March 2019

The age of angst

Journal of The Royal Television Society March 2019 l Volume 56/3

From the CEO The awards season is Nightingale, who made effortless RTS Futures event, which showcased very much upon us. work of presenting all 20 awards. the new drama Flack, on UKTV’s W The RTS Television I had another wonderful evening channel. The first episode was pre- Journalism Awards are thanks to the hospitality of the RTS’s viewed to much applause. This was always keenly con- North East and Border Centre. Its followed by a Q&A session featuring tested and this year awards ceremony was held in Gates- Flack creator Oliver Lansley. was no exception. head and MC’d by Jason Cook, the Full reports of both these evenings I am thrilled that a record 580 guests South Shields comedian and Hebburn are in this edition of Television. attended the ceremony at the London writer, who was brilliantly funny. Female writing talent is to the fore Hilton in Park Lane. No wonder the Norwich University of the Arts in this issue. Caroline Frost’s heartfelt stage was so crowded when Sky News, hosted RTS East’s annual awards, piece takes the brilliant Fleabag as a not for the first time, was announced which I also had the pleasure of starting point for an exploration of News Channel of the Year. attending. Congratulations to all the how angst is inspiring some truly Another mob of overjoyed journos winners. great television. and their producers descended to Our events programme continues And we have an interview with Lisa collect the prize for Daily News Pro- with vigour. I am a huge fan of Sky McGee, creator of the hilarious RTS gramme of the Year. The category was Atlantic’s Save Me. So it was fascinat- award-nominated comedy Derry Girls. won by Channel 4 News, a prolific win- ing to hear Stephen Graham talk ner on the night. about this show and some of the other I’d like to say a huge thank you to highlights of his career at a joint RTS- all the juries who made this evening Premier Communications event held possible. And special thanks to jury last month. Chair Sue Inglish and to Mary We also organised an outstanding Theresa Wise Contents Ian Katz’s TV Diary The Derry girl who created a comic gem Ian Katz has a night to remember at the RTS Television Breakout comedy hits are rare, but Lisa McGee wrote 5 Journalism Awards – and celebrates a Channel 4 16 one. She explains to Shilpa Ganatra how she did it art-house hit A new era for BBC Three The comedy of catharsis Tara Conlan profiles the channel’s new controller, Fiona As Fleabag returns, Caroline Frost unwraps the female 18 Campbell, as the service raises its profile on BBC One 6 angst that inspires so many funny shows today In a class of their own Is Alexa too smart for our own good? Kudos and the Royal Court Theatre are nurturing young Alice Enders and Joseph Evans ask if voice-activated 20 dramatists from under-represented backgrounds, 10 speakers threaten the privacy of our homes discovers Steve Clarke Sex ’n’ drugs ’n’ PR True grit Flack’s creator was determined to write a series about Matthew Bell enjoys an RTS event showcasing the 12 a complicated woman, hears Steve Clarke 22 career of the prolific British actor Stephen Graham Our Friend in the North West RTS Television Journalism Awards 2019 Cat Lewis proposes a strategy for building a vibrant Hosted by Mary Nightingale and sponsored 15 production sector across the UK 25 by GuestBooker, the awards were presented on 27 February at the London Hilton, Park Lane – the winners and nominees over six pages

Editor Production, design, advertising Royal Television Society Subscription rates Printing Legal notice Steve Clarke Gordon Jamieson 3 Dorset Rise UK £115 ISSN 0308-454X © Royal Television Society 2019. [email protected] [email protected] London EC4Y 8EN Overseas (surface) £146.11 Printer: FE Burman The views expressed in Television News editor and writer Sub-editor T: 020 7822 2810 Overseas (airmail) £172.22 20 Crimscott Street are not necessarily those of the RTS. Matthew Bell Sarah Bancroft E: [email protected] Enquiries: [email protected] London SE1 5TP Registered Charity 313 728 [email protected] [email protected] W: www.rts.org.uk

Television www.rts.org.uk March 2019 3 Your guide to upcoming events. Book online at RTS NEWS www.rts.org.uk

RTS MASTERCLASSES programmer. 6:30pm for 7:00pm Wednesday 12 June National events Tuesday 5 November and Venue: Atos, Midcity Place, RTS Scotland Television Wednesday 6 November 71 High Holborn, London Awards 2019 RTS AWARDS RTS Student Masterclasses WC1V EA Venue: The Old Fruitmarket, Tuesday 19 March Venue: IET, 2 Savoy Place, ■ Daniel Cherowbrier Candleriggs, Glasgow G1 1NQ RTS Programme Awards 2019 London WC2R 0BL ■ [email protected] ■ April Chamberlain In partnership with Audio Network ■ [email protected] Venue: Grosvenor House Hotel, RTS AWARDS MIDLANDS 86-90 Park Lane, London W1K 7TN Monday 25 November Thursday 4 April SOUTHERN RTS Craft & Design Awards 2019 Big Telly Quiz 2019 April 2019, date TBC RTS FUTURES London Hilton on Park Lane Venue: TBC Meet the Professionals Wednesday 3 April 22 Park Lane, London W1K 1BE Monday 7 October Venue: Bournemouth University, Pitching script to screen RTS Midlands Careers Fair precise venue TBC With Shiny Button MDs Andy Venue: TBC ■ Stephanie Farmer Brereton, James De Frond and Local events Friday 29 November ■ [email protected] Tom Davies, and Big Talk devel­ RTS Midlands Awards 2019 opment producer Lara Singer. DEVON AND CORNWALL Venue: TBC THAMES VALLEY 6:45pm for 7:00pm Wednesday 27 March ■ Jayne Greene 07792 776585 Wednesday 20 March Venue: London Transport Museum, ­Student Television Awards 2019 ■ [email protected] AGM and 21st-century TV sport Covent Garden Piazza, London 6:00pm – a whole new ball game! WC2E 7BB Venue: Jill Craigie Cinema, NORTH EAST AND THE BORDER Speakers: Richard Bagnall, head University of Plymouth, Drake ■ Jill Graham of engineering, live operations RTS SCREENING Circus, Plymouth PL4 8AA ■ [email protected] and channels, IMG; and Charles Thursday 25 April ■ Jane Hudson Balchin, head of programmes Our Planet screening and Q&A ■ RTSDevonandCornwall@rts. NORTH WEST and head of development, IMG. See Netflix’s new natural history org.uk ■ Rachel Pinkney 07966 230639 6:30pm for 7:00pm start Our Planet, followed by a Q&A ■ [email protected] Venue: Henley Rugby Club, Dry with Keith Scholey and other EAST Leas, Marlow Road, Henley- ­ members of the creative team. ■ Nikki O’Donnell NORTHERN IRELAND on-Thames RG9 2JA Venue: TBC ■ nikki.odonnell@bbc.co.uk Tuesday 26 March ■ Tony Orme Student Television Awards 2019 ■ [email protected] RTS AGM ISLE OF MAN Hosted by BBC NI Newsline pre­ Tuesday 25 June Monday 25 March senter Jo Scott. Keynote speech WALES All RTS members welcome. 6pm Brothers of Italy premiere by UTV’s Eden Wilson. Held in ■ Hywel Wiliam 07980 007841 Venue: RTS, 7th floor, Dorset Rise, Fact-based drama Brothers of partnership with Northern Ireland ■ [email protected] London EC4Y 8EN Italy was shot on the island in 2018 Screen. Sponsored by Stellify by Hoofprint Productions. 7:00pm Media, Westway Films and Perfor­ WEST OF ENGLAND RTS AWARDS Venue: Studio Theatre, Ballaker­ mance Film and Media Insurance. Sunday 24 March Friday 28 June meen High School, St Catherine’s Venue: Black Box, 18-22 Hill RTS West of England RTS Student Television Drive, Douglas IM1 4BE Street, Belfast BT1 2LA Awards 2019 Awards 2019 ■ Michael Wilson ■ John Mitchell Hosted by Susan Wokoma. Sponsored by Motion ■ [email protected] ■ mitch.mvbroadcast@ Drinks reception 7:00pm, cere­ Content Group btinternet.com mony 8:00pm. In association Venue: BFI Southbank, Belvedere LONDON with Evolutions Bristol Road, London SE1 8XT Wednesday 20 March REPUBLIC OF IRELAND Venue: Bristol Old Vic, King Podcasting masterclass ■ Charles Byrne (353) 87251 3092 Street, Bristol BS1 4ED RTS CONFERENCE With Josh Adley, from Wisebud­ ■ [email protected] ■ Belinda Biggam 18-20 September dah, in conversation with Olly ■ [email protected] RTS Cambridge Mann, host of The Media Pod- SCOTLAND Convention 2019 cast. 6:30pm for 7:00pm Tuesday 16 April YORKSHIRE Venue: King’s College CB2 1ST Venue: Atos, Midcity Place, 71 ­Student Television Awards 2019 Friday 14 June High Holborn, London WC1V 6EA The awards are supported by RTS Yorkshire Centre Awards STEVE HEWLETT MEMORIAL Wednesday 3 April STV, which will film the awards Ceremony: 7:00pm LECTURE 2019 Production focus: Timewasters ceremony and show the event Venue: The Queens Hotel, City Tuesday 24 September With: Daniel Lawrence Taylor, and the winning films on its Square, Leeds LS1 1PJ Speaker Mark Thompson actor and writer; and George digital platform. 6:00pm ■ Lisa Holdsworth 07790 145280 Venue: University of Westminster, Kane, director, writer and editor. Venue: Argyle Street Arches, ■ lisa@allonewordproductions. London W1W 7BY Chair: Justin Johnson, BFI lead 253 Argyle Street, Glasgow G2 8DL co.uk

4 TV diary

Ian Katz has a night to remember at the RTS Television Journalism Awards – and celebrates a Channel 4 art-house hit

urprise hit of the week OK to listen to Jackson’s music again. with seven wins for Channel 4 News is 100 Vaginas, in which At an event to launch the channel’s and another for Dispatches’ Myanmar’s the artist Laura Dods­ 2019 slate, a few weeks back, this was Killing Fields. worth photographs suddenly rendered a more than aca- Channel 4 News’s Cambridge Ana- the genitalia of demic question. lytica investigation is rewarded with 100 women and then After watching a shocking clip in a clutch of awards. I had an inkling of talks to them about the which James Safechuck describes what a remarkable story it was when, images and how they feel about their how Jackson enacted a “marriage” during a meeting at a Hollywood Sbodies. It’s a great film – bold and ceremony with his 10-year-old self, studio last year, a senior executive political and warm – but firmly at the the crowd of journalists stood in burst into the office and declared: art-house end of the channel’s output. shocked near silence. Until, that is, “I heard there was someone from Everyone is delighted when it attracts the venue’s ambient soundtrack was Channel 4 here, and I just wanted to an audience of more than 1 million. quietly restored. As the murmur of thank you for saving democracy!” The show’s title has been the sub­ conversation rose again, an unmistak- My favourite moment of the eve- ject of some controversy. When I met able refrain was audible just above it: ning is when Channel 4 News investi- Dodsworth at a party a few months “Billie Jean is not my lover.…” gations editor Job Rabkin, who led earlier, she rebuked me about it, the Cambridge Analytica investiga- pointing out rather sternly that her ■ Another screening, this time for tion, has to get special dispensation photographs were of vulvas, not the new series of the joyous Derry not to have his photo taken after ­vaginas. I sheepishly explained that I Girls. I have a running joke with receiving the award for International didn’t think 100 Vulvas would bring an ­S­aoirse-Monica Jackson (age 25) Coverage. He has to rush back to his audience to the film. What did she that we have acquired some cryo­ table in time to collect the next suggest? “My Beautiful C***,” she replied genic freezers to ensure that she and award, this time for Home Coverage. without hesitation, or the faintest hint the other “girls” will be able to play of a smile. 15-year-olds for the next 20 years. ■ At the weekend I flip on Radio 4. Each time I make it she forces a It’s Weekend Woman’s Hour and I am ■ For weeks now, my Twitter feed small grin, possibly because she delighted to find that they’re talking has been dominated by abuse from thinks I actually mean it, possibly about our 100 Vaginas film. Except fans of Michael Jackson, enraged because it’s not remotely funny. I that the discussion seems to be by the Channel 4/HBO film Leaving make a mental note: Don’t Mention mostly about why it was not more Neverland. the Freezers. accurately titled 100 Vulvas. None of them has seen it yet, but Laura Dodsworth generously sug­ many appear to be devoting much of ■ This is the season of black tie, gests that the channel feared it might their lives to marshalling “evidence” rubber chicken and fixed grimaces. have been confused with a film about that proves the claims made by the Awards dos run chewing your own Swedish cars. The presenter is unim­ two boys (now men) in the film can- limbs off a close second in the list pressed. “It’s just an indication of how not possibly be true. There have been of things best avoided on a week- far we still have to go,” she concludes, menacing legal letters from the Jack- day night – unless, of course, you’re wearily. son estate, too. winning. Already, there has been a lively Happily, Channel 4 cleans up at the Ian Katz is director of programmes at debate about whether it will ever feel RTS Television Journalism Awards, Channel 4.

Television www.rts.org.uk March 2019 5 Pure The comedy of catharsis

promised myself that I wasn’t what comedy-drama led by women going to say anything rude Screenwriting could look like, a whole bunch of but I have actually been wet young female writers have been dreaming about getting a Bafta inspired to explore their most flawed, for the whole of my life.” With As Fleabag returns, Instagram-unworthy selves. typically cheeky verve, Caroline Frost unwraps And their efforts are bearing multi- ‘PhoebeI Waller-Bridge accepted her ple screen fruits. Besides Fleabag, we’ve Bafta for her performance in Fleabag the female angst that recently seen Desiree Akhavan star in back in 2017. Now, with the follow-up her self-penned The Bisexual on Chan- series on our screens, fans will be clam- inspires so many nel 4, exploring a young woman’s sex- ouring for more of her stunningly clever funny shows today ual experimentation. While, on the tightrope act. same channel, Pure follows a young On the one hand, there is the potty-­ aching grief and guilt at past wrongs. woman living with the chaos of a par- mouthed taboo-busting of family meals But if Waller-Bridge, also an RTS award ticular strand of OCD that involves laced with inappropriate comments, winner, is the British flag-bearer for constant intrusive sexual obsessions. masturbation to inappropriate icons this kind of witty female angst, she is They will soon be joined on screen and anal sex with inappropriate men. by no means alone. Since 2012, when by Narcissist in the Mirror, which began, On the other, underneath all that Lena Dunham dazzled audiences with like Fleabag, as a one-woman stage bravado, the social alienation and Girls, her self-willed conception of play performed by its writer, in this

6 case, Rosie Fleeshman. A stream of it’s totally OK to say who you are and and wonders about the effect this consciousness from a competitive, what you want.” must be having. over-thinking, underoccupied young They agree, however, that this can “It means we’re always looking at woman that does exactly what it says have negative effects when it plays out our own identities, asking, ‘Who am I? on the tin, it has been optioned for on social media, espe- What groups do I identify with?’ I a TV series by Lime cially when it don’t think my parents ever had to do Pictures. comes to that. It’s dangerous, really,” she says. So, if these this “You end up curating your identity, young creating the best Instagram version of yourself. And life isn’t like that, it’s messier and dirtier.” Which is where all this great writing comes in. These shows have clearly hit a spot, but are they purely personal confes- sionals well told, or the overdue outpouring of a generation’s col- lective angst? Clive Crump, a counsellor for a youth charity YCT, attests to the numbers of young women seeking help for anxiety and

BBC depression: “Feelings of loneli- ness [and] disconnection are common. Stress and burn-out are a big problem for young

Channel 4 ‘IF YOU CAN women in hardworking jobs and higher education, all driven LAUGH AT by a desire for success and often SOMETHING, self-generated pressure.” Psychotherapist Karin Peeters IT DISARMS goes further and describes a com- ITS POWER’ mon “existential loneliness”: “They’d never call it that, they say they feel different, not fitting in… anxious, low, women are down, not good enough, misunder- setting the gener- stood, overthinking.” tone for our era, ation’s Some counsellors believe that hav- Fleabag why has this happened frequently ing more female protagonists on now? self-destructive­ screen is helpful for young women, Screenwriter Kirstie Swain, who pursuit of “significance” – and even although they also advise caution. adapted Pure for Drama Republic from for the writers themselves. Peeters says, “A good consequence is the book by Rose Bretécher, credits “We’re all striving for purpose and, that people feel less alone, they’ll rec- those who came before, such as Dun- the bigger the planet gets, the more ognise themselves and feel validated ham and Waller-Bridge, but also the contact we make, the more insignifi- in their feelings. [But] a negative con- solidarity of social media for helping cant we feel,” says Fleeshman. “If you sequence is that young women who to balance the playing field. grow up as a baker in a small town, are particularly vulnerable might take “We now have a platform to ask, you’re the town’s best baker, but move something so deeply to heart that it ‘Why are there no women in that to the city and it all changes. Social might make them feel worse.” show?’, and it starts with little things media amplifies that to a huge scale. Psychologist Karen Kwong is also like that,” she reflects. “Small voices can You’re swimming around in it, looking positive: “They can teach us some sound louder. Plus, you can connect for meaning. lessons on how we all face challenges with like-minded people. You can find “Nobody ever feels good at anything, on a daily basis. These characters are your tribe.” because it’s so easy in a minute to find more real than Daenerys (Game of Fleeshman agrees that there is somebody, two years younger, doing Thrones) or Serena van der Woodsen strength in the numbers: “Women are something better than you.” (Gossip Girl).” making each other braver to write Swain comments on the pressure If that’s the case, bearing in mind about this stuff. Other people [are] put on young social-media users to the terrible statistics for male mental trying and succeeding, they’re saying create profiles for themselves online health in this country, surely we need �

Television www.rts.org.uk March 2019 7 ‘YOUNG WOMEN SPEAKING OPENLY AND HONESTLY STILL HAS THAT SHOCK FACTOR’

� to hear from young men, too. In words that I never thought I’d use, I ask Swain whether men’s voices are in danger of being drowned out on screen? Instead of screaming me down, she reflects on decades-old stereotypes: “Traditionally, men’s shows are more action-minded. These shows we’re making are very emotional and introspective. “Traditionally, men haven’t explored those subjects. But that doesn’t mean they shouldn’t. Interesting stories come from difficult places. Men are just as emotional as women, they just haven’t had the chance to access it. I’d like to hear from them.” For years, male TV comedy has hovered around the Men Behaving Badly model, but we’re seeing an increasing number of interesting evolutions. Aziz Ansari has collected Emmy honours for creating Netflix’s Master of None, centred on his confused but reflective male character, Dev, and Kwong cites Rob Delaney’s character in Catastrophe as “wonderfully portrayed and charac- Sharon Horgan in Catastrophe

terised – dark humour, angst and all”. Channel 4 For Fleeshman, the reason that we’re noticing all these funny female camera; and Marnie’s priceless throw- Pure’s dark central concern, a serious voices is that “young women being away lines. But the real power of these and life-inhibiting condition that, she outspoken, speaking openly and shows lies in the juxtaposition between nevertheless realises, lends itself all honestly, still has that shock factor”. the gravity of some of the topics and too readily to humour. It’s true. One of the most distinctive the disarming wit with which they’re “Comedy releases a tension. Mental things about this particular wave is handled. And many female writers health is a difficult thing to talk about the taboo subject matter, the stuff that have embraced this new field, blur- – you pussyfoot around, not wanting was off limits until very recently. ring the lines between drama and to offend anyone,” she says. “But if you For Swain, “It’s not about shocking comedy, to reveal big truths through can laugh around the subject, without people. It’s about telling stories that deceptively light lines. making it the punchline, it’s a way in. we haven’t been able to tell before. “There’s nothing funny about trying “And if you can laugh at something, It’s only because we haven’t heard it to be like every other woman is sup- it disarms its power. We could have before that it seems shocking, but it’s posed to be,” says Fleeshman. “The made a bleak or really earnest show, always been there.” fun comes in accepting my flaws, and but we wanted to find some joy in the Catastrophe, Fleabag and Pure all boast all those other things I don’t like pain, so it’s not all doom and gloom. great performances and are strong for about myself – my jealousy, my ugli- Laughter is what gives it hope.” n a number of reasons: the chemistry ness. When you accept yourself, you between Sharon Horgan and Delaney; can take the piss out of yourself.” Caroline Frost is a former Chair of the Waller-Bridge’s sardonic asides to For Swain, comedy was a way into Broadcasting Press Guild.

8 RTS LONDON PRESENTS Production focus: Timewasters

3 April 6:30pm for 7:00pm at Atos, 71 High Holborn, London WC1V 6QS With: Daniel Lawrence Taylor, actor and writer George Kane, director, writer and editor Chair: Justin Johnson, BFI lead programmer

Booking: rts.org.uk/event/production-focus-timewasters Is Alexa too smart for our own good?

mart speakers such as the listening out for their wake word and, Amazon Echo and Google Voice control so far, without much of a consumer Home accelerated their backlash over privacy. However, while prodigious rate of adop- Alice Enders and most people find a “hands-free” option tion in the UK in the last a useful way to operate these devices, quarter of 2018. Forecasts Joseph Evans ask smart speakers are in a class apart. suggest that they will shortly be in a Unlike the smartphone, they are a fifthS of British homes. if voice-activated pointless purchase if you don’t feel But this trend of rising adoption speakers threaten the comfortable about using a voice assis- could soon hit a wall. Surveys suggest tant. The logic of a smart speaker is that that the majority of Britons fear that privacy of our homes it is left constantly on, the voice assis- their privacy may be compromised if tant primed to receive its wake word they invite voice-activated speakers – “Alexa” in the case of Amazon’s Echo. into their homes. This is not the same as an always-on The context is the omnipresent device that records the chatter amid nature of voice interfaces on smart the clatter of dishes in the kitchen, say, devices. The virtual assistants that to be stored on a server to haunt the power voice interfaces, such as Apple’s user with dark secrets gained by Siri and Amazon’s Alexa, are used by eavesdropping. Even so, high-profile many Britons to operate their smart- bugs and false positives, where con- phones and tablets. Always at our versations were recorded by mistake, sides, these devices are also frequently have not helped allay the public’s fears.

10 Currently, Amazon is far ahead of both companies, Google is, if anything, to get the speaker into as many homes Google in the number of homes served more exposed to customer suspicion as possible and for it to be used as by its speaker. At three times the price simply because its status as a business widely as possible. Eventually, affiliate of Echo, Apple, meanwhile, has never driven by data is better understood by fees from third parties should be a sought to win over the mass of homes the public. It therefore needs to be fairly flexible way for Amazon to with its HomePod speaker. However, unimpeachable on the privacy front. extract value from its position between for privacy-conscious customers, its Scandals such as the early versions of businesses and customers. speaker is more suitable. It does much the Home Mini recording without But, in the short term, data collection more of its processing within the device being woken up are exactly the sort of seems to be the primary commercial or on a paired iPhone, limiting the thing it needs to avoid. aim. Amazon’s strength here is upload of conversations to the Cloud. enhanced by the billing relationship it On the face of it, there seems to be no already has with every Echo owner via commercial advantage to a company their Amazon accounts. such as Amazon in recording all con- ‘THE STRATEGIC Amazon and Google have built these versations – they might only terminally GOAL OF THE devices to gain entry to the home, and confuse poor Alexa – instead of sticking they compete against each other by to the plot of listening for wake words SMART SPEAKER’S offering low prices – to the benefit of to record instructions, transmit them to purchasers. The revenue potential of a the server and promptly fulfil them. SUPPLIER IS TO BE powerful platform position inside the By pushing customer adoption of its THE GATEKEEPER home is only likely to be realised in the platform, Amazon is looking to future- future. And it will require the user to be proof its business through data collection TO THE HOME’ ever more intensively engaged with the and by controlling a so-called discovery device, to the point where it becomes layer between customers and services. used for many purposes. At that point, a Google has a similar objective for its Voice-activated speakers will be able user will be communicating a great deal low-priced smart speaker, Home – but to do more than respond to commands of information about who they are and Amazon Prime’s 10 million UK homes to magic up a radio station, answer a what they like to Alexa and Echo. give it a huge marketing advantage. homework question, play this show or Consumers are increasingly aware Google is interested in smart home text that person. They will be capable that they are often the product, not the devices (it bought the smart thermostat of responding to more sophisticated customer, in the online economy – they maker Nest), but a future income instructions, such as: find me some- pick up on the steady stream of data stream from Home is less obvious than thing to watch tonight, book me a table breaches, hacks and scandals, and are for Amazon, since Google’s core busi- for lunch, or tell me what’s going on in understandably nervous about installing ness is search advertising, rather than Parliament. In other words, Alexa and a connected microphone in their families buying goods and services. her cousins will be capable of making homes. The abuse of Facebook personal Currently, data collected via Echo is personalised decisions on our behalf. data by Cambridge Analytica is only the probably Amazon’s single most impor- The key strategic goal of the smart most prominent of these scandals. tant benefit, because the data can be speaker’s supplier is to be the gate- Although Britons are not as touchy used for so many different ends. The keeper to the home. The lower it prices as Germans, say, when it comes to company can learn more about custom- its devices (such as speakers or tablets), privacy, they are certainly more alert

Amazon ers’ demographics, interests, habits and the more people will buy them, giving than US internet users, for whom tastes from the following: the requests Amazon a foothold in the home that is Amazon first developed the Echo. people make for information, such as a gateway to its storefront, including We don’t expect the average Brit to “What is today’s weather forecast?”; for media. In this respect, Amazon acquire all things new and shiny just the times of day that they are at home; treats its devices as wedges that open because they are labelled “smart”. Ama- the number of people in a household; up the home to those of its services zon has a pressing need to build trust, people’s media preferences, including where it makes the real money. because the present absence of trust is their favourite music and news choices; To the extent that Echo owners ask a barrier to Echo’s success. The com- and personal contacts, if the user con- Alexa to select or recommend video or pany does inform users on data policy, nects their phone to the speaker. audio content, Amazon gets to influ- as part of its obligations under the Gen- This data could eventually support a ence the process. Amazon could choose eral Data Protection Regulation that richer experience than just responding to prioritise its own original content or came into force in May 2018 – but to instructions. Machine learning-based­ sell access to other content providers. compliance is in its early days. intelligence will extend beyond trans- We suspect that few Echo owners are Much remains to be clarified for lating natural language and images to currently asking Alexa for TV recom- potential owners of these devices. We machine-readable information, and mendations, but this is part of the long- expect the UK regulator, the Informa- start to deliver recommendations, sug- term vision for voice user interfaces. tion Commissioner’s Office, to contrib- gestions, reminders and notifications. Third-party service providers and ute to reversing the climate of mistrust One again, data is the key driver for app developers promise a rich and by pursuing compliance with core Google, as it can feed voice requests varied suite of services to users. For principles that apply to the gathering into its enormous data engine and so the moment, though, Amazon is not and processing of personal data. n improve the effectiveness and target- charging third-party services for ing of its adverts. access to Echo users. Alice Enders and Joseph Evans are ana- Although the motivation is similar for This makes sense for now: the aim is lysts at Enders Analysis.

Television www.rts.org.uk March 2019 11 Content Flack’s creator was determined to write a series about a complicated woman, hears Steve Clarke

Sex ’n’ drugs ’n’ PR

Anna Paquin as Robyn in Flack UKTV

12 Q magazine described what they do. They’d be mysterious the new Anna Paquin and interesting because of it.” drama, Flack, as “so Lansley’s setting for his show was ­terrible it might just be the world of public relations, celebrity unmissable”. The verdict and media. “I thought it was quite a of the Daily Telegraph’s TV fun world to play in,” he said. critic was “sharp and whizzy”, while the He had experienced this part of ObserverG hailed it as a “terrific and bit- celebrity culture when, as an actor, he tersweet comedy”, “in turns woefully played the late DJ and TV presenter tender and snort-funny”. Whatever you Kenny Everett, in a BBC Four biopic. think of the female-skewing Flack, one Lansley was the focus of the film’s PR thing is clear: it’s not a show to ignore. campaign. This must be a huge relief to UKTV “I was given this lovely lady PR. That The notes: – Flack was made for its W channel was the first time I saw how it worked,” how to cope – and to the writer of the programme, he recalled. “I was fascinated by it. We Oliver Lansley. He toiled for seven long think of PR as Ab Fab, white wine and years to get it on to TV, he revealed air kissing, but it always struck me as Oliver Lansley described the during an RTS Futures panel discus- a more robust world than that.” experience of working with two sion that was preceded by a screening He added: “My reference for Flack channels and umpteen executive of episode 1. was always The Thick of It, but with producers who constantly sent him By the way, the RTS audience loved glossy magazines.” notes on his scripts. the section they saw of what is Ironically, given its complex journey, ‘If every one was a knife in your unquestionably a highly entertaining, the show got off to a racing start. Within side, you’d bleed to death very glossy, zeitgeisty series. six months of being commissioned by quickly,’ he said. ‘You have to be TV dramas featuring strong, compli- an unidentified British broadcaster, a able to see through the notes to cated female characters are all the pilot episode was in the can. So were what helps the script. rage: just think of such era-defining six scripts. ‘Sometimes, you’ll get a note and pieces as Fleabag and Killing Eve. But the show was then summarily it’s not necessarily a great note, In Flack, Paquin plays Robyn, a smart, dropped. At this stage, Flack was a half- but it will identify something that scheming, self-destructive PR (she hour comedy and none of the four needs changing. snorts coke like Keith Richards once stars cast in W’s series were yet cast ‘Early on in the process, there is did), trying to pull herself together after – Paquin, Rebecca Benson, Sophie this resistance and defensiveness her mother’s suicide. In the debut epi- Okonedo and Lydia Wilson. against it. sode, she saves the reputation of a gay Subsequently, the series morphed ‘You think, “I’ve written this and Premier League footballer who’s picked into a one-hour drama before becom- this is how it’s going to be.” You’ve up a rent boy, and a sex-crazed TV chef. ing the show that ended up on W – a got to let go of that and use the The idea for Flack was conceived 45-minute comedy drama (excluding notes to your advantage. by Lansley as a response to several commercial breaks) that premiered ‘You need to find that central line high-profile dramas based around in February. in yourself to go, “Yeah, OK, that complicated men – think Tony “I don’t think Flack’s gestation is can be better.” But you’ve got to Soprano and Walter White. typical,” said Mark Talbot, head of pick your battles and be as objec- Lansley told the RTS audience that comedy development at producer tive about it as you can. he wanted to write a show featuring a Hat Trick. “It’s not the way that most ‘You do have to get used to it complicated woman: “Five years ago, a shows get made.” because, if you want to write for book came out about the golden age of Hat Trick had taken the show to its telly, you are going to get a lot television called Difficult Men. It focused US agents after the series was dropped of notes.’ on showrunners and leading men such in the UK. It was in the States that Anna Yasmine Akram, also a writer as Tony Soprano, Walter White and Paquin got involved. More development on Flack, added: ‘It’s exactly that Don Draper. work was undertaken, this time for a – don’t take it personally. If there’s “They were complex, male protago- US company. Again, the programme a specific note on the dialogue, I’ll nists. I wanted to write a female char- was rejected. take it on.… acter who could be on the cover of a Undaunted, its creators returned to ‘It’s a weird thing, as a comedy book called Difficult Women. the UK, where, eventually, it was suc- writer, you assume that people “We’ve come on a lot since then but, cessfully pitched to UKTV’s head of understand the musicality of com- at the time, if female characters were scripted, Pete Thornton. “He loved it edy and that they’ll know how to complicated they were often apologis- and he had all six scripts to read, use the joke. ing for themselves or they were which worked in our favour,” said ‘It’s weird to watch when an over-explained. Talbot. “Although UKTV had come on actor doesn’t get it.’ “By contrast, male characters do board, we needed extra financing. �

Television www.rts.org.uk March 2019 13 ‘SOME BROADCASTERS MIGHT HAVE GONE, “OH NO, WE CAN’T DO DRUG TAKING”’

� We took it back to the US and pitched it to some American chan- nels. Pop said yes.” The green light was given in November 2017 – seven years after the lunch where the idea was first discussed. Filming commenced in January 2018. “Flack felt spot on for W,” said From left: Pete Thornton, Mark Talbot, Yasmine Thornton, who had been at UKTV for Akron and Oliver Lansley

only six months. “At the time, I was Hampartsoumian Paul not thinking of making a drama, but W is aimed at career women, metro- politan thirtysomethings. The treatment: hard graft “Some broadcasters might have gone, ‘Oh no, we can’t do drug taking.’ Pete Thornton, UKTV’s head of Oliver Lansley suggested that it For us, as long as it was justified and scripted, said: ‘Writing treatments is was ‘really easy to write a treatment felt like it was properly integrated, we really hard. This is comedy drama but, about a big idea. You can write it in thought this was something that felt particularly for comedy, a treatment is a page.…[But] the best shows are very real. People do talk like that and a hard ask. not based on one-line ideas. They’re behave in that way some of the time,” ‘You’re never going to set out your much, much bigger. I hate treatments. he said to audience laughter. world in a couple of pages. The aim is I would rather write a script than a “The hybrid version that we ended to be informative, be brief and, at the treatment and it would probably take up with was perfect,” said Lansley. same time, hilarious.’ me as long.… “The show embraces both the worlds He added: ‘Writing a treatment ‘It’s always so reductive. If you of English and American celebrity. involves a hell of a lot of work and describe a character in two lines We jump between the two.” you’re normally paid 10% of your script they’re bound to sound awful.... He described the process of having fee for it, which is not very much. ‘A treatment is a document to the show rejected so many times by ‘There’s a paragraph on all the make someone want to know more. different broadcasters as “devastat- characters, an episode outline and, If you go into a room and start telling ing”. “If you write, you develop a maybe, some examples of dialogue. a story and they want more of the relationship with the characters It’s probably a week’s work.’ story, you’ve got a good chance.’ you’ve created. To have this whole series sitting there was devastating. It’s very hard to carry around all these characters in your head.” The pitch: time to tell your story Ultimately, however, the longer Flack was worked on, the better it got. “Per- Mark Talbot, head of comedy devel- commission you. But if you’re newer sonally, I think we’ve ended up with opment at Hat Trick, said: ‘When I go and haven’t had anything on TV, a the best version of both the earlier in and pitch a show, I always try and channel will need to know that you versions,” said Talbot. Lansley agreed: tell a story and explain why it’s rele- can definitely write. “We’ve made a much better show vant to what’s going on today. Talking ‘You’ll need to have a script. Chan- because of the journey we went on.” n about difficult women is a good way nels will want a sample script and a into a pitch. treatment. The RTS Flack screening and script ‘If you’re an established writer who ‘If you are newer, I would just write writing Q&A was held at the London has written nine series of Peep Show, a script. That makes it easier for me Transport Museum in Covent Garden on you can probably go in and pitch to sell you. 19 February. The session was chaired by a show without any script or any ‘If I think a script is brilliant, I’ll journalist Emma Cox and produced by treatment and they’re still likely to believe in it for seven years.’ UKTV’s Ali Laurie and Gem Pinkney.

14 OUR FRIEND IN THE NORTH WEST

Cat Lewis proposes a

s TV producers, strategy for commissioners were part of the mix. we’re facing more The work of North West-based inde- global competition building a vibrant pendent production companies such than ever before. production sector as mine has been transformed by Whenever they being in the same city as commis- wish, viewers can across the UK sioners, albeit only for children’s watch one of programmes and BBC Learning. many programmes from around the Through the anchor tenancy of the worldA on Netflix or Amazon, rather BBC, MediaCity is now one of the than one of our shows. Or they can most successful regeneration projects stream or download dozens of feature in Europe. It employs more than films available via their TV sets. 8,000 people, many more than I genuinely believe that the best worked there when the Manchester response to this difficult situation is docks were at their peak. to embrace the creativity of the This is why the Government is so whole country, and not just rely on keen for Channel 4 to help create London-based­ programme-makers. similar success stories in Leeds, Bris- Since the 1950s, British TV has been tol and Glasgow. a national industry, engaging with Public service broadcasters need diverse talent across the UK. This to be much more strategic about what system created some of our very best they commission from outside Lon- shows, from Coronation Street to Happy don. Production companies in the

Valley, and all of Russell T Davies’s Lives Nine nations and regions need more work, including his forthcoming returning series – but an economic series, Years and Years. work together to keep their local talent report commissioned by Ofcom and Over in France, you’ve only ever employed, trained and promoted. And, published in December 2018 reveals been able to work in TV if you live in together, they can create clever solu- that 86% of today’s returning series Paris. I believe this is one reason that tions to tackle any skills gaps. are made in London. their TV industry is not world leading. Ofcom must ensure that its updated More worryingly, in 2017, 75% of Here in the UK, Channel 4’s crea- “made outside London” criteria new series were commissioned from tion of a new HQ in Leeds, plus two encourage programmes made by companies based in the capital. hubs in Bristol and Glasgow, comes as operationally independent companies. Channel 4’s decision to create a Ofcom is tightening the criteria for These firms should use local talent at returning weekday live series broad- what counts as a production made all levels of seniority so they are not cast from Leeds is excellent news. It outside of London. This signals the reliant on London for post-production. promises an amazing opportunity to start of a new meritocratic and more Otherwise, there’ll be no investment nurture the next generation of diverse era. in facilities outside the capital. programme-­makers in the north. Key to creating sustainable produc- Crucially, there has to be enough In an industry based on relation- tion centres is ensuring that there are production in the nations and regions ships, in which London plays such strong talent bases of freelance pro- to keep everyone employed. As we a dominant role, it’s also a very good gramme-makers who can not only are an informal, relationship-based decision to put the opportunity out work in TV, but enjoy fulfilling careers business, Channel 4’s decision to to tender. Tenders level the playing outside London. That’s why the net- move commissioners outside London field and should be used more widely working sessions the RTS organises is hugely important. as a way in which PSBs can create across the UK are so important. Many of us hope that the BBC will more returning series in the nations The more communication there soon do the same. When Caroline and regions. n is between those who work in our Thomson, the former head of opera- industry, the more likely it is that com- tions at the BBC, created MediaCity, Cat Lewis is Chair of the RTS in the panies in the nations and regions can she very deliberately ensured that North West and runs Nine Lives Media.

Television www.rts.org.uk March 2019 15 The Derry girl who created a comic gem

eek around the corner of “In Derry, putting on plays in pubs Badgers Bar in Derry and Screenwriting doesn’t earn you anything, so I did odd you’ll see the larger- jobs when I could. When I moved to than-life faces of Erin, London and got my first writing pro- Clare, Michelle, Orla and Breakout comedy hits ject, that was me, I didn’t need another James plastered over the are rare, but Lisa McGee job – but I was so lucky,” she reflects. wall. As far as signs of a show’s success “Being able to write full time is so rare, go,P they don’t get much bigger than a wrote one. She explains and it’s getting rarer, I understand from five-metre-high mural. talking to younger writers. From the moment the profane and to Shilpa Ganatra how “The National Theatre thing was so brilliant Derry Girls burst on to our she did it amazing. They just went, ‘You don’t screens last year in a haze of teenage need to worry about earning money, escapades, nostalgic music and 1990s it’s a shock how famous they are. we’re going to pay you and give you a artefacts – such as pastel printed wall- They’re stopped all the time. It’s differ- space, and you have that time to get paper, Baby-G watches and armed ent even for me – I was in TK Maxx something written.’” soldiers on the streets – it captivated with my husband recently and some- It was at this point that she wrote its audience. one stopped me and asked me if I her first TV scripts. They included The first episode drew in 2.5 million wrote Derry Girls. It’s very strange.” RTÉ’s restaurant drama Raw and the viewers and prompted a commission Straight-talking and focused, she is recently revived play Girls and Dolls. for the second series that is currently a Derry native who began her word- From there, she turned her hand to airing on Channel 4. smith career writing for local theatre episodes of The White Queen, Being “It still hasn’t sunk in,” says writer companies. Acquiring both an attach- Human and Indian Summers. and creator Lisa McGee. “It was sup- ment at the National Theatre and an In 2013, Channel 4 premiered her posed to be a niche comedy, but now, agent, she moved to London, where own series, London Irish. Set in the cap- when I go round Derry with the cast, she is now based. ital, the show about a group of Irish

16 twentysomethings divided opinions. By excruciating situations. Derry Girls mines “TV hasn’t quite caught up just yet contrast, Derry Girls, which she dreamt similar territory – with one big differ- – I think there needs to be a lot more up when she was pregnant with her first ence: the central characters are female. content and choice,” she says. “We’ve child by writer/actor Tobias Beer, won Lately, both the number and quality picked out some examples but, if we rapturous reviews. It became Chan- of female-led comedies have improved. were to talk about male-led shows, we nel 4’s biggest comedy launch since Max Women’s roles have shifted from being could be here all day. That’s the point and Paddy’s Road to Nowhere in 2004; the predominantly nagging other halves or that we need to get to, where there’s series now airs on Netflix in the US, mums (the Men Behaving Badly model), lots of examples.” where it has attracted a cult following. to a smattering of awkwardly written She adds: “Everyone’s now saying Loosely based on McGee’s childhood lead females (Fox’s New Girl) plus more that it’s a problem that there are no at a Derry convent school, in between believable shows, such as Motherland female writers, there’s not enough the gags and the set-ups, the series (written by Sharon Horgan and Gra- female leads, and there’s not enough highlighted the ubiquity of the Trou- ham Linehan), Drifters (by Jessica female comedy. bles in everyday life and, by extension, Knappett), Fleabag (Phoebe Waller- “Eventually, people are going to have its normalcy. Bridge), GameFace (Roisin Conaty) to put their money where their mouth Of course, Northern Ireland of yore and Catastrophe (another of Horgan’s is to challenge this. Channel 4 is very wasn’t all IRA bombs and angry men co-creations). But there’s still a way good about that.” on TV, it was also aunts trying to get to to go, warns McGee. It doesn’t help, however, that, after the hair salon on time despite bomb cancelling Birds of a Feather and Bad scares and pupils having the hots for Move, ITV has dialed down the amount the soldiers doing checks on the of original scripted comedy it commis- school bus. sions to zero. “That decision is disap- While the last season felt like a pointing,” remarks McGee. “Comedy is self-contained six-parter, its continua- not something on the side; it’s skill. I tion sees the gang back together, and write drama as well, and comedy is trying to chase boys (and girls) and different and very tough. The thing causing headaches for their parents that I love about comedy is that people and teachers. will re-watch it for years. This time, the backdrop of the Trou- “Comedy usually works because you bles has evolved from tragic conflict to recognise something about your life, a desire for peace – even if the girls’ like in The Royle Family. There’s an inti- version is desire for “a piece of fine macy to comedy, and it’s more than Protestant arse”, as Michelle, the bolshie just being entertained. But it’s also true one, puts it. that the family can watch comedy “This year, I felt less worried about together and it’s a shared experience.” the jokes I was making because, last How does she feel the genre might year, nobody batted an eyelid at things progress in the years ahead?

Public domain Public I thought were pushing it, such as the “There might be more long-form Orange Order episode,” says McGee. comedies,” she says. “There are really “This year, there’s an equivalent Protes- interesting things happening with tant gang of boys going through a simi- shows such as Search Party (shown in lar time as the girls, so I could explore the UK on E4), where it’s a comedy, but and not worry too much – because both it’s [also] a drama, slower and more sides of the community got it, and that twisty-turny. made me feel a bit more confident.” “I think we’re going to be looking at What doesn’t change is their hap- comedy being more multi-faceted, and lessness – an important point for [mixing with] other genres such as McGee given the unrealistic character- thrillers.” isation of girls-next-door to date. Perhaps this vision is an insight into “Even in TV shows that I loved, I the shows McGee is currently develop- found the characters that were sup- ing. She’s working on three dramas to posed to be losers were always way balance out the comedy-heavy year cooler than me. Like, I loved My she had writing series 2 of Derry Girls. So-Called Life, in which Claire Danes is “After I write a comedy, I immedi- supposed to be a teenage loser, but she ately want to write something dark looks like a fashion icon and she gets because it’s the opposite,” she explains. off with Jared Leto. “So, I have three different ideas at “I wanted my characters to be com- three different stages, but Derry Girls plete disasters because I think that’s has been a priority for me, so I’ve just what most teenage girls feel like.” been working on them in the Two of Channel 4’s most successful background.” comedies ever, The Inbetweeners and With a third series of Derry Girls look- Peep Show, were edgy shows that ing likely, the dramas may well have to

extracted comedy gold from Derry Girls Channel 4 wait a little longer. n

Television www.rts.org.uk March 2019 17 A new era for BBC Three

BC Three itself in a really com- is at a cru- petitive environment,” cial point in says Jessel. its history. “Fiona is what I’d call a With a new ‘real person’ – someone with controller, Fiona ideas and personality,” adds Campbell,B a budget raised to £40m Simon Dickson, the former Chan- and a regular slot on BBC One on nel 4 deputy head of documentaries Mondays to Wednesdays, the corpora- and co-founder of Hospital producer tion hopes that it can stem the tide of Label1. “She’ll find her feet quickly and younger viewers washing up on the usher in a new generation of shows shores of Netflix and YouTube. BBC Three that will sit nicely both on TV and The BBC One decision was contro- online. The key will be commissioning versial, because it meant slicing 10 min- factual programmes that combine utes off the News at Ten to make way for Tara Conlan profiles the audacity, insight and fun. She has a shows such as Fleabag and Stacey nose for those things and I’m sure Dooley’s Glow Up. Some journalists channel’s new controller, she’ll do a cracking job.” fumed, but the move was applauded by Fiona Campbell, as the Brought up in Belfast, Campbell says those who have been urging the BBC to she understands why some younger do more for younger audiences. service raises its profile viewers feel disenfranchised by tradi- Campbell, who comes from a news tional broadcasters. Rather than dwell- and factual background, acknowledges on BBC One ing on the decision to close BBC Three the annoyance expressed by some as a TV channel in 2016, she empha- viewers but says that “now is the time the sensibilities of her channel’s audi- sises her belief that making shows that to think about the global digital envi- ence, says executive producer Adam reflect viewers’ own experiences and ronment people can spend time with”. Jessel. He worked with Campbell on locality will help draw in Millennials. Those rivals for attention include not the ground-breaking Britain’s Gay Foot- She explains: “BBC Three has done just streamers but other options such ballers and the BBC iPlayer box set well and garnered a lot of awards and as, “the Top Shop app, which I spend Unsolved, when she was BBC Three a lot of talent. We don’t want to let go way too much time on”. head of documentaries and features. of that [but the channel can also] be The first female controller of BBC “She’s a dynamic, innovative thinker uniquely British and uniquely closer to Three (Sam Bickley was acting con- who’s got all the credentials for the job that young audience than anyone else troller in 2014) is firmly in touch with and will make BBC Three a space for in this country, never mind the world.

18 “We can make content that’s really looked into the importance of local location making things and I was more honed to their passions and life expe- media for local identity and fuelling interested in being out there on loca- riences in a way that other channels economic growth. tion than in being in the spotlight. I’ve don’t… because they have commercial She got work experience on Italian travelled the world, been to Kosovo, concerns.” TV journalist Gianfranco Funari’s interviewed the Taliban, covered the As a former BBC News digital direc- show, which led to a piece on Roger Iraq War… [which] brings a totally dif- tor, she is interested in social media Bolton’s Right to Reply and The Money ferent kind of dimension to your life.” and consumption data. She highlights Programme. Her next step was being Campbell suggests that being taught how Abused by My Girlfriend amassed hired for Panorama by the late Steve by nuns at her primary and secondary schools shaped her, as “you learn to rebel against nuns from an early age”. She deals with a stressful job and juggling being a mother by doing spin classes to loud music. Music, she thinks, is key to attracting younger viewers. BBC Three has 1.4 million subscrib- ers to its YouTube channel and an 8.5% reach among 16-to 34-year-olds. Campbell’s predecessor, Damian Kava- nagh, set a target of increasing reach to that demographic to 10% by 2020. Some wonder if she may get over- sight of a TV channel, too, after Ofcom CEO Sharon White said last year that BBC Three was “probably” shut down “too early”, but that was “a decision for the BBC”. Avalon co-founder Jon Thoday – who made a joint bid with Jimmy Mulville in Jerk Jerk

All pictures: BBC 2015 to buy BBC Three’s TV incarnation before it closed – thinks that the corpo- 1.7 million viewers and a huge Twitter Hewlett, when he edited the current ration should hand over one of UKTV’s peak when it aired on TV after debut- affairs flagship. free-to-air channel slots. ing on BBC Three online. The figures “Steve and Jane Corbin taught me so “When I heard that the BBC was also revealed how the show won a lot many things. Jane taught me the art of buying out Discovery… I thought it of female, north-western and Scottish never taking no for an answer. Steve must have decided that channels were viewers. was an amazing editor,” she recalls. a good thing [and] it should give one of Campbell thinks her BBC Three can “All through my subsequent career, the slots to BBC Three,” said Thoday. “I “excel” by having “content that talks to Steve was there to give advice and think we were right [about not closing people of mid and lower income of have a sense of humour and remind the TV channel] and it’s still a shame it both sexes”. She wants to reflect “the me not to take myself too seriously. did that. The BBC still needs to spend reality of the younger experience”, “I then learnt a lot by going to Watch- more money on younger audiences,” adding that, “for women who are in dog, under Steve Anderson and Anne he said, because Netflix’s massive relationships in this country and who Robinson,” where she learnt to self- promotional spending cuts through to don’t live in London or Manchester shoot and film undercover. youngsters. and perhaps have less money at their Her next move was to Channel 4 News, The latest young talent coming disposal, it’s bloody tough. where she worked as a commissioning through on BBC Three is on show in the “I’m also interested in local. More editor in a “very fun, supportive envi- Tim Renkow comedy Jerk, female grime than 30 members of BBC Three staff ronment” under Dorothy Byrne. Subse- constructed reality series Galdem Sugar, are in Birmingham, sitting alongside quently, she returned to the BBC and and Heartbreak Hotel, which follows the English digital news journalists. I’m rose to head of current affairs. every move and message of 10 young doing a lot of thinking about the role of Navigating the BBC bureaucracy is Brits who travel round Greece together BBC Three outside London, because not easy but Campbell has become so to heal their broken hearts. then it’s closer to what’s happening, adept that one former colleague once Young programme-makers are very where people live.” did an impression of her by kicking in much on Campbell’s radar, who pays Although she chaired the 2016 Edin- a door. Her explanation is that she has back the wisdom passed on to her by burgh International Television Festival, “a low boredom threshold, so I do tend Hewlett by mentoring. “We’ve all got Campbell prefers to keep a low profile. to be, ‘Are we going to do this or are we to spend a bit of time helping the next She followed a “random” route into not going to do this and, if we are, let’s generation along and giving them media. While doing a masters in inter- just get on and do it now.’ That tends to career advice,” she says. “I’ve noticed national and regional development in be my attitude, probably because I shot some of them are quite stressed. The Italy, she became interested in the film myself when working in digital… importance of supporting the next sector as, “coming from Northern Ire- and a 24/7 news environment.” crowd coming through cannot be land… where our GDP was so crap”, she “I spent a lot of my career on underestimated.” n

Television www.rts.org.uk March 2019 19 In a class of their own

Writing

t a time when there is Kudos and the Royal Court Theatre growing evidence are nurturing young dramatists from that television is dominated by under-represented backgrounds, people at the upper end of discovers Steve Clarke the social scale, a new writ- ingA scheme hopes to break though the medium’s so-called “class ceiling”. With luck, it may also broaden the range of voices heard across TV

drama. Kudos “For some time, we at Kudos have been looking for a way to put our money where our mouth is in order to help tackle the ‘class-ceiling’, which is such a pervasive obstacle to the flourishing of new talent in our industry,” says Martin Haines, Managing Director at Kudos, the production company behind such acclaimed dramas as Broadchurch, Tin Star and Utopia. “There is a lot of excellent work to in blocks to support diversity in writing,” he says. tele­ From left: Ross Willis, Lettie Precious getting their and Rabiah Hussain “But, all too often, the structural barri- vision is work developed ers to success and the extent to which not on their and produced in theatre lack of opportunity and financial disad- radar.” and television due to class, disa- vantage play their part are overlooked. With this in mind, in collaboration bility, education, ethnicity, gender “It is our belief that, in an over- with London’s Royal Court Theatre, identity, geography or other issues. crowded content marketplace and renowned for championing new tal- A month later a selection panel against the backdrop of an increasingly ent, Kudos has set up a bursary comprised of executives from Kudos splintered society, it has never been scheme aimed at nurturing young and the Royal Court read hundreds more important to find and tell origi- writers from under-represented of new scripts in order to choose the nal and distinctive stories from parts groups. winners of the three bursaries. The of the UK not often seen on our “We were thrilled that if we could scheme had been advertised in the screens.” join forces with the Royal Court and trade press and on social media. Haines emphasises: “People who are put it under a joint banner, we would The eventual shortlist of 13 was successful in television, not just writ- be able to cast the net wide and use given to Kudos creative chief, Karen ers, but people who are in front of and that public profile to unearth some Wilson, and the Royal Court’s artistic behind the camera, tend to come from gems,” says Haines. director, Vicky Featherstone, who the same social backgrounds. And so it has turned out. The joint chose the three fellows – Rabiah Hus- “They have pathways that are easier Kudos Royal Court fellowship was sain, Lettie Precious and Ross Willis. than for those people who live outside launched last October. It was targeted Hussain is a writer and poet. Her London and who come from social and at writers already establishing a writ- debut full-length play, Spun, premiered economic backgrounds where a career ing career, but who perceived road at the Arcola Theatre in July 2018 and

20 ‘RELATABLE, AUTHENTIC AND DEEPLY PERSONAL her short plays and monologues have Kudos, and have time and space to been part of programmes with Theatre STORIES THAT develop their own projects. Absolute, The Bunker Theatre and Rada. GRABBED US BY All concerned were determined to Precious is a playwright, poet, author make the scheme as unprescriptive as and artist. Having quit nursing to con- THE THROAT’ possible. “Often, you will get schemes centrate on writing, Precious became or programmes like this which are a bit active in the theatre industry, won the more prescriptive,” says Haines. “Pro- Best New Artist Award at Museum of to people who don’t have to struggle in duction companies like to know there the Mind in 2016, and became a pub- this way. If you’re a writer working at a will be a script or two they can get lished author in 2018. day job or doing night work, working their mitts on at the end of process. Willis is a member of the Orange irregular hours on a zero hours con- “We want our approach to be differ- Tree Writers Collective, BBC Writers tract, or you’re out of work and finding ent to that. The fellows take ownership Room and a playwright on attachment it difficult to feed yourself, it’s of what they want to get out of it. at the Bristol Old Vic. He was the extremely difficult to think about tak- Hopefully, at the end of six months writer in residence at Theatr Clwyd ing your writing seriously and take it they will have enjoyed working with and is an alumnus of Tamasha Play- forward.” us and we will be in a position to wrights and Soho Theatre Writers Lab, The bursaries give each writer a sum explore how that relationship will where he developed Wonder Boy, which roughly equivalent to the London living develop further. was produced by Bristol Old Vic Thea- wage – £10,000 for six months – plus “We want to create an enlightened tre School. travel and accommodation support, and space where people can find their feet “Rabiah, Lettie and Ross stood out. a tailor-made programme designed by and work out what it is that they want Each of them delivered an incredibly Kudos and the Royal Court. to do.” strong piece of work that spoke to the “The Kudos creative team, led by So, ideally, in two or three years’ time, judges and Vicky and Karen. They were Karen Wilson and Sarah Stack, have the three will be writing commissioned very personal stories,” says Haines. devised a bespoke package of ‘experi- scripts? “Absolutely. We hope this will “They were relatable, authentic and ences’ for each fellow, focusing on any be a massive accelerator of their deeply personal stories that grabbed us gaps in their skills and on areas the careers. We want them to come out by the throat and demanded attention. fellows themselves are keen to develop feeling more confident and clearer “The writing jumped off the page in relation to television writing,” about what they want to spend the next because it was so immediate and per- Haines explains. couple of years doing with their writing, sonal. That was exciting for us. It was “Lucy Davies [executive director at be that in theatre or TV, or both. It’s the why we wanted to do this scheme in the Royal Court] and Vicky have done start of a relationship for all of us.” the first place.” the same in relation to their theatre What, then, of the future? Is the The Kudos MD points out that today work. We hope the combination will initiative a one-off or might it become new writers who want to work in TV act as an incubator to accelerate their something of a permanent fixture? often face significant challenges. Over- massive potential.” In this context, it’s “We will do it again if we find it’s been all, there’s more drama being transmit- important to remember that many of useful,” says Haines. “It would be our ted, streamed or downloaded than ever television’s greatest writers, be it David intention to run it again with the Royal before. But the kind of shows that were Hare or Alan Bennett, have always Court if it goes well this time. We’re once available for rookie writers to cut switched between stage and screen. only in the first month of the first year. their teeth on – long-running series The three are spending time with all We need to see how it turns out. But, such as ITV’s The Bill have long since departments at Kudos and the Royal so far, so good.” disappeared. Court, shadowing colleagues, observ- And maybe this unique collaboration Then there is the question of making ing rehearsals, attending first previews between one of British TV’s best drama ends meet. Writing can be a fickle and and visiting TV sets. producers and London’s leading unremunerative job. Aspiring writers There will be opportunities to par- ­supporter of innovative stage writing often find themselves holding down ticipate in monthly workshops run by will enrich TV drama in the years to one or even two jobs, while trying to leading creatives in theatre and TV, come. It might even nurture the next build a career as a writer. attend script meetings at the Royal James Graham, Kay Mellor or Sally Haines says: “It sounds remarkable Court and development meetings at Wainwright. n

Television www.rts.org.uk March 2019 21 True grit

ver the past couple in Children’s Ward, which was developed of decades, Stephen Acting for ITV by Paul Abbott and Kay Mellor, Graham has become then at the very start of their writing increasingly hard to careers. avoid on both TV Matthew Bell enjoys an Other early TV appearances included and film. The variety RTS event showcasing ITV cop series The Bill. “It was great ofO roles he’s taken on is extraordinary. because it gave you on-the-job train- He can play cops and robbers, modern the career of the ing – part of your apprenticeship. You and period drama, ordinary and larger- can learn a lot from drama school, but than-life characters. He is convincing prolific British actor you can learn much more when you’re in all of them. Stephen Graham working,” said Graham. Finally, at last year’s RTS Programme The actor went to drama school in Awards, Graham received the recogni- school, when he played Jim Hawkins London, but doubted whether it is a tion he has been due for many years in a version of Treasure Island. He was “necessity nowadays”. “And, let’s be when he took the Actor award for his spotted by Andrew “Drew” Schofield, a completely honest, is it affordable for portrayal of the detective who investi- local actor who played the title role in most people? I would love everybody gated the murder of the Liverpool Alan Bleasdale’s Channel 4 drama to have the opportunity to go but, if I schoolboy Rhys Jones, in ITV’s harrow- Scully, concerning a teenager who hadn’t had a grant, I wouldn’t have ing real-life drama Little Boy Blue. The dreams about playing for Liverpool FC. been able to go.” judges described his performance as Schofield was in the audience to watch However, when asked by a member “unquestionably brilliant, showing his nephew perform in the play – the of the RTS audience whether he had a extraordinary range and skill”. first of many pieces of “luck” that Gra- view on the advantages enjoyed by Graham looked back over a career ham said actors need at some point in “Oxbridge/Eton-ite” actors over those that has taken in some of British TV’s their careers. from a working-class background, grittiest parts – and some meaty mob- “Drew said to my mum and dad that Graham responded: “No – everyone ster roles across the Atlantic – at an he thought I had some talent and that has got to make a living.” RTS early-evening event in February. they should look at getting me to the Although he talks broad Scouse, He was in conversation with Alice Everyman Youth Theatre [in Liverpool] Graham made his name as the cock- Feetham, his co-star in the Sky Atlantic – and that’s what we did. It started ney boxing promoter Tommy in Snatch, thriller Save Me. from there,” recalled Graham, who Guy Ritchie’s 2000 comedy crime flick The award-winning actor, who was added: “Drew was the inspiration for (see box, page 26). “Snatch was a joy to born in Kirkby, a satellite town of Liv- me being an actor.” do – it was a lot of fun,” he said. “It did erpool, first trod the boards at primary His first paid teenage acting job was dramatically and drastically change my

22 Playing Combo in This Is England ’90 Channel 4 Stephen Graham on: making This Playing Melon in Save Me is England with Shane Meadows Sky life – and all for the good. It gave me ‘I love [Shane’s] way of working – it’s Eventually, Graham told Meadows much broader opportunities and the the drama school and Stanislavsky stuff, about his heritage. ‘There was silence,’ chance to go for many different [parts]. but it’s done practically, in a way you he recalled. ‘And then he said, “That “There was a part of me at the very can all understand,’ said Graham. ‘You makes it really interesting.’” beginning [that thought] this is me and have a look at what’s on the page, as Four years later, Meadows brought [Liverpool] is where I’m from – and you do with every other director, but This Is England to Channel 4, taking authenticity is beautiful. I’m very you’re creating a character from scratch. the stories of the characters from the proud of where I come from.” ‘You do the background – where he original film through the late 1980s and But he did not want to be typecast: was born, where he went to school, into 1990. ‘I thought it was going to be “[I thought] learning to do different who is mum was, who his dad was, a one-off film and, to be honest, at first accents could hopefully open doors for what his favourite colour is. I was very sceptical about turning it me and give me different opportuni- ‘That’s how Shane works. You spend into a TV series,’ he said. ties.” In fact, he is a virtuoso at accents, about a week doing that. Then, you For This Is England ’90, Meadows treating the RTS to impersonations of spend time creating scenarios and used some of his trademark methods some of the acting greats he’s worked possibilities of what may happen.’ to help Graham get into character for with, including Al Pacino and Robert In Meadows’ film about skinhead the release of Combo from prison. De Niro. culture in early-1980s Britain, Graham ‘Shane set me an exercise. He took Graham had a small part in Martin played Andrew ‘Combo’ Gascoigne. all my money off me, dressed me in Scorsese’s 2002 movie Gangs of New Portraying a racist skinhead was prob- [Combo’s] clothes, put the tattoos on York. Almost a decade later, he played lematic for Graham. ‘I’m mixed race my face that he’d got while he was in Al Capone in Scorsese’s HBO series – my granddad was from Jamaica; my prison… and then he dropped me off in Boardwalk Empire. The actor, though, nanna was Swedish on my dad’s side the middle of Sheffield,’ he recalled. ‘At was adamant “that there was no con- of the family. that moment, I knew what it was like to scious decision to [try and be] a suc- ‘I didn’t want to tell Shane that I was feel invisible. cess in America – that was never my mixed race at the beginning because ‘I could never have got that [feeling] objective.” I thought, if I tell him, he’s not going from three years in drama school, but But working on the other side of the to give me the part. We did a day’s I got it from being on the streets… of Atlantic was an opportunity that Gra- workshop and, because I really wanted Sheffield.… It was proper scary. ham “grabbed with both hands”. “For this part, I went for it proper. Some of ‘People were walking past me and a young lad who grew up in Liverpool, the language I used was painful, but it completely ignoring me – I felt worth- who always wanted to be an actor, to was authentic because I’d been on the less. And that was the objective of the be given the opportunity to play Al other end of it.’ exercise – it was amazing.’ Capone was amazing,” he said. �

Television www.rts.org.uk March 2019 23 Graham on: Guy Ritchie

The actor first worked with Guy Ritchie on his 1995 short film, The Hard Case, the director’s calling card for his big-hit debut, Lock, Stock and Two Smoking Barrels. He had accompanied a friend, who was auditioning for a tiny part in the short. ‘Guy popped his head around the door and said [to me], “It’s you next.” I said no, because I’d just come with my mate. But he asked if I was an actor and he called me in.’ Handed the script, Graham explained that he was dyslexic and

Paul Hampartsoumian Paul would need time to read it. Offered the chance to improvise instead, � Back in the UK, it is gritty dramas Melanzana, with Feetham cast as his Graham grabbed the opportunity: – of the type he used to watch as a much-younger wife, Bernie. He is ‘We did a little bit of messing about child – that pepper his career. “I was also in the latest instalment of Jed and he said, “You’ve got the job brought up on fantastic drama in this Mercurio’s police corruption thriller and start on Monday.”’ country, the likes of [Alan Bleasdale’s] Line of Duty. A few years later, when Ritchie Boys from the Blackstuff and [the BBC’s] In keeping for a series known for was casting for his second fea- Play for Today. I used to watch that guarding the secrets of its dizzying ture, Snatch, ‘He wasn’t seeing kitchen-sink type of drama, which I plot turns, nothing is known of his anyone who wasn’t a cockney,’ used to adore, with my dad. I always criminal character, John Corbett, said Graham. ‘Apparently, he was wanted to do that kind of work.” other than the teaser released by the watching something I had a little British drama has given Graham BBC. This shows the actor pulling off part in as a Scouse builder, but he some of his best roles, including the a black balaclava. Pressed for further was looking at this other lad to skinhead Andrew “Combo” Gas- details, Graham confirmed only that: see if he wanted him for the role coigne in Shane Meadows’ 2006 film “He wears a balaclava.” of Tommy. Then I popped up and This Is England and its later TV incar- Later this year, Graham will star he [obviously] remembered me. nation on Channel 4 (see box, page 25). in Scorsese’s latest film, The Irishman, ‘I walked in [to the audition] “If I’m honest, that particular job was playing a mobster in the company of and pretended I was a cockney. where I grew up as an actor. It really De Niro, Pacino and Joe Pesci. He has And he let me pretend I was a [helped me to] understand the [act- also reunited with Meadows for cockney. He asked me where I ing] process completely,” he said. Channel 4’s The Virtues, in which he was from and I said Beckenham, “I really learned how to dive into portrays a man with a troubled because I lived in Beckenham, a character.” childhood. and Guy went, “No you’re not – He was then nominated for the Looking back over more than two you’re pure Scouse. I’ve worked Actor prize at the 2010 RTS Pro- decades in TV and cinema, Graham with you before.” But, anyway, I gramme Awards for his role as the reflected: “This, to me, is not a job – got the job.’ alcoholic bookie, Shay, in Jimmy I adore what I do.” n Almost two decades after the McGovern’s RTS award-winning BBC film’s release, Graham said it ‘gave One drama The Street. ‘In conversation with Stephen Graham’ me an opportunity to be a part of Most recently, he has appeared in was organised jointly by the RTS and a successful film for the very first Save Me, which was created and writ- Premier Communications. It was held time. It was an amazing honour ten by its star, Lennie James. Graham at Kings Place in central London on for me.’ plays troubled Fabio “Melon” 18 February.

24 News Coverage – Home and International: Data, Democracy and Dirty Tricks

RTS Television Journalism Awards 2019

Hosted by Mary Nightingale and sponsored by GuestBooker, the awards were presented on 27 February at the London Hilton, Park Lane

The winners and nominees of all 20 awards are listed over the following five pages� Channel 4

Television www.rts.org.uk March 2019 25 Interview of the Year: Malaysia: Najib Speaks – 101 East with Mary Anne Jolley Al Jazeera

Breaking News Current Affairs – International Nations and Regions – Zimbabwe: Robert Mugabe Steps Down Dispatches – Myanmar’s Killing Fields Current Affairs CNN International Evan Williams Productions/Mongoose Disclosure – Suffer the Children ‘A journalistic and technical triumph Productions for Channel 4 BBC Scotland for BBC One Scotland that caught the excitement of the ‘A compelling, forensic piece of film- ‘A standout investigation… that was moment but kept a cool head and making, with methodical reporting and both shocking and challenging [and ensured that tough questions about the raw testimony… riveting viewing.’ showed sensitivity] in dealing with the future were asked as well.’ Nominees: victims, and the shame and pain they Nominees: This World – Japan’s Secret Shame, have lived with.’ Cabinet Brexit Deal, Sky News True Vision Productions for BBC Two Nominees: Zimbabwe, BBC News Channel for BBC BBC Africa Eye – Sweet Sweet Codeine, Spotlight – Brexit, Dark Money and the News BBC Africa Eye for BBC World Service DUP, BBC Northern Ireland Wales Investigates – Gangs, Murder Camera Operator of the Year Daily News Programme and Teenage Drug Runners, BBC Wales Brice Lainé of the Year for BBC One CNN International Channel 4 News ‘In an excellent field, Lainé’s work ITN for Channel 4 Nations and Regions – News stood out for being shot through with ‘The programme demonstrated the ITV News Central – Leicester humanity. His camerawork in the greatest journalistic excellence Helicopter Crash – A City in Mourning Antarctic was stunning and brave.’ throughout the year, with its ground- ITV Central for ITV Nominees: breaking investigations, high-impact ‘In an exceptionally strong field, [this] Darren Conway (DC), BBC News journalism at home and abroad, and stood out for including some of the Jack Garland – Newsnight, BBC Two powerful interviews.’ best writing, the tone of the presenta- Nominees: tion, for being well paced and edited, Current Affairs – Home ITV News at Ten, ITN for ITV right down to the closing words.’ The Fires That Foretold Grenfell Newsnight, BBC Two Nominees: Amos Pictures/BBC Current Affairs for ITV News Meridian – Gosport War BBC Two Interview of the Year Memorial Hospital, ITV Meridian for ITV ‘Great research enabled the programme Malaysia: Najib Speaks – 101 East ITV London News – Grenfell one year to be built around heart-breaking Mary Anne Jolley for Al Jazeera English on, ITN for ITV interviews with people who had lost ‘This interview stood out for its courage, loved ones in previous conflagrations.… tenacity and sheer unadulterated The result was a programme of impor- watchability. The forensic approach was ­tance and revelation.’ compelling, her knowledge formidable Nominees: and her ability to combine persistence Massacre at Ballymurphy, Awen Media/ with grace quite extraordinary.’ Dartmouth Films/The Outsider Movie Nominees: Company for Channel 4 Channel 4 News – Max Mosley, ITN for Exposure – Prisons Uncovered: Out of Channel 4 Control?, Clover Films for ITV ITV News – Sir Cliff Richard, ITN for ITV

26 1 2 3

4 5 6

7 8 9 All pictures: Richard Kendal

1 Breaking News: Zimbabwe: 2 Camera Operator of the Year: Brice 3 Current Affairs – Home: Robert Mugabe Steps Down Lainé – CNN International The Fires That Foretold Grenfell

4 Current Affairs – International: 5 Daily News Programme of the Year: 6 Interview of the Year: Malaysia: Dispatches – Myanmar’s Killing Fields Channel 4 News Najib Speaks – 101 East

7 Nations and Regions Current Affairs: 8 Nations and Regions News: 9 Nations and Regions Presenter of the Disclosure - Suffer the Children ITV News Central – Leicester Helicopter Year: Nina Hossain – ITV London News Crash – A City In Mourning

Television www.rts.org.uk March 2019 27 Nations and Regions – News: ITV News Central – Leicester Helicopter Crash – A City in Mourning ITV

Nations and Regions Presenter News Coverage – Home News Technology of the Year Data, Democracy and Dirty Tricks – BBC Africa Eye – The Anatomy of a Nina Hossain – ITV London News Channel 4 News Killing ITN for ITV ITN for Channel 4 BBC Africa Eye for BBC News ‘Her interviews are challenging, ‘An exclusive story with real resonance ‘This harnessed new technology in a insightful and probing. She projects that changed the agenda. It was simple but stunning way to tell a very authority, sensitivity and charm as well brilliant journalism, with fantastic powerful story. Using only open source as an outstanding ability to connect undercover reporting… and became data and software, BBC Africa Eye pieced with the audience.’ one of the biggest stories of the year.’ together a jigsaw of facts… to debunk Nominees: Nominees: the Cameroon government’s [account]. Lucy Meacock – Granada Reports, ITV Out in the Cold – Channel 4 News, ITN A superb piece of public-interest Granada for ITV for Channel 4 journalism.’ Roger Johnson – BBC North West Violent Britain – ITV News, ITN for ITV Nominees: Tonight, BBC North West for BBC One Immersive Photojournalist Lewis News Coverage – International Whyld’s 360° Drone Image Capture Network Presenter of the Year Data, Democracy and Dirty Tricks – Technology, CNN International Emily Maitlis – Newsnight Channel 4 News Royal Wedding Who’s Who, Sky News BBC Two ITN for Channel 4 ‘Exhibiting remarkable authority and ‘A global scoop that changed the way Scoop of the Year self-possession on air, she has led the the world works [and] a meticulous Cambridge Analytica Uncovered – revival of her programme’s fortunes. undercover investigation.’ Channel 4 News She has even made it OK for an Nominees: ITN for Channel 4 interviewer to be furious with an China’s Hidden Camps – BBC News at ‘A profoundly important and signifi- interviewee.’ Ten, BBC News for BBC One cant piece of television, which exposed Nominees: Yemen, BBC News for BBC One a serious abuse of democracy. Its initial Krishnan Guru-Murthy – Channel 4 impact was enormous – and its News, ITN for Channel 4 reverberations are still being felt.’ Victoria Derbyshire – The Victoria Nominees: Derbyshire Programme, BBC Two The Disappearance of Jamal Khashoggi, CNN International News Channel of the Year Westminster Bullying – Newsnight, Sky News BBC Two ‘The channel demonstrated its trade- mark excellence in breaking and continuous news, but also showed admirable strength in investigations, exclusives and special projects.’ Nominees: BBC News Channel CNN International Host: Mary Nightingale

28 1 2 3

4 5 6

7 8 9 All pictures: Richard Kendal

1 Network Presenter of the Year: 2 News Channel of the Year: 3 News Coverage – Home and Emily Maitlis – Newsnight Sky News News Coverage – International: Data, Democracy and Dirty Tricks – 4 News Technology: BBC Africa Eye – 5 Scoop of the Year: Cambridge Analytica Channel 4 News The Anatomy of a Killing Uncovered – Channel 4 News 6 Specialist Journalist of the Year: 7 Television Journalist of the Year: 8 Independent Award: Riding ‘The Death Chris Cook – Newsnight Andy Davies – Channel 4 News Train’ to America’s border 9 Young Talent of the Year: Anja Popp – Channel 4 News

Television www.rts.org.uk March 2019 29 Outstanding Achievement Robin Elias

Current Affairs – International: Dispatches – Myanmar’s Killing Fields Richard Kendal Channel 4

‘There are many journalists Specialist Journalist of the Year Independent Award working in newsrooms today Chris Cook – Newsnight Riding ‘The Death Train’ to America’s who got their start in the BBC Two border – Channel 4 News business thanks to Robin Elias. ‘A terrier-like force of nature, Chris Pacha Films for Channel 4 ‘He’s retiring this year, after Cook built on years of forensic ‘Beautifully filmed with lovely 38 years at ITN. Robin started reporting in Whitehall and Westmin- narrative moments.… It showed as a copy taster on ITV News ster to expose a culture of bullying powerfully, with real people, the and ended up as acting editor. and harassment at the highest level of impact of policy change, which is He edited News at Ten through- Parliament.’ exactly what documentary journalism out the 1990s, with Trevor Nominees: should be doing.’ McDonald at the helm, Michael Buchanan, BBC News for BBC Nominees: including coverage of the One Panorama – Can Violent Men death of Diana, Princess of Nima Elbagir, CNN International Change?, Rogan Productions/BBC Wales, and the 9/11 terror Panorama for BBC One attacks. Television Journalist of the Year Humam Husari – ITV News, ITN for ITV ‘As well as a stellar journal- Andy Davies – Channel 4 News istic career, Elias was an early ITN for Channel 4 Young Talent of the Year and passionate advocate of ‘Not content with delivering a Anja Popp – Channel 4 News making newsrooms more jaw-dropping exclusive that domi- ITN for Channel 4 diverse, by bringing in people nated the media for days on end, ‘Her work has been quite extraordi- who wouldn’t normally get a Andy Davies produced a succession nary, both on and off camera.… Popp foot on the ladder of television of original and remarkable reports quite clearly has a massive career journalism. that told stories far beyond the ahead of her.’ ‘He is also one of the nicest normal news agenda. He did so with Nominees: people in TV news.’ tenacity and grit, and compassion and Noel Phillips – The Victoria Derbyshire modesty, too.’ Programme, BBC Two See extended video highlights at: Nominees: Rishabh R Jain – The Plight of the https://bit.ly/2UsynAD Clive Myrie, BBC News for BBC One Rohingya, The Associated Press n Orla Guerin, BBC News for BBC One

30 RTS NEWS

Matthew Bell

RTS Futures learns how Rugby Tonight prepares when it takes the field for live transmission

wo of the stars of BT Sport’s Rugby Tonight took time out from rehearsals to offer Tadvice to RTS Futures mem- bers taking a tour of the broadcaster’s facilities in east London. Working as an analyst, “your job is to tell the truth,” said Austin Healey. “You’ve From left: Sarra Elgan and Austin Healey

got to be honest if you’re on Lewis Phil television – people will spot a lie when they’re at home watching.” After retiring from rugby Feels like team spirit more than a decade ago, Healey worked as a pundit for the BBC – and even hosted a Sport in early February at 60 people strains every coverage, the show eschews short-lived ITV game show, its HQ in the former 2012 sinew to get the one-hour high-end graphics and touch The Fuse – before becoming Olympics International magazine show ready to go screens in favour of large a key member of BT Sport’s Broadcast Centre. As well as on air at 8:00pm. blokes hitting tackle bags and rugby team, both as part of its rugby, the broadcaster also A 12-hour day is the norm – in that night’s show – cross live coverage and as a regular covers Champions League on a Wednesday, said Hill: kicks aimed into a dustbin on Rugby Tonight. Hugely and Premier League football, “If you want to work in TV, across the studio floor. It is, knowledgeable about the Australian cricket and wom- you’ve got to be ready to unapologetically, a fan’s show, game, the former England en’s tennis on its five sport work long days – you work which is reflected in the international is known for his channels. until the job make-up of the audience, plain speaking and irreverent “Rugby Tonight is done.” who clearly knew their rucks presenting style. has stayed the THERE IS That week, the from their mauls. Rugby Tonight host Sarra course – it was show included a On the studio floor – Elgan has been working in there at the very NO ONE discussion of the Europe’s biggest sports studio, TV sport for more than a beginning of BT previous week- no less – Donna Merritt was decade. She is a rugby spe- Sport, in 2013,” BIGGER end’s Six Nations herding the audience from cialist who has also covered said Rugby THAN THE action, a pre- one item to another and con- speedway for Sky Sports and Tonight’s execu- recorded inter- stantly reminding them when football for CBBC. tive producer, SHOW view from to clap and holler. Elgan offered encourage- who is also the England’s train- “I’m the director’s eyes ment to the RTS Futures head of rugby at ing camp and and ears, and put in place members, particularly the Sunset+Vine, Titus Hill. The the regular enthusiastic on the floor what he or she women, that a career in production outfit produces involvement of the amateur wants from where they’re sat broadcasting is more attain- 1,200 of hours of live cover- guest players – all in full kit in the gallery,” she explained. able than ever before. There age and magazine shows a – in the audience, who re- “I ensure that shows run in are more opportunities now, year for BT Sport in a deal enacted key passages of play order and to time.” she said, adding: “Years ago, that runs to 2022. from matches. Making TV, she said, is a when I started, you didn’t see Every Wednesday during Rugby Tonight is loose, almost team effort: “There is no many women in sport.” the rugby union season, a anarchic, in style. In contrast one bigger than the show – RTS Futures visited BT production team of around to Sky’s approach to sports you’re all part of a team.” n

Television www.rts.org.uk March 2019 31 RTS CENTRE AWARDS Salford offers tips and prizes

The University of Sal- high standard of work which ford enjoyed a success- continues to be produced ful night at the North across the North West.”

North West Centre West Student Television The ceremony at the Awards. Film-makers from Lowry Theatre, Salford, in the university won four of the February was hosted by main prizes – Animation, Granada Reports presenter Comedy and Entertainment, Ann O’Connor and included News, and Short Feature an interview with Lucy Fal- – and another Salford stu- lon, who talked about play- dent, Josh Davies, took home ing Bethany Platt in the Editing Craft award. Coronation Street. University of Bolton students won the Factual award

Manchester Metropolitan Earlier in the day, RTS Claire Harrison University students won the North West hosted an after- Drama and Camera awards, noon-long student media RTS North West Student Nicolay Armando, University of Bolton while the Factual award went conference at the same Television Awards winners News•A Testing Choice for Down’s to the University of Bolton. venue. In the first session, Syndrome•Jennifer Smith, University of Salford Manchester School of Art’s “Spotlight on drama jobs”, Animation•Making a Meal of It•Sean Short Feature•Perception•Samuel Chelsea June Hicks won the Coronation Street senior pro- Jones, Cheryl Parker and Maria-Larisa Covaciu, University of Salford Hawkley, University of Salford Production Design award. duction manager Lee Rayner Comedy and Entertainment• Craft Skills – Camera•Near Wild “It is so important to rec- and Red Production Com- Darryl Meets…•Ellie Lightowler, Heaven•Dan Thorburn, Dom Old, ognise the emerging talent in pany script editor Laurie University of Salford Maxwell Graham, Jonathan Bradshaw and Will Coldwell, Manchester Drama•The Girlfriend Experience• the industry,” said Richard Kirkham offered insights Metropolitan University Harry James Coleman, Charlene Jones, Frediani, Chair of the RTS into working in the genre. Matt Towers, Benjamin Stott and Craft Skills – Editing•Solace• North West Student Televi- They were followed by a Holly Chadwick, Manchester Josh Davies, University of Salford Metropolitan University sion Awards. “The winners panel from documentary- Craft Skills – Production Design Factual•A Question of Dignity• Sound•Villifall•Chelsea June Hicks, and nominees this year dem- maker Title Role Productions, Mark Scullion, Sharleigh Wood and Manchester School of Art onstrated the exceptionally which discussed how to find

An audience of 250 Northern Film School stu- saw the RTS Yorkshire dents won the Short Form Universities divvy up Student Television prize for the “really impres-

Yorkshire Yorkshire Centre Awards shared around sive and evocative” Footfalls. awards between them the region’s colleges at a The Swinging Life of Rochdale ceremony held at Leeds – a film about a swingers College of Music in late club by Joe Greenough and RTS Yorkshire Student Tulip and Yannis•Tobias Gavelle, February. Holly Murphy from Leeds Television Awards winners Northern Film School Craft Skills – Drama: Camera•The Veil• The University of York’s Trinity University – took the Animation•The Animation• Sean Mackey, University of York Isaac Smith took home the Factual award. “The film Isaac Smith, University of York Craft Skills – Production Design• Animation award for The gives unique access to a Drama•Argot•Matteo Palmas, Millie Mater Mortem•Maya Russell-Baines Anderson, Willem Evans and Philip and Hope Phillips, Sheffield Hallam Animator, which the judges world we don’t normally see Schroeter, Northern Film School at University praised as a “fantastic and and is filled with humour, Leeds Beckett University Craft Skills – Factual: Camera and entertaining short film that warmth and great charac- Factual•The Swinging Life of Sound•Resonance•Oscar Whaley Rochdale•Joe Greenough and Holly and Joe Georgiou, Sheffield Hallam delivered everything it ters,” said the judges. Murphy, Leeds Trinity University University promised”. The University of Shef- News•At Arm’s Length•Teri Limongi, Craft Skills – News: Camera and University of Sheffield Editing•Saunaman•Andrew Burdett, The Drama award went to field’s Teri Limongi won the Short Feature•Footfalls•Hai Di Nguyen, University of Sheffield a team from the Northern News award for the “out- Patrick Dunn, Ava Jenkinson and Massi- Craft Skills – Short Feature: Camera• Film School at Leeds Beckett standing” At Arm’s Length, ­miliano Borghesi, Northern Film School Big Bad Wolf•Owen Edwards and Craft Skills – Animation: Production Darcy Farrant, University of York University for Argot, an about champion paraclimber Design•Fernweh•Sarah McCarthy, Craft Skills – Short Feature: Editor• “imaginative and mature Matthew Phillips. SheffieldKeyed Hallam Alike University Megan's Story•Zoe Toase, film with a brilliant central “The awards once again de­- Craft Skills – Animation: Sound• York St John University premise”. Another group of monstrated the burgeoning

32 programme contributors. The indie made Channel 5’s Manchester Terror Attack: In Their Own Words, which won the Regional Story prize at last year’s RTS North West Awards. When working with contributors, emphasised the panel, “be decent, upfront and transparent”. Tom Clarke from Manches- ter’s Space Studios offered advice on how to bridge the gap between young people and employment, including apprenticeships. He also discussed opportunities at SharpFutures, a social enter- prise that helps young people into employment in the cre- ative sector. ITV’s Cold Feet Vera and Sky 1 street-racing drama ITV Curfew are just two recent productions shot on Space Studios’ stages. The final session, on break- ITV walks to victory ing into TV, covered a wide range of questions, from the technical aspects of produc- Local comedian and cop show joined crime ITV Tyne Tees enjoyed tion to CV writing. It was writer Jason Cook writer Ann Cleeves, whose success: North East Tonight hosted by Margaret Burgin Border hosted the RTS North books inspired the series, on received the News Pro- the from ScreenSkills, the screen North East & East and the Border stage to collect the RTS gramme award; weatherman industries’ skills body, and Awards, which attracted an Judges’ Award at the Hilton Ross Hutchinson was named included panellists from the audience of 400-plus – Newcastle-Gateshead in late Presenter of the Year; and BBC Academy and factual including Vera actors Brenda February. Filming begins on Tom Sheldrick took the award indie Blakeway North. Blethyn and Kenny Doughty. Vera’s 10th season in Nor- for Outstanding Journalism. Matthew Bell The two stars of the ITV thumberland next month. ITV Tyne Tees and BBC North East & Cumbria were given special awards to mark RTS North East and the Production Design•Patrick Bill, Vera• talent within the region, with Border Awards winners ITV Studios for ITV 60 years of production. judges commending work Editing•Tom Strachan ITV SignPost, which pro- for its originality, access and Centre Award•ITV SignPost Animation, Graphics and Titling• duces signed programmes for Outstanding Contribution• Arcus Animation Studios production values,” said RTS Re:Production Student Animation•The Boy and the a range of broadcasters from Yorkshire Chair Fiona Judges Award•Vera•ITV Studios for ITV Balloon•Teeside University studios in Gateshead, received Thompson. Drama – Long Form•The Dumping Student Comedy and Entertainment• the Centre Award from RTS Rebel Rebel•University of Sunderland “It has been an evening Ground•CBBC CEO Theresa Wise. Giles Drama – Short Form•Blood Steel• Student Drama•The Sycamore of celebration,­ bringing stu- Cassini Films Gap•Northumbria University Bowman from ITV SignPost dents, graduates and staff Drama Performance•Kia Pegg, The Student Factual•NEPK – North East was named Rising Star. Parkour•University of Sunderland from the region’s higher Dumping Ground•CBBC The CBBC series about the Factual (Broadcast)•The Mighty Red- Student News•Greek Unemploy- education providers together car•72 Films for BBC Two ment•University of Sunderland lives of young people in care, to showcase their work.” Factual (Non-broadcast)• Student Short Form•Find Out• The Dumping Ground, picked Teeside University Christine Talbot, co-anchor Geordie Jazz Man•Film Agogo up two genre prizes: Drama News Programme•ITV News Tyne Tees Craft Skills – Camera•It’s Like of ITV’s regional news pro- Snowboarding but with Wheels• and, for Kia Pegg, Drama Outstanding Journalism• University of Cumbria gramme Calendar and the Tom Sheldrick•ITV Tyne Tees Performance. Craft Skills – Editing•NEPK – North RTS Yorkshire Journalist of Rising Star•Giles Bowman• East Parkour•University of Sunderland Dan Dewsbury’s heart- ITV SignPost the Year in 2015, hosted the Craft Skills – Production Design• warming documentary series ceremony. Presenter of the Year• Rebel Rebel•Thomas Johnson, for BBC Two about a former Ross Hutchinson•ITV Tyne Tees University of Sunderland The Leeds-based indie steel town, The Mighty Redcar, Commercial•Shangri-La: A Festival of Craft Skills – Sound•Flow•Freddie Daisybeck Studios sponsored Chinese Flavours•Third Aspect Gollins, Newcastle University made by 72 Films, took the the RTS Yorkshire Student Photography•Chris Middis• Craft Skills – Writing•The Sycamore award for Broadcast Factual BBC North East & Cumbria Gap•Lucy Rose Wilson-Green, Television Awards. Sound•The East Wing Northumbria University Production. Matthew Bell Matthew Bell

Television www.rts.org.uk March 2019 33 RTS NEWS Bristol hosts media law Tranter calls for funding workshop taken those terms, but we did. We decided to base ourselves in Wales, even though we Abbas Media Law’s could have had much better Clare Hoban and Paul terms elsewhere. Schaefer offered useful “It does make you question

West of England advice on filming whether it is right that, as a access documentaries at a nation, we should be offering Bristol workshop organised better terms and incentives by Bristol Media and RTS to some of those productions West of England in February. who head across the Severn The two lawyers looked at Bridge for a short time – film the contractual, legal and and then pack up and go regulatory issues that can – than we do to our home- crop up in this genre of films grown industry? that require access to institu- “[The] Government needs tions such as hospitals or to stop throwing money at communities – including ‘new’ short-term ventures and data protection, defamation should instead double-down A Discovery of Witches and advice on drafting Sky and invest in the foundations access agreements. They also we’ve all already built here. tackled other thorny issues, The Welsh Govern- offer better terms to external “Bad Wolf is committed to such as police requests for ment should stop companies than to Wales- Wales and if taking on more rushes and contributors “throwing money” at based producers. challenging terms… is what withdrawing consent. Wales Centre short-term ventures by Speaking to a 200-plus we need to do, we’ll gladly do “We thoroughly enjoyed producers from outside Wales audience at Cardiff Univer- it. But in return, we need help meeting the programme- and instead invest in home- sity’s School for Journalism, in growing the workforce and makers. We left in no doubt based companies. This was Media and Culture, Tranter training the next generation. that Bristol is a thriving TV the hard-hitting message called for a joint strategy “My plea tonight would be production hub,” said Hoban. from Jane Tranter, who gave involving both industry and for [the] Government to bring “Often, programme-makers the RTS Cymru Wales annual the Government to ensure together a group of sensible have to head to London for lecture in February. the sustainability of produc- people from the creative sec- this kind of expertise, so it’s The co-founder of Cardiff- tion houses and supply- tor – indigenous and based in great to be able to offer work- based indie Bad Wolf, which chain companies in Wales. Wales – to sit around a table, shops in Bristol,” said Alli makes global productions Referring to the Welsh Gov- to discuss future skill needs, to Nicholas, Bristol Media mem- such as the upcoming BBC ernment’s “economic multi- map out the training require- bership manager. A copyright series His Dark Materials and plier” investment criteria, she ments over the next decade workshop with Abbas Media Sky 1’s A Discovery of Witches, said: “I’m not sure I know of and to work out a bespoke Law is planned for May. questioned the wisdom of any other studio or production package for delivering it.” Suzy Lambert Welsh Government policy to company who would have Huw Rossiter Irish centre visits hit RTÉ dancing show

RTS Republic of Ire- is involved in the production platforms to hold an audience sometimes connected by

land made a second of the two-hour live broad- of 300. adjacent areas of knowl- visit to the set of RTÉ’s cast, which has been com- The RTS centre first visited edge,” he argued in a wide-

Republic of Ireland Dancing with the Stars at pared to producing a the production in March 2018. ranging presentation. the Ardmore Film Factory in Eurovision Song Contest n A few days later, at RTÉ in Molloy worked in RTÉ’s Bray, Co Wicklow, in Febru- every week for 12 weeks. Dublin, TV designer Patrick design department across all ary. The Irish version of the During the tour, a huge Molloy offered some reveal- television genres. He also BBC’s Strictly Come Dancing, construction team was put- ing thoughts on the creative lectured in production which is made by ShinAwiL, ting together the set on the process. “Creativity generally design and art direction at is in its third series. studio floor, which included involves crossing the bound- IADT Dun Laoghaire. A team of 120-150 people a 270° video wall, as well as aries of domains, which are Charles Byrne

34 ONLINE at the RTS

n The RTS Television Journalism Awards are a highlight in our cal- endar. This year, the digital team went backstage to interview the winners about their work. Our video with Newsnight’s Emily Maitlis, who was named Network Presenter of the Year, has had 120,000 views on Twitter alone. You can watch the extended James Stirling, Stevie Knows, Elle Bracher and Lucy Skinner highlights of the night at www.rts. org.uk/TVJ2019Highlights.

n Ahead of the awards, Kate Hol- Shetland

BBC man met the nominees for the Young Talent of the Year award. in Glasgow. She promised: It went to Channel 4 News’s news “with a distinctly Scot- Anja Popp, who has produced New channel tish prism. Robust news cov- and reported a range of stories, erage from a Scottish public including that of Lindy Louise broadcaster is now more vital Pring, who died while living rough than ever. In a digital world, in Cardiff. Popp spoke about how to back youth one increasingly filled with newsrooms benefit from hav- user-generated­ content, it can ing younger journalists and the be difficult to determine what responsibility she feels to the Donalda MacKinnon role in achieving a more is true and what is not.” people she meets (www.rts.org. pledged that the new creative, more distinctive, MacKinnon joined the BBC uk/AnjaPopp). BBC Scotland channel more personalised BBC in in 1987 and became Director Scotland Centre will “reflect modern Scotland,” said MacKinnon. of BBC Scotland in late 2016, n Associated Press journalist Scotland”. The Director of Younger audiences are the first woman to hold the Rishabh R Jain, who has reported BBC Scotland was giving RTS a major focus for the new top BBC job in Scotland. extensively on the Rohingya Scotland’s 2019 Campbell channel. MacKinnon said Last year, at the request of refugee crisis, was also nomi- Swinton lecture, “Changing there was a need in traditional Director-General Tony Hall, nated for the award. Jain, who times for the BBC and PSB”, broadcasting for “younger she produced a report, “Mak- is based on AP’s South Asia in February. role models who looked and ing the BBC a great work- desk in New Delhi, took several The Director of BBC Scot- sounded like they lived in place for women”, whose trips to Bangladesh to hear the land was talking before the contemporary Scotland”. 30-plus recommendations stories of people who had been launch of BBC Scotland on The BBC’s Glasgow-based have been endorsed. forced from their homes. He 24 February. “Our new BBC digital platform, The Social, Turning to equality issues, discusses his work at www.rts. Scotland service will create which launched in Decem- MacKinnon said that the BBC org.uk/RishabhRJain. more than 900 hours of orig- ber 2015, has given a voice to has been looking at new inal content every year on a young film-makers in Scot- ways of “finding the best n Fellow nominee Noel Phillips channel that will be confi- land. MacKinnon said: “I talent” for the new channel decided he wanted to become a dent and outward-looking would expect to see talent “and making sure that, when journalist after seeing Sir Trevor and which will reflect mod- from The Social appearing hiring, managers think McDonald on News at Ten. As a ern Scotland,” said MacKin- on our new channel.” they’re looking through the youngster, he would mute the non. She claimed this She added: “If [the chan- window [and] not just actu- TV, use Teletext as his autocue marked a “huge increase” on nel] doesn’t look, sound and ally looking in the mirror”. and pretend to host the news. the current levels of content. act like its audience, [it] risks The RTS lecture is given in Today, he is a reporter on BBC “The launch of our chan- becoming irrelevant.” honour of Scottish electrical Two’s Victoria Derbyshire, where nel will shape the BBC in Turning to news, MacKin- engineer and television pio- he says it is important to show Scotland for the next genera- non discussed BBC Scot- neer Alan Archibald Campbell your human side to help inter- tion. True to our public ser- land’s new 60-minute Swinton. It was hosted by viewees open up. Find out more vice values, my hope is that programme, The Nine, which BBC Scotland at Pacific Quay. at www.rts.org.uk/NoelPhillips. the channel will play a key will be made at Pacific Quay Matthew Bell Pippa Shawley

Television www.rts.org.uk March 2019 35 RTS CENTRE STUDENT AWARDS Record field for Bristol awards

The universities of Gloucestershire students Gloucestershire and dominated the Comedy and the West of England Entertainment category: a

West of England won two main awards bittersweet love story, Deli- each at the West of England cious Love, won the prize, while Student Television Awards at the musical Dearly Departed Bristol’s Everyman Cinema. was highly commended. Memories of Mother, made by The University of the West a team of students from the of England notched up wins Comedy and Entertainment winner Delicious Love University of Gloucestershire, in Animation with Efa Blosse won the Factual award and Mason’s “quirky, creative and was praised by the judges as funny” Earthly Delights and described as “deceptively home the Drama prize with a a “brave” and “beautifully Nose in the Short Form cat- simple and very engaging”. horror film, Figurehead, which shot and edited” film. egory, which the judges Bath Spa University took the judges said showed “a great understanding of genre RTS West of England Student Animation Craft Skills n Directing•Leah•Louis Reeves, UoG rules and structures, and was n Achievement in Animation•Ship- Television Awards winners n Editing•Anamnesis•Sophie Master- well written and well acted”. wrecked•Sabrina Marengo, Manurinder man, UoG Animation•Earthly Delights• Sandhu, Duncan Gilbertson, UWE At the ceremony, Mike n Sound•Anamnesis•Becky Millington, UoG Efa Blosse-Mason, UWE n Music• GoatHead•Stylianos Tsioupros, Gunton, creative director of Comedy and Entertainment• UWE n Writing•Figurehead•Tommi Floor, Bath Spa University Delicious Love•Alana Volavola, Macaulay n Production Design•Earthly Delights• the BBC’s Natural History Jones, Freddie Berman, Ben Holmes, Efa Blosse-Mason, UWE Factual Craft Skills Unit, spoke to students about Jade Elwood, Amey King, Kate Goulding, n Camera• The Shell Line of Shingle Kate Seninde, Jaffer Adams and Sophie Comedy and Entertainment Craft Skills Samuel Marino Screenology n Street• • • how to use creative storytell- Masterman, UoG Camera•Dearly Departed• Regina•Jake Smith, UWE Elliot Howarth, UoG ing to engage audiences. Rhys Ashton Tucker, n The Appearance Drama•Figurehead• n Camera and Lighting• Tommi Floor, George Cheshire, Jack Editing• Delicious Love•Sophie Mas- Score•Mathis van den Berg, U of Bristol Gunton is the executive terman UoG Yeomans, Tyler Kerrick Blake, Macaulay n Editing•Memories of Mother•Mathilda producer of the landmark Waran-Sanders, Bath Spa University n Music• Dearly Departed•Demi Marriner Strahl, UoG•Cheer•Will Evans, UoG and Robbie Cavanagh, UoG• documentary Planet Earth II. Factual•Memories of Mother•Joana n Sound•Cheer•Nikola Jurčáková, UoG Amado Simões , James Hargreaves, Tom Mansa Musa Riddim•D-Red, UWE RTS West of England Moreton, Emily Bracken, Mathilda Strahl, n Production Design•Dearly Departed• n Writing•Memories of Mother•Joana and Jade Leppä, UoG Montana Allaway-North, UoG• Amado Simões, UoG received the most entries ever Short Form•Nose•Kiki Nafig, Izzy Mooney, Delicious Love•Jade Elwood, UoG Short Form Craft Skills to its student awards this year. Emma Lazenby, Jake Lucas, Drama Craft Skills n Sound• 51•Emily Wiles, UWE The Craft awards awarded are Poppy Young, Hugh Cowling and Laura n Camera•Girl•Jacob Crow-Mains, n Writing•Nose• Izzy Mooney and Kiki listed on the left. Izzard, UWE UWE•Anamnesis•James D Chanter, UoG Nafig, UWE Matthew Bell London students tackle taboos

The winners of Lon- “Many seized the opportu- don’s Student Awards nity to use their work as a in February came from means of challenging and

London Centre all parts of the capital. addressing real-life taboo “The standard of entries for topics. The jurors were in 2019 was very high – several agreement that the entries jurors said that you could demonstrated the ways in ‘broadcast that tomorrow’ which art can be both about many of the films we important and meaningful.” watched,” said the Chair of Middlesex University’s Comedy and Entertainment winner Chopsticks!!

Paul Hampartsoumian Paul the awards Aradhna Tayal. Aeddan Sussex won the

36 The University of South Wales achieved a clean sweep of the

Wales Wales Centre student categories at the RTS Cymru Awards in early February. The awards also saw the launch of two Industry Awards to recognise the work of individuals in behind-the camera roles at the start of their television careers. Both awards went to ITV Cymru Wales employees. Production specialist Ellis Clark received the New- comer award, with the jury stating that he “had clearly Wales backs talent Huw Johm Jon Craig mastered impressive skills in a very short time”. Journalist Siân Thomas hosted the ceremony at the “It’s always such a thrill and the future,” said Winnan. was presented with the University of South Wales. an honour to celebrate the The awards recognise Industry Breakthrough In the student categories, creativity and technical prow- work created by students award, which is awarded to Dogs in the Apocalypse won the ess of students in Wales. We attending higher education TV talent with a minimum of Animation award, while the are getting a glimpse of the institutions and, for the first two years’ experience in the Comedy and Entertainment film-makers and crafts peo- time, further education industry and at least one prize went to Keith Barry John. ple of tomorrow – the people courses in Wales. on-screen credit. Faruq won the Drama prize who will shape television in Matthew Bell “The Newcomer and Indus- and Mathew vs Pritchard the try Breakthrough awards Factual prize. RTS Wales Student celebrate the rising stars of The awards jury also Drama•Faruq•Preston Kevan, Television Awards winners Ben Warman, Paige Bickham and the TV industry in Wales. We awarded four Craft awards, Industry Award – Newcomer• Holly Thomas, USW saw evidence of real passion, two of which – Cameawork Ellis Clark•ITV Cymru Wales Factual•Mathew vs Pritchard• commitment and initiative, and Production Design – Industry Award – Breakthrough• Jake Hardy-Behrendt, Ethan Brooks, Siân Thomas•ITV Cymru Wales Vratislav Karas and Marketa and I’m sure our winners were won by Kerby Ng for Janouskova, USW Student Awards Craft Skills – Camera and have a bright future ahead of his work on the drama, A Table Animation•Dogs in the Apoca- Production Design•A Table For• them,” said RTS Wales Chair For. The Sound prize went to lypse•Eirian Davies, Benjamin Borrow and Kevin Macleod, University of Kerby Ng, USW Judith Winnan. Connor Law Twigg for Mag- South Wales Craft Skills – Editing•Mathew vs Capital FM South Wales gie’s Farm, while Vratislav Comedy and Entertainment•Keith Pritchard•Vratislav Karas, USW breakfast presenters Matt Karas took the Editing award Barry John•Angus Martin, Yat Fung Craft Skills – Sound•Maggie’s Leung and Jessica Hayes, USW Farm•Connor Law Twigg, USW Lissack and Polly James for Mathew vs Pritchard.

Comedy and Entertainment use of colours and excellent category for the second year exploration of sound”. RTS London Student Buffery, London South Bank University Television Awards winners Craft Skills – Camera•Paul Is Dead• running, this time for Chop- Students from London Harry Green, University of the Arts sticks!!. “The story-telling was Metropolitan University took Animation•Brass•Matthew Armitage, London excellent with a really nice home the Factual prize for Kingston University Craft Skills – Editing•I Love Tennis• Comedy and Entertainment• Sam W Buffery, London South Bank twist at the end, which was Waiting For Tomorrow, a film Chopsticks!!•Aedden Sussex, University sublime,” said the judges. about survivors of rape that Middlesex University Craft Skills – Production Design• Drama•Just Josie•Georgina Rowlands, Chopsticks!!•Jonathan Hayden Tang, Just Josie, “a heart-warming, offered “raw, powerful Ben Porro, Katia Shipulina, Middlesex University professional piece”, said the testimonies”. Lily-Evelina England, Nathalie Carraro Craft Skills – Sound•Feed Your and team, University of Westminster judges, won the Drama prize The Short Form award Demons•Nathan Da Conceicao, Mateo Factual•Waiting for Tomorrow• Donoghue and Liam llife, University of for University of Westmin- went to Sam W Buffery for Rachel Kaden, Lewis O'Loughlin, Westminster ster students. Kingston Uni- I Love Tennis. The London Luke Hallett and Thomas Brazier, Craft Skills – Writing•Queen of the versity’s Matthew Armitage South Bank University stu- London Metropolitan University Forest•Gabriela Sibilska, Goldsmiths, Short Form•I Love Tennis•Sam W University of London took the Animation award dent also won the Editing for Brass, which the judges award. The other Craft Award commended for its “subver- winners are shown above. Channel 4. “We thank Chan- greatly appreciated,” said sive” style and “unconven- Julia Hardy, the presenter nel 4 for its sponsorship and RTS London Chair Daniel tional narrative”. They also of BBC Radio 1’s The Gaming for offering us such an iconic Cherowbrier. appreciated the “thoughtful Show, hosted the ceremony at venue for the evening. It is Matthew Bell

Television www.rts.org.uk March 2019 37 OFF M E SSAGE

he RTS Television Evan Davis is skilfully presenting presidential­ election, when Tehran Journalism Awards Radio 4’s PM, Emily’s encounters accused foreign powers of interfer- are always a thrilling with the powerful remain a good ence. Tellingly, while the Iranian occasion. Last reason to stay up and watch the BBC authorities accuse the BBC of telling month’s ceremony Two current affairs flagship. lies, relatives of BBC journalists who was no exception. For those of you who missed the work for the channel are regarded by And what a night for Newsnight presenter’s cameo in the locals as celebrities. Channel 4, triumphant in a record-­ first episode of the new Alan Par- breakingT eight categories. tridge series, do take a look soonest. ■ Off Message was intrigued to see Channel 4 News deservedly won the much-trailed BritBox finally Scoop of the Year for its agenda-setting ■ Congratulations also to ITN’s Nina firmed up. On the other side of the Cambridge Analytica Uncovered investi- Hossain, winner of the Nations and Atlantic, the North American version gation. This was an example of public Regions Presenter prize for the sec- of the platform has, in two years, built service investigative journalism at its ond consecutive year. an audience of 500,000 subscribers, very best. The victory was all the The doughty Hossain, who once each paying around £5 a month. more sweet for coming at a time described being mugged on the way The UK edition of BritBox is prom- when this kind of reporting is threat- to work as “no big deal”, is a stand- ising original bespoke content, but ened on several fronts. out news anchor and someone likely the treasures in the BBC and ITV to win more awards to add to her archives ought to be enough on their ■ Some things never change. Sky growing tally. own to secure a loyal following for News, now owned by Comcast, was the service. voted News Channel of the Year for ■ Staying with the topic of news, Off We wish BritBox well and look the second year running and the Message was delighted to be invited to forward to discovering who will be 12th time overall, an extraordinary a press briefing arranged by the World appointed to run it. achievement. Service’s BBC Persian TV. The host Sky News’s founders should be was the redoubtable John Simpson. ■ As every football fan knows, these proud of what the station continues Harassment of Iranian journalists are exciting times to be a Norwich to achieve on an almost daily basis. employed by the service, especially City fan. The team, owned by a cer- women, continues to be a chronic tain celebrity TV chef, is riding high ■ Other things do change, thankfully, and deeply worrying problem. Peo- in the Championship. as the night’s host, ITN’s Mary Night- ple such as senior presenter Rana It is not only the beautiful game ingale, told the audience at the begin- Rahimpour are daily subjected to that is putting the East Anglian capi- ning of proceedings. online abuse. tal on the map. A native of the city, “Things have changed since I last Even more alarming, perhaps, is Olivia Colman, is having an extraor- hosted this event,” she said. “I’m how the Iranian authorities harass dinarily good run, even by her own looking out at you all and I see a lot the reporters’ families by such tactics high standards. more women – and women with as confiscating their passports and A recent Oscar winner for her mes- influence.” freezing assets. merising performance as Queen Tarik Kafala, controller of lan- Anne in The Favourite, the actor is also ■ Talking of influential women, one guages, said the situation latterly had lighting up screens playing alongside of the night’s most popular winners become “very grave”. As result, the Phoebe Waller-Bridge in Fleabag. was Newsnight’s Emily Maitlis, who BBC is appealing to the UN to apply To think, later this year, Colman walked away with the Network Pre- pressure on Iran to stop what it will be seen cast as another British senter of the Year prize. claims is a campaign of intimidation. Queen, when Netflix’s The Crown An award for her steely interview- Iran began targeting BBC Persian explores the Swinging Sixties and ing style was long overdue. Now that TV following the disputed 2009 turbulent 1970s.

38 March 2019 www.rts.org.uk Television RTS PATRONS RTS Principal BBC Channel 4 ITV Sky Patrons

RTS A+E Networks International Netflix International CGTN The Walt Disney Company Patrons Discovery Networks Turner Broadcasting System Inc Facebook Viacom International Media Networks Liberty Global YouTube NBCUniversal International

RTS Accenture EndemolShine KPMG Sargent-Disc Major Amazon Video Enders Analysis McKinsey and Co Spencer Stuart Patrons Atos Entertainment One Motion Content STV Group Audio Network Finecast Group UKTV Boston Consulting Freeview Netgem Vice Group Fremantle OC&C Virgin Media BT IBM Pinewood TV YouView Channel 5 IMG Studios Studios YM&U Group Deloitte ITN S4C

RTS Autocue Isle of Media Raidió Teilifís Éireann Patrons Digital Television Group Lumina Search Red Bee Media Grass Valley PricewaterhouseCoopers UTV Television

Who’s who Patron Chair of RTS Trustees CENTRES COUNCIL RTS Futures at the RTS HRH The Prince of Wales Tom Mockridge Dan Adamson Alex Wootten Lynn Barlow Vice-Presidents Honorary Secretary Charles Byrne IBC Conference Liaison David Abraham David Lowen April Chamberlain Terry Marsh Dawn Airey Dan Cherowbrier Sir David Attenborough OM Honorary Treasurer Caren Davies RTS Technology Bursaries CH CVO CBE FRS Mike Green Kieran Doherty Simon Pitts Baroness Floella Stephanie Farmer Benjamin OBE BOARD OF TRUSTEES Cat Lewis AWARDS COMMITTEE Mike Darcey Lynn Barlow Will Nicholson CHAIRS Greg Dyke Julian Bellamy Nikki O’Donnell Awards & Fellowship Lord Hall of Birkenhead Tim Davie Tony Orme Policy Lorraine Heggessey Mike Green Fiona Thompson David Lowen Armando Iannucci OBE David Lowen Michael Wilson Ian Jones Anne Mensah Judith Winnan Craft & Design Awards Baroness Lawrence of Tom Mockridge Lee Connolly Clarendon OBE Simon Pitts SPECIALIST GROUP David Lynn Sarah Rose CHAIRS Programme Awards Sir Trevor McDonald OBE Jane Turton Archives Wayne Garvie Ken MacQuarrie Rob Woodward Dale Grayson Gavin Patterson Student Television Trevor Phillips OBE EXECUTIVE Diversity Awards Stewart Purvis CBE Chief Executive Angela Ferreira Siobhan Greene Sir Howard Stringer Theresa Wise Early Evening Events Television Journalism Keith Underwood Awards Sue Inglish Education Graeme Thompson

Television www.rts.org.uk March 2019 39 LOVE TV? SO DO WE!

The Royal Television Society bursaries offer financial support and mentoring to people studying:

TELEVISION PRODUCTION BROADCAST JOURNALISM ENGINEERING COMPUTER SCIENCE PHYSICS MATHS

This year we have: l Added 10 new bursaries, funded by STV, for students studying in Scotland l Doubled the total funds pledged to the schemes l Expanded the eligible courses, so that five times as many students can now apply

Apply now at rts.org.uk/bursaries #rtsbursaries