radio ously, we would prioritise stations that ing content the next week.” habit for young people. If we can find a were providing information and those However, he told the RTS, BBC way of making radio more relevant to with the biggest audience.” Radio’s record on diversity was patchy: young people, can we make sure that In the early days of lockdown, “We do know from Ofcom’s research in 10 or 20 years, linear radio is just as Radio 4 and Radio 5 Live’s popularity that radio is less diverse than TV and healthy as it is today?” increased. Later, specialist music sta- we’ve got further to go than TV.” n The pandemic had posed some tions Radio 1Xtra, Radio 3 and Radio 6 tough technical and editorial chal- Music benefited from people being Report by Steve Clarke. ‘In Conversa- lenges for BBC Radio. But despite 90% stuck at home. tion with James Purnell’ was an RTS of staff working from home and grow- As for the present, he said, “Overall, event held on 30 July. The interviewer ing competition from new stations we’re broadly stable but listening time was Miranda Sawyer, radio critic of The such as Times Radio – and the unwill- is up compared with before lockdown.” Observer. The session was produced by ingness of younger listeners to tune in On the vexed question of finance Sue Robertson and Martin Stott.

Television www.rts.org.uk September 2020 27 Channel 4 ‘Clap For Our Carers’ ad break, April 2020 ad break, Our Carers’ Channel 4 For ‘Clap Brands and broadcasters must seize the time

ovid-19 has claimed lives didn’t matter before and, quite the lives of more than Maria St Louis puts possibly, might not matter again in the 40,000 people in the UK forward a three-point future, when things returned to “nor- to date, and almost shut mal”. This is something that simply down the TV airtime plan to build genuinely cannot be allowed to happen, so it will advertising industry. need bold commitment from broad- Across April and May revenues diverse teams in the casters and brands alike, as they have droppedC by more than 50%. a huge part to play in shaping the media sector Most citizens were locked down in post-pandemic world that we are their homes with their children home- pandemic, when the world was undis- slowly and cautiously emerging into. schooled – or not – for close to four tracted by the fast-paced material The pre-pandemic world was bus- months. The world seemed to have world we have grown accustomed to. tling to the brim and not for the faint gone mad. Worldwide, the message That made a big difference to the con- of heart. Keeping up with the pace was to wash your hands, wear a face sciousness of the global community. could often feel like running on a mask, socially distance and pretty Almost overnight, a second, much never-ending treadmill, while sinking much hope for the best. older pandemic took centre stage. in a swamp, clutching a very tasty, yet At the peak of the pandemic, on Around the world, billions responded overpriced, flat white. 25 May, George Floyd was killed by to it by agreeing that Black Lives Mat- Then, suddenly, the world had been Minneapolis police officers, who sub- ter. People took to the streets to shout turned on its head, but the economy jected him to unnecessary neck com- it out loud for all to hear. It seemed like was pretty much freefalling towards pression. Just like that, another black it was impossible to disagree. This the floor and nobody could stop it man had died as a result of police show of solidarity across the globe for – and racism was still rife. brutality. black lives was something that I had Now, as more of the economy opens This was something that we had never seen in my lifetime. up, it is still a scary time: job security seen happen many times before, but It was a great moment but, for me, is fragile and a recession is looming. it had never happened during a it also highlighted the idea that black However, out of tragedy can come

28 great triumph. These changed questions and consciously chal- circumstances may drive much- lenging themselves to do better. needed change in broadcasting It is time we acknowledged and advertising output. As a black that all human beings are one woman who has worked in the and accepted that there is no broadcast advertising industry for “them”, just “us”. We must 17 years I, for one, am ready for actively strive for a fair and just the change that has been spoken future in which everyone can of for quite some time and which thrive and bring their best self now needs to happen. to work. That said, we have seen lots of positive developments during 3 Update your supply chain these unprecedented times. Crea- It is important that nepotism is tivity has had to work to a new challenged and not accepted as set of guidelines and some of the the norm; meritocracy should results have been engaging and be embraced as right and just. inspiring. There are several black-owned Channel 4 took the great initia- businesses that are doing great tive of Clap For Our Carers at the work, creating content and end of an extended version of concepts, but they still struggle Maria St Louis Channel 4 News. We worked with to get consistent work at a 39 advertisers to create a decent rate because gatekeepers three-minute, 30-second commercial, leaders can change the status quo, block their path and stunt their growth. all of it filmed on mobile phones. It inspire and empower all groups of The time has come for some space featured key employees of various people. It is their responsibility to act to be made for black-owned busi- advertisers who were essential to keep- on this. It is not OK for people to be nesses to thrive like all others. Don’t ing the country running and families excluded based on their race. be a gatekeeper – someone who holds fed during the pandemic. If there is an ethnic pay gap in your power and consistently declines to With almost everyone at home in organisation, or black and other ethnic work with new people, instead of lockdown, this was a perfect example minorities are under-represented choosing to give work opportunities of how brands could create meaningful throughout your organisation, it is to friends without competition. This content and build on their values. up to you to change it. type of behaviour is deliberate, con- In our ever-changing world, the Identify the top ethnic talent within scious and biased. values of the brands that we consume your organisation, invest in them, Nobody saw 2020 coming, yet every- are increasingly valuable, particularly empower them by creating career one has been impacted by it, for good for the younger generation who are plans, provide upskilling and create or bad. I think it is fair to say that it’s a the future. opportunities. wake-up call. Broadcasters and adver- In order to make this period in his- tisers alike have a part to play in shap- tory a movement of change, rather 2 Make the shift from ‘them’ to ‘us’ ing the post-pandemic world. They than just a moment in time, there will Over the years, there has been a lot of must decide what they want to stand have to be some clear commitments talk about “unconscious bias” as a way for as we emerge from these crises. n from broadcasters and brands alike. of understanding what blocks progres- While there are a great many things sion for the black British workforce. Maria St Louis is agency sales manager at that could be put in place almost Within the corporate world it has been Channel 4 and Chair of the C4 Collective. immediately, I want to outline three widely accepted as the reason for so bold, yet simple, steps that I believe much injustice. Channel 4 has launched the 2020 itera- could make all the difference. Five years ago, this may have been tion of the Diversity in Advertising Award, semi-acceptable, but it is high time focused on the representation of UK 1 Practise inclusive leadership that this came to an end and a shift BAME culture in mainstream advertising, Exclusion is a dis-ease: it is a feeling made towards “conscious inclusion”. with the top brand winning a £1m airtime that lets us know that we don’t belong. This mindset accepts accountability pot. Full criteria and entry process at Therefore, inclusion is the remedy for and invites the individual or organisa- lnkd.in/gtdiRNf. many, if not all, corporate ills. Great tion to look hard at themselves, asking

Television www.rts.org.uk September 2020 29 RTS NEWS Michael McCarthy work on it and produce the received the Lifetime characters, that it comes to Achievement Award at life. I wouldn’t be able to see

RTS London last year’s RTS Craft & that from the script.” Design Awards in recognition For the Morecambe & Wise of a career that is entering its Christmas specials, he recalls, seventh decade. “something was always pulled Since starting at the BBC in out of the bag”. One such 1961, he has worked on some instance was composer of the UK’s most loved shows, André Previn’s appearance in including Dad’s Army and The 1971, when Eric uttered the Morecambe & Wise Show. legendary line, “I’m playing In a new RTS London film, all the right notes, but not It’s All About the Sound, McCar necessarily in the right order”. thy discusses his career at the “Suddenly,” says McCarthy, BBC and as a freelancer with “this wonderful sketch Strictly Come Dancing sound unfolded in front of our eyes.” supervisor Richard Sillitto, a McCarthy was also on colleague over many years. sound for the famous The McCarthy is renowned for Two Ronnies’ “four candles” his work on sitcoms and sketch. “I hate hearing it light entertainment: “I didn’t because, to me, Ronnie Cor The Morecambe & Wise Show

enjoy drama. There were BBC bett always sounds off mic,” many more technical prob he says, laughing. lems because of the complex The sound supervisor has ity of the artists’ movements… two Baftas, one in 1984 for his boom shadows and trying to work on, among other shows, get sound out of people A life in sound The Two Ronnies; the other, standing in corners, which two years earlier, for The some folk seemed to enjoy Hitchhikers’ Guide to the Galaxy. tremendously. I found that at the BBC The RTS London filmIt’s All quite tedious, really. I just About the Sound was produced want people to walk on, by Terry Marsh and Philip speak up and walk off.” didn’t on one live drama. I The firstDad’s Army script Barnes. To watch the film Sound effects, he recalls, was supposed to play a fog he read made little impact and listen to RTS London came from 78rpm records, horn and a horse galloped on McCarthy: “It’s only when podcasts, go to: www.rts.org. “which you would cue up and past – perhaps that’s why I the producer, director and uk/region/london. hopefully play the right one. I didn’t do any more drama. cast come together, and Matthew Bell

Carew-Jones gave an example of a search for a policeman, AI plugs programming gaps where the system was able to recognise his police badge. Runner-turned-logger India How do you fill the gaps Carrie Pennifer explained manually would take months, Goss found that, whereas in programming left by that lockdown had meant no realised post-production previously she was labori shooting schedules shooting or access to the edit consultant Dan Carew-Jones ously logging shots manually,

RTS London wrecked by Covid-19? suite, and everyone working – at which point, the com she was now able to find Arrow International Media remotely. Post-production pany picked up on previous relevant footage via Curio to turned to artificial intelligence manager Kyran Speirs had conversations with GrayMeta offer to the editor. The AI (AI) to mine its archive – and more than 20 unfinished about AI. wasn’t perfect, but it helped create new shows. programmes to deliver. GrayMeta’s Curio system to harvest 2,000 hours of In late August, RTS London A cross-company team could tap into Arrow’s digi usable content in a few days. invited a panel of Arrow brainstormed solutions and tised content immediately, The Arrow team has representatives, chaired by turned to the company’s providing visual tagging, opti learned a lot, not least the Muki Kulhan, to explain how cloud-based digital archive cal character and speech value of digitising rushes and the factual indie did it. for suitable content, but it was recognition, and camera capturing camera metadata. Production executive not fully logged. To do this metadata extraction. Carol Owens

30 Matthew Bell tunes in to

RTS Yorkshire a series of conversations on the county’s thriving TV industry ver the summer, RTS Yorkshire talked to some of the leading TV Ofigures in its region about their shows and production issues during the pandemic- enforced lockdown. Walks Around Britain, which has been on air since 2016, is aimed at regular walkers but Helicopter ER

also hopes to inspire new Discovery comers. “A lot of people have the idea that walking is ‘mountains and mint cake’, that you have to go to the Yorkshire speaks out Lake District or Scotland,” explained series producer and presenter Andrew White. Air TV director Matt Rich “These are difficult times, The Yorkshire Vet offers feel “Not everybody wants that. ards discussed how the but we will continue doing good stories, but “we throw I think that a lot of the exist Leeds indie had continued to the emergency shows and in one or two sad events, too, ing TV programmes still fitted make programmes, including long may Helicopter ER, our because, if you sanitise it too into that genre – it was great the RTS Yorkshire award- first programme, continue. much, it ceases to be a true walks with a view. Our walks winning Helicopter ER, which “In the same way that we portrayal of what [vets] actu are a conduit to a story and follows the work of the York did with moving into the ally do”, he added. that story might be nature, shire Air Ambulance, for motoring and nostalgia place Jo Schofield discussed the history or heritage. It’s not Discovery Networks’ Really with Bangers & Cash… we are emergency relief and mental just the fact that there’s a channel, and classic car looking at the international health support that The Film great view at the end.” series Bangers & Cash, for market, but we will still base and TV Charity has provided Filming on the series con UKTV’s Yesterday channel. ourselves proudly in York during the Covid-19 crisis. tinued during lockdown. When the country went shire while we are doing it.” Schofield, the manager of “We have always used a into lockdown, Air TV had Peter Wright and Julian the charity’s northern hub, small crew, who are able to finished filming 25 episodes Norton – the “modern-day said: “There’s already an work remotely,” he said. of Helicopter ER and the third James Herriot” veterinarians existing crisis around mental The series, which is avail series of Bangers & Cash. “We who feature in Channel 5’s health in our industry and, able both on Prime Video and moved into a couple of The Yorkshire Vet – discussed given the current circum a number of linear channels, months of post-production. their RTS Yorkshire award- stances, that’s more impor is funded by product place We weren’t filming anything winning series, which is tant than ever. ment and broadcasters. “It’s but we had a backlog of stuff made by Daisybeck Studios. “The industry needs to like a syndication model in to be getting on with,” said Following the lockdown, reframe how it works, com the US, where a company will Richards. shooting on farms started ing out of this crisis. There is make a programme and then “We’re still delivering all again in July with a “trimmed- a real opportunity for us to tout it around various broad the programmes we were down team”, explained examine how we work and casters. It is quite novel in the due to, on time, and the pro Norton. what we can do better.” n UK,” said White. grammes are on air now.” Discussing the success of Series producer Nova Pro Richards promised “more the series, Wright said: “The RTS Yorkshire Chair Fiona ductions also offers aWalks of the same if we can”, and main stars of the programme Thompson interviewed the Around Britain subscription said the indie had some new are the animals – we just contributors for the videos at service. shows in development. turn up and do our job.” www.rts.org.uk/region/yorkshire.

Television www.rts.org.uk September 2020 31 RTS FUTURES NEWS

Matthew Bell looks back over

RTS Futures a busy summer of events aimed at TV newcomers

TS Futures’ “CV mas terclass” drew on the knowledge of BBC talent executives. RA CV is a “sales pitch”, explained Carrie Britton, who recruits for drama and com edy production at BBC Stu dios. It showcases a person’s skills and their suitability for a role, added Caroline Carter, talent executive at BBC Stu dios’ Documentary Unit. Each receives around Dragons’ Den

20 CVs a day. They scan them BBC quickly and, if one interests them, they return to it. Daniell Morrisey, who runs the BBC’s production and CVs: the dos and don’ts journalism apprenticeship and trainee programmes, and was chairing the RTS Futures contact information; and want us] to hire you – keep it contract. Include hobbies as event, asked whether there work experience. simple… [so we can] get the well as education and train were rules to writing a CV. Did the talent executives information we need to – ing. “You never know when “There is no right or wrong. like weird and wonderful hopefully – get you a job.” any of those interests are If you’re getting an interview, CVs? “I’m not a huge fan,” “By all means, put links going to come in useful,” said then it’s working,” said Carter. said Carter. “Catching [my] on if you’ve shot your own Morrisey. “I remember see However, CVs do require eye is fine, but it needs to be films,” said Carter. “I can’t ing ‘grime’ on someone’s CV some information to be pres easy to read.” Britton added: resist a link and often it tells and I knew that we had a ent and correct: the appli “We’re under a lot of pres me a hell of a lot about that grime doc in development.” cant’s name at the top; the sure. Think about trying to person,” agreed Britton. Hobbies can give a “bit of role they are aiming to fill; make our jobs easier [if you A succinct mission state quirk and add personality to ment on the CV won the what can be quite a mundane panel’s backing. One exam document”, he noted. ple, shared by Morrisey, read: Educational information How to be a vlogstar “With two years’ experience interested Britton: “I’m not as a runner on several factual looking for some highfalutin RTS Futures and the Media It helps 16- to 25-year-olds shows, including Dragons’ Den, degree. I’m just looking for a Trust hosted the ‘Vlogstar from across London and I’m now looking for my first bit more information about Challenge’ workshop, which Essex develop social-media move into junior researching.” [applicants].” offered training in telling sto- communication skills. A section detailing techni And what annoyed the ries and engaging audiences, After taking part in the cal, production and people talent executives? Too much as well as in filming and edit- workshop, young people skills also won approval. But information in CVs, offered ing on smartphones. could enter the Vlogstar Chal- don’t bother saying you’re Britton. Spelling names Now in its fifth year, the lenge competition. The winner “hard-working” – that’s a wrong, added Carter. “When Vlogstar Challenge is a com- will be announced in Novem- given, said Britton. it’s not clear what you do or petition and training initiative ber and receive prizes that Career histories should list what you’re offering,” con for young people run by the include £500 of production the most recent job first and cluded Morrisey. n Media Trust and the Jack equipment, mentoring from include responsibilities and Petchey Foundation, in part- a YouTube professional and achievements, plus the com The ‘RTS Futures CV master- nership with YouTube and the work experience with one of pany and person worked for, class’, held on 22 July, was pro- Evening Standard. the Media Trust’s partners. the channel that aired the duced by Daniell Morrisey, Carrie show and the dates of the Britton and Caroline Carter.

32 joint RTS Futures/ McMurray said it was ScreenSkills event “invaluable”, although not at the end of July essential, to “have been a threw the spotlight programme-maker before Aon the TV commissioning you’re a commissioner. process. “Fundamentally, it’s When you’re at the editing about deciding what goes on stage and [a programme] television,” explained Chan hasn’t quite worked… you nel 4 commissioning editor need to know what to do. Lee McMurray, who described You need to speak the same commissioners as a channel’s language as the people that “gatekeepers” for new ideas you are commissioning.” and formats. Offering advice to young Fellow commissioning people trying to break into editor Deborah Dunnett broadcasting, Dunnett said: added: “We get pitches all “Hoover up TV.” day, every day.” She added: “Know what The best are developed TV is being made on your and eventually taken to doorstep and, if you appreci Channel 4 director of pro ate it, write to the makers grammes Ian Katz, who, and tell them… why you hopefully, gives them the appreciate it.” green light. Married at First Sight Yasmin Mehmet explained

McMurray and Dunnett are Channel 4 about 4Talent, which offers part of Channel 4’s factual training and apprenticeship entertainment team, which schemes. “If you’re really is responsible for hit shows interested in Channel 4, love that include Married at First Commissioning: what it does and want to be Sight and Naked Attraction. a part of it, [apprenticeships] They were just two of the are a good way in,” she said. Zoom panellists offering the “We are trying to get new inside track on commission the inside track and exciting people into the ing during a session that was industry.” n aimed at young people at the start of their television between commissioners production to make sure it is The RTS Futures/ScreenSkills careers. and indies; I organise events delivered on time: “I’m con event ‘Getting into broadcast- Genre assistant Amy Men and travel.” stantly talking to indies, ing’ was held on 30 July. It was zies described her role as Assistant editor Rachel schedulers, the press, and the chaired and produced by Chan- offering admin support to Martin tracks a programme legal, marketing and social nel 4 commissioning editor the team: “I set up meetings through development and media [departments].” Becky Cadman.

I’m only looking for people who want to make the pro- ITV offers tips to new talent grammes we make, rather than someone who’s desperate to n In a wide-ranging RTS someone puts [links to] a A degree, even in film and TV get their foot in the door and Futures seminar, ITV talent showreel on their CV,’ she said. production, is not a prerequisite get any job in any genre.’ managers answered questions ‘Do your homework, make for a career in TV. ‘At entry ‘Getting your foot in the door from people at the very start sure your CV has no typos in level, it doesn’t really matter anywhere is really tough at the of their careers in television. it,’ added Tracy Walker, a talent what degree you have, as moment,’ said Woodcock. ‘Cut The qualities that tal- executive at ITV Studios North. long as you know why you’re yourself a bit of slack – you ent managers look for to But don’t put your own pic- approaching us,’ said Nikki may not progress as quickly fill entry-level jobs include ture on the CV, chorused the Ryan, Malthouse’s colleague at as you might have done had enthusiasm, passion and panel as one. MultiStory Media, which is part Covid-19 not happened.’ determination, said Cheryl And, stressed Rosalind of ITV Studios. Woodcock, who recruits for Malthouse, a talent manager She added: ‘The more expe- ‘ITV talent manager Q&A’ ITV’s entertainment shows. at MultiStory Media: ‘You don’t rience you have, the more was held on 8 July. It was ‘I love having a nose around need to be able to shoot or edit employable you are.’ chaired by Rachel Hatton and at what people have done, to get a job in TV… Soft, people Malthouse said: ‘The com- produced by Alex Wootten for if I’ve got the time, when skills are also really useful.’ petition is so fierce to get in. RTS Futures.

Television www.rts.org.uk September 2020 33 RTS NEWS

Megan Fellows sums up after TV’s summer school RTS Bursaries a series of groundbreaking seminars for RTS bursary students

ive events offered wide-ranging advice and expert opinions to young people hop Fing to make their career in TV. ITV series producer Lewis Evans and casting producer Henry Byrne explained how they cast shows such as Love Island and Saturday Night Take- away. First and foremost, they agreed, you need an ear and eye for people – think ing outside the box is what sets good casting apart. The online audience of bursary students were keen to get the inside scoop on all things Love Island. How did Molly-Mae in Love Island

the team behind the hit show ITV keep it fresh from series to series? Evans argued that offer straight out of univer news in Britain and his succinctly. Clarity is every casting was key – finding sity to work for a well- homeland. His hands-on thing in this game.” that next Dr Alex or Molly- known London-based approach to working in a The final bursary event of Mae – and also offering production company, con newsroom proved something a busy summer offered stu something new. cerned that the hustle and of a culture shock to col dents a look into the inner Many islanders aim to bustle of London – and the leagues when he relocated workings of the technical become influencers or celeb high living costs – would from Canada to the more side of the BBC. From rities through appearing on have been problematic. hierarchical management cyber-security to augmented the show, but Evans said that Having decided that he structures of a British news reality, the session showed he always tries to manage wanted to merge his pas room in 2018. the breadth of roles open to contestants’ expectations. At sions – television and sport STV Productions’ creative engineering, science and its core, he added, Love Island – he currently works as a director of factual, Craig technology graduates in TV. is a dating show and any self-shooting researcher for Hunter, gave a masterclass on David Johnston, a lead thing else that comes from it BBC One’s A Question of Sport. how to nail a commission. He producer in BBC Research & – whether that be fame or STV hosted two events in said ideas should be fully Development, gave the stu fortune – is a bonus. July. Its Canadian head of interrogated before a pitch. dents a crash course in vir At an event devoted to news and current affairs, Ask yourself: why should this tual and augmented reality, mental health, bursary Steven Ladurantaye, offered story be heard now and, more while Gary Payne discussed scheme alumni Abigail Free an insight into broadcast importantly, what is new to opportunities in his Informa man and Kyle Shiels – both of journalism. He cut his jour say about this subject? tion Security department. whom graduated from Leeds nalistic teeth working at a Hunter said the strongest Technology demonstrator University with broadcast tabloid newspaper in Canada, ideas always offer the prom James Hand gave students a journalism degrees – attested where he learnt to “knock on ise of a revelation – a new peek at the BBC’s answer to to the scheme’s importance doors and talk to people”. truth or insight to a perhaps Amazon’s Alexa, the highly in offering financial and net Eventually, he became man well-known story. anticipated “Beeb”. Mark working help, but also aging editor at the Canadian He concluded: “You may Smith, resourcing specialist emphasised the emotional Broadcasting Corporation. have the best idea in the for BBC Schemes, gave an and social support it gives. Ladurantaye discussed the world, but you need to be overview of the entry-level Shiels turned down a job cultural differences between able to sell it clearly and routes into the BBC. n

34 E-sports experts took centre stage to discuss the technology behind their booming industry

RTS ThamesRTS Valley at an RTS Thames Valley colloquium over three days in mid-July. In 2019, e-sports audiences reached 443 million world wide, revealed Guillaume Neveux, business develop ment manager, EMEA, at EVS Broadcast Equipment. They are predicted to rise to 495 million this year and 646 million in 2023. Rev enues are expected to pass $1.1bn this year. League of Legends World Championship 2019

“More than 100 million Riot Games people watched the [battle arena game] League of Legends World Championship, cement ing its place as the most E-sports on the rise popular e-sport,” said Neveux. The first of the three one- hour sessions saw Steven are competing,” he said. “In- On day two, Paul Martin, VP system, whereas e-sports “Claw” Jalicy, global head of gaming tells the story of the marketing and broadcast streaming uses a more effi streaming for ESL Gaming, match. It replaces the cam business development at cient, tailored pull solution. introduce some of the games eras and is the image the Vecima Networks, discussed On the final day, Neveux played, including League of audience sees, but it also the technical aspects of discussed e-sports production Legends and StarCraft. He contains many of the tradi streaming e-sports to audi from the perspective of a defined e-sports as “com tional shots seen on televi ences using content delivery broadcast solutions provider: petitive multiplayer video sion, such as audience and networks (CDNs): “The “E-sports productions are very gaming”, which differ from reaction shots.” investment being made by much like traditional broad traditional sports by using Streaming and live content telco operators around the casts. They need replays, slo specific video-gaming prod distribution are very differ world in their networks is mos, match recaps, studios, ucts, not just types of games. ent to traditional sports, as what is enabling more and commentators, and national Looking to the workflow, there is no charging service more viewers to take on the and international takers.” Jalicy discussed the similari – the audience expects the services.” However, 80% of the image ties between broadcast sport content to be free online, He explained how CDNs sources provided are and e-sports, and demon explained Jalicy. improve the delivery of computer-generated. strated two main differences: Anna Lockwood, head of streamed media in terms of The three e-sports sessions in-game and distribution. global sales at Telstra Broad push vs pull systems. Tradi can be watched at bit.ly/ “In-game is the virtual play cast, presented the Zoom tional broadcasting uses a 32SnKwm. ing field where the players session on the first day. one-size-fits-all push Tony Orme

no reliance on shows. Online seminars are proving incredibly The future of trade shows successful as they provide greater client reach – not n With so many technology (Tradefair) formed an impressive diminishing in importance and everyone can attend IBC or events cancelled this year, RTS panel, chaired by Penny West- software can often be demon- NAB, but they can watch online. Thames Valley discussed the lake (Interra Systems). strated in better ways. Trade shows have long future of trade shows. At a The consensus was that trade Trade shows have led to provided a critical service for late-July event, ‘The future of shows were an excellent net- immovable deadlines that drive vendors and broadcasters, but shows’, Darren Woolfson of working opportunity, but there development engineers to change was now inevitable, Molinare, Abby Parsall (Boxer were divisions on their future deliver products and salespeople agreed the panel. The need for Systems), Ciaran Doran (Rohde relevance, even allowing for the to sell them, yet technology social interaction and network- & Schwarz), MC Patel (Emotion easing of Covid-19 restrictions. now facilitates the continuous ing would be key to their future. Systems) and Mark Birchall Broadcast-specific hardware is delivery of new features, with Tony Orme

Television www.rts.org.uk September 2020 35 RTS NEWS

RTS Southern pulled together a panel of industry professionals

RTS Southern with many years of How to crack a format expertise developing formats for a discussion in July. develop into a format. Pas Ricochet’s director of pro The Repair Shop sion and persistence were grammes, Rob Butterfield, key, even when commis and executive producer Han sioners appeared disinter nah Lamb talked about their ested in a potential format. hit BBC One show The Repair Riley and Lamb argued Shop. Butterfield said that formats were hugely it tapped into the nation’s important for indies – long- mood during the coronavirus running, repeatable series are lockdown: “The importance the bread and butter for of family during lockdown many companies, and allow and not being able to see our them to budget reliably, plan loved ones really seems to ahead and retain talent on have resonated with the longer contracts. themes of the show.” “It was great to get such a Topical Television MD Chris unique insight from our pan Riley and executive producer ellists. Their passion for for Claire Masters discussed mats was clear and it proved

some of their long-running BBC hugely useful as a learning access shows, including BBC exercise – even for those of One’s Caught Red Handed and for its successful international into something unique and us who develop on a daily Close Calls on Camera, and crime series World’s Most Evil “of it’s time”, but also have basis,” said Kate Beal-Blyth, The £1 Houses: Britain’s Cheapest Killers – described the essen a broad appeal that could CEO of Woodcut Media. Street for Channel 4. tial elements in a format as extend past that moment. Woodcut Media’s creative Sarah Freethy, creator of the four Rs – regular, recog The panel agreed that director, Derren Lawford, The Hotel Inspector series and nisable, reliable and repeat programme-makers should chaired “Cracking the for now an executive producer able. She added that, where not start with a format, but mat: Alchemy or science?”. for Woodcut Media – known possible, a show should tap with an idea that they could Stephanie Farmer

concerned for showing great it to him in 2012 following George lives through lifelong learning’ ingenuity in bringing sport back Entwistle’s abrupt departure. at Pearson – whose logo of an The to a TV audience. ‘Every little bit of me knew that ‘interrobang’ symbol conveys ‘the I had to do it,’ said Hall. excitement and fun of learning’. We shall all miss him. UPSIDE Hall passes on the conductor’s baton We gotta get out TV sports shine in a Bird drops mouse of this place... Anyone who missed Tony Hall’s for interrobang summer of thrills valedictory interview with Amol With the lifts out of bounds in As summer turns to autumn, Rajan on Radio 4’s The Media Congratulations to high-flyer Covid-compliant New Broad- let’s hear it for all the great live Show is in for a treat. The full (ouch) Andy Bird, the veteran casting House, the BBC’s radio screen sport that’s been thrilling 60-minute version is available Disney executive (and RTS and education head, James us in recent weeks. on BBC Sounds. Fellow) appointed last month Purnell, recently found himself On the BBC, we’ve had World To say it is wide-ranging is an as the new CEO of Pearson. struggling to find the exit. Championship snooker – which understatement. Topics covered With more than 35 years’ Try as he might, he was baf- gave BBC Four its highest audi- include Jeremy Clarkson’s spat media experience, Bird recently fled by the directions until a ence of the year – and darts with the BBC – the outgoing DG served as Chair of Walt Disney helpful colleague showed him on Sky, normally a staple of its reminds listeners that it led to International. the correct route out of the Christmas schedule. him being subjected to death He joined the Mouse House building. Take a bow, Newsnight Not forgetting Formula One, threats – his dealings with gov- back in 2004, as President of presenter Emma Barnett. the US Open tennis, and World ernment, presenter pay and the Disney International. A digital Home working might be Test Championship cricket on recent kerfuffle over the Proms. visionary and international socially challenging and occa- Sky and the conclusion of the Also fascinating is his lack of man of mystery, he will bring sionally claustrophobic but, most Champions League on BT Sport. any doubt that he should accept masses of energy to his new of the time, it’s hard to get lost Congratulations to all the job when Chris Patten offered mission of ‘enhancing people’s on the way to the front door. n

36 RTS PATRONS RTS Principal BBC Channel 4 ITV Sky Patrons

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

RTS Accenture EndemolShine KPMG Spencer Stuart Major All3Media Enders Analysis Motion Content STV Group Patrons Amazon Video Entertainment One Group The Trade Desk Audio Network Finecast netgem.tv UKTV Avid Freeview NTT Data Vice Boston Consulting Fremantle OC&C Virgin Media Group Gravity Media Pinewood TV YouView BT IBM Studios Channel 5 IMG Studios S4C Deloitte ITN Sargent-Disc

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

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

Television www.rts.org.uk September 2020 37