From Spectacle to Advocacy

Home , Andy Hamilton, Annabel Jones, A Perfect Planet, Caroline Quentin, Carry On (franchise), Felicity Kendal

February 2021

Natural history TV From spectacle

to advocacy 1 Television www.rts.org.uk September 2013 COMEDY From slapstick to satire, sitcom to sketch, belly laughs or subtle sniggers, discover a world of comedy through music - and bring your story to life

SEND US YOUR BRIEF DISCOVER MORE [email protected] audionetwork.com/discover Journal of The Royal Television Society February 2021 l Volume 58/2

From the CEO Few issues of our times to say, the environmental crisis is a exhibitors across the UK. A record are more pressing than communications crisis. number of young people – more than the need to accelerate Lenny Henry and Marcus Ryder 2,200 – signed up for the fair. As the sustainability and to are two of British TV’s most devoted TV talent of tomorrow cope with the effect to real social campaigners for greater diversity impact of the pandemic on their edu- and workplace diver- in our sector. Don’t miss Narinder cation, I hope the fair provided valuable sity and inclusion. Minhas’s compelling review of their insights, encouragement and career These two vital topics are highlighted new book, Access All Areas: The Diversity opportunities. in this edition of Television. Manifesto for TV and Beyond. Thanks so much to our 90 exhibitors For our cover story, Shilpa Ganatra They say that necessity is the mother and the many masterclass speakers examines how natural history TV is of invention, and so it was with this and producers. developing a greater awareness of the month’s two-day, virtual RTS Futures planet’s fragility and the need for Careers Fair. By holding the event urgent action on climate change. online, we’ve been able to provide As Sir David Attenborough likes greater access for attendees and Theresa Wise Contents Cover: Elephant (Disney) Nicola Shindler’s TV Diary Refining Sky’s winning strategy The drama producer wants to bring unheard voices to TV Sky’s new CEO, Dana Strong, is a former engineer who 5 – and to cut down her chocolate intake 18 knows how to stand out in a room, says Kate Bulkley Comfort Classic: The Good Life Our Friend in the South West A show that gently sends up the English middle class Devon and Cornwall locations are a magnet for film-makers 6 is built on a sharp script and consummate acting, says 21 – and very appreciated in lockdown, writes Chris Williams Matthew Bell Daytime fun in the sun Ear Candy: 10/10 (Would Recommend) Season 2 of The Mallorca Files is guaranteed to bring Kate Holman takes advice from Tolani Shoneye and 22 some much-needed light to BBC One’s winter line-up 7 Gena-mour Barrett on what to watch on Netflix A duty of care Working Lives: Movement director Ofcom is beefing up its rules to protect vulnerable people Polly Bennett, whose work ranges from The Crown to 24 who appear on TV shows, reports Caroline Frost 8 Bohemian Rhapsody, explains what she does on set A parenting nightmare The call of the wild Martin Freeman and his co-creators recall how they drew Shilpa Ganatra investigates how the appeal of natural 26 on their own experiences for Breeders, the no-holds-barred 10 history TV is growing in eco-conscious times Sky 1 comedy Laughing all the way to the ballet Sky reaches for the stars Rob Beckett and Romesh Ranganathan reveal the Zai Bennett reveals why the satellite giant is splashing 12 secrets of their Sky 1 hit, Rob and Romesh Vs 28 out on a star-driven line-up for 2021 For real and lasting change The race for space Narinder Minhas reviews a radical manifesto for Tim Dams explains how the boom in scripted shows is 14 transforming television by Lenny Henry and Marcus Ryder 30 driving the need for more UK studios Back against the odds Careers fair spurs ambitions David Mitchell, Robert Webb and Simon Blackwell tell This year’s virtual RTS Futures Careers Fair broke new 16 the RTS how they dealt with emergency surgery and the 33 ground and increased attendance, reports Matthew Bell pandemic to deliver the second series of Back

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 2021. [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 February 2021 3

TV diary

Nicola Shindler wants her new production company to bring unheard voices to TV – and to cut down on her chocolate intake

lmost every minute really useful – as well as, at times, of reading material alongside new of every day used being hugely frustrating. scripts. It’s vital to find space to read. to be very different. I never knew how much I’d miss I carve out time each day to read as Now, what I’m the “in-person” chit-chat around the much as possible. doing might still meeting. This is where so many ideas vary all the time, were made better or originated. ■ I’ve always tried to put the writer but each day starts at the centre of the process to bring pretty much the same as they have ■ This year has been a real new start their story to the screen, and one of Adone since last March: heading to my for me, even if the pandemic hasn’t my ambitions at Quay Street is to home office after wrangling the kids let me move far. I have launched my work with brilliant new and estab- to start their home schooling. new company, Quay Street Produc- lished writers on their best work. During lockdown, I have found it tions, partnering with ITV Studios. There is a wealth of exciting and important to sit at my desk to start It’s been full-on and exciting talking entertaining stories to tell, especially the day, even though I could work about new ideas and developments stories that are currently not repre- anywhere. Bed feels tempting but I’ve with my new team. sented on screen. I have a responsibil- resisted so far. Luckily, my office is This is in addition to my continuing ity to seek out and work with voices next to the kitchen, so I can supervise work of executive producing Ridley that have been unheard, given less the family without moving and, occa- Road, No Return, Traces season 2 and opportunity or just aren’t on screen. sionally, shout out orders and try to Stay Close, as well as Finding Alice and I want to make sure that those stop the kids from killing each other It’s a Sin, which have just gone to air. voices are given a platform and, ulti- during lunchtime. No day has been the same, which is mately, tell stories that are going to challenging and fun. Never boring. stand out from what’s already on ■ I’m still getting used to the new television. And, of course, be enter- normal. Being next to the kitchen ■ In between having dozens more taining, fun, funny and watchable. makes restricting my chocolate phone calls than pre-pandemic and intake harder than usual. I spend a working on the usual production ■ While working at home, I’ve found lot of time trying not to eat all day. jobs – looking at design photos, loca- that the day never really ends. Making tion photos, costume ideas, watching tea and talking to the family merges ■ But the pandemic has made the audition tapes, having conversations into emails and more reading. When world smaller in many useful ways. about scripts, watching edits, listening the office is an extension of the Normally, I would be on the Man- to sound edits and watching rushes – kitchen, the two worlds are going to chester to London train, and back, at I’ve been having numerous meetings stay very close! least once a week, which was tough. about Quay Street and the direction But the world of Zoom/Google/ of my development slate. Nicola Shindler OBE is the award- Hangout/Teams means that I can My new development team offi- winning drama producer behind hit meet anyone anywhere in the coun- cially starts shortly, but they are series The Stranger, Years and Years, try (and the world), without the need already sparking new ideas. Working Happy Valley and Queer as Folk. She to leave my own office. Which is with my new book scout, I have a lot recently set up Quay Street Productions.

Television www.rts.org.uk February 2021 5 COMFORT CLASSIC A show that gently sends up the English middle class is built Self-sufficiency in on a sharp script and the suburbs: Felicity Kendal and Richard consummate acting, Briers as the Goods says Matthew Bell

here is, surely, no more fitting comfort comedy for lockdown than The Good Life, a tale of stay-at-home self-sufficiency. Tom and Barbara Good were the original artisan couple: sowing spuds, brewingT booze and weaving wool. The 1970s BBC sitcom was created by John Esmonde and Bob Larbey, friends since their Clapham schooldays, who had already created one comedy classic, ITV’s Please Sir!. That starred John Alder- ton as an idealistic English teacher at a tough secondary school. The Good Life couldn’t have been more different. Set in Surbiton – now, thanks to the sitcom, a byword for English suburbia – the first episode begins with Tom Good (Richard Briers) suffering a mid-life crisis on his 40th birthday. Stuck in a job he hates – designing plastic animals for cereal promotions – Tom quits the office and, with wife Barbara (Felicity Kendal), digs up the garden to grow veg and raise animals. Next-door neighbour Jerry Leadbet- ter (Paul Eddington) works with Tom but, thanks to his native cunning and incessant crawling to the boss, he has climbed the career ladder and been made a manager. His wife, Margo (Penelope Keith) is humourless and an appalling snob. When the Goods bring home a goat, she looks down her nose and observes, “Degradation, misery and squalor – and we have to live next door to it”. The set-up seems obvious: we should love the Goods for quitting the rat race and embracing a green, whole- some life; we should hate the Thatch- erite Leadbetters. But not so fast: the The Good Life lovey-dovey Goods are also smug and

maddening, while Jerry is droll and BBC

6 perhaps even envious of Tom’s new life, and Margo is actually quite sweet. The BBC One sitcom ran for just four series from 1975 to 1978 and, at its peak, attracted audiences of 15 million-plus. Ear candy It took Esmonde and Larbey into the pantheon of double-act comedy writ- 10/10 (Would ers, joining Croft and Perry (Dad’s Army), Recommend) Clement and La Frenais (The Likely Lads and Porridge) and Galton and Simpson (Steptoe and Son). For its quartet of stars, The Good Life brought TV stardom. Briers – the only actor who was well known at the time – went on to star in another Esmonde and Larbey sitcom, the much darker Ever Decreasing Circles. Years later, this was a big influence on Ricky Gervais when he (and Stephen Merchant) created The Office. Briers achieved national-treasure status long before his death in 2013. He appeared in countless TV shows and performed Shakespeare on stage and film, for Kenneth Branagh, as well as voicing many ads and kids’ shows. Kendal became a sex symbol for middle-class blokes (which speaks volumes about repressed English male sexuality) and has now clocked up more than 50 years on TV. She is also a multi-award-winning stage actor. Keith was given her own comedy vehicle, To the Manor Born, and still presents TV docs when not working in the theatre. Fame arrived late for Eddington. Already in his late forties when The

Good Life came along, he went on to Netflix play the title role of Jim Hacker in the much-loved satirical sitcoms Yes Minis- f you have spent more hours favourite T’Nia Miller, on the experi- ter and Yes, Prime Minister. scrolling through the endless ence of filming a horror series;The To the Young Turks of the alternative options on Netflix than you Social Dilemma creator Jeff Orlowski, comedy scene, The Good Life stood for have actually watching the who turns the spotlight on some of everything that was wrong with British platform’s shows, 10/10 (Would the negative impacts of social media; sitcom. Vyvyan, the punk in The Young Recommend) is here to help. and Bridgerton’s Nicola Coughlan, who Ones, raged: “It’s so bloody nice! Felicity The Receipts Podcast pre- describes meeting Shonda Rhimes and ‘Treacle’ Kendal and Richard ‘Sugar- senter Tolani Shoneye joins co-host talks about her favourite reality shows Flavoured Snot’ Briers!.… They’re noth- andI friend Gena-mour Barrett – who for binge viewing. ing but a couple of reactionary works for Netflix – on the streaming Shoneye and Barrett’s mission is to stereotypes, confirming the myth that service’s rebranded podcast, previ- encourage listeners to venture beyond everyone in Britain is a lovable mid- ously called What to Watch on Netflix. the trending tab and explore the aisles dle-class eccentric. And I hate them!” The duo trawl through 32,600 hours of Netflix’s virtual warehouse, name- This, I think, is unfair. Four decades of content on Netflix (though they may checking such eclectic fare as Three on, The Good Life seems far less of a have fast-forwarded parts of the cata- Identical Strangers and No Good Nick as period piece than the supposedly logue…) to the must-see shows for they go. anarchic The Young Ones. A sharp script ultimate escapism, from big hitters The pair display considerable and consummate acting count for a lot to the hidden gems. comedic chemistry, and there’s a good in TV comedy. And, of course, what On each episode they are joined by chance that they can point you to a could be more modern than working guests to talk about their new shows show that you would be happy to rec- at home in splendid isolation, pickling and their TV obsessions. These include: ommend at your own virtual water- veg and baking bread? n Death to 2020 creators Charlie Brooker cooler (aka Zoom in your makeshift and Annabel Jones, discussing their workspace by the kitchen sink). n The Good Life is available on BritBox. satirical take on last year; Netflix Kate Holman

Television www.rts.org.uk February 2021 7 WORKING LIVES

The Great Channel 4 Movement director

s a movement director, How did you first become a move- direction uses those and more tools Polly Bennett has carved ment director? to give a greater range of possibilities out a niche recreating As a young dancer and actor, I often for actors. famous figures in pro- led physical warm-ups and became ductions such as Bohe- the person who would say, “Wouldn’t How has the job changed over time? mian Rhapsody, Stan & Ollie it be better if we tried this?” Movement roles have been around in and The Crown. But the remit of the role After university, I took a job behind theatre since the beginning of the 20th isA very broad. the scenes in television production, but century, whether they were known as ended up helping a model who was musical stagers, dance répétiteurs, What does the job involve? struggling to walk in time to music. choreographers or movement directors. Movement directors create and build I knew then that my ability to But they haven’t always been acknow physical sequences, and help actors to describe movement was something to ledged. The field is now growing and find a vocabulary of physical behaviour pursue, so I did an MA in movement, there’s a greater understanding of the to tell a story. All movement directors which led to me joining the choreog- value of movement in a TV or film work differently but my television and raphy team of the London 2012 Olym- process. That means there’s more film work has largely developed around pics ceremonies. I developed my skill opportunity to do great work. embodying well-known people, such set in theatre, and now here I am. the Royal Family in The Crown or Elvis What was the first TV programme you Presley in Baz Luhrmann’s upcoming How much does movement direction worked on? biopic. Working on the physical world overlap with choreography? I worked on the filmStan & Ollie first of these characters can extend into They’re part of the same world. While and, during Bohemian Rhapsody, I was choreography. It’s a role that evolves choreography is exclusively about put up for Killing Eve. I worked on a with every job. dance and setting steps, movement scene in the first series with Jodie

8 rhythm from my dance training has formed the base of a lot of my work. I know lots of choreographers who aren’t dancers, though – they are Polly Bennett choreographers of feelings and ideas. working with actor

Rami Malek (playing Freddie Mercury) What common movement issues have during the making of you found? Bohemian Rhapsody Especially now, when we are looking at a lot of screens, there’s a real potential to not be as in tune with our bodies as the animals that we originally were. So I see a lot of restraint and notice a lot of fear when people are asked to use their body. There’s a lot of thinking rather than doing. My job involves enabling actors to trust that their bodies will make the right decisions.

Do you use any equipment? The body is my only prop. Of course, I work with props if there’s something specific in the scene, like a micro- phone, hooped skirts or a table. But I predominantly work by looking at the people I’ve got in the room and go from there.

What are the best and worst parts of the job? Because it’s a relatively new role in TV and film, sometimes it feels like I have to explain what I need to do my job, or I have to fight to be treated similarly to other creative people on the team. I haven’t been credited on two jobs recently. That’s not necessarily the

Alex Bailey Alex worst part of the job – it’s a challenge as the job comes into focus. Comer, when she had to do a Russian casting, as well as the directors. I went The best part of the job is when you dance as a way of spoofing her boss. to each department for physical infor- see an actor or a scene come to life in Those projects, involving both move- mation. Can people lift their arms in front of you from a physical stimulus ment and choreography, opened the those dresses? How much blood will you’ve given. Another bonus is wear- door for me to work on The Crown, which there be? What do you want the dance ing elasticated clothing all the time. was the first time I worked on a full to feel like? I then fuse the information television series. together to make the physical part of Are there any tips or tricks you the puzzle with the actors. can share? What type of programmes benefit Move. Pick a song, put down your from having a movement director? What makes a good movement phone and move. You can get a real All programmes would. It’s easy to director? sense of where your body wants to go think it’s just about reimagining Curiosity. I try not to decide what if you settle into your feet. It helps to famous people, but a story is far more something is before I start work. Ask- put your feet on the floor, push your than words on a page: 95% of our coming questions helps kick off an idea big toes into the ground to help your munication is physical, so movement and enables the actors to follow an back fall into the right place, and align work can help invent characters, as well impulse. The work is best when actors your hips. I think this works as an as feed into bold or nuanced choices. feel ownership of their part, rather initial exercise for actors, but it’s help- than just doing what they are told. ful for everyone. Release yourself from Which departments do you work presentation and get ugly. It’s where with closely? Does it help to be a dancer? the good stories are. n On a TV programme such as The Great, I don’t think you need to have a dance I collaborated especially with stunts, background but my personal under- Movement director Polly Bennett was costume, the camera operators and standing of technique, music and interviewed by Shilpa Ganatra.

Television www.rts.org.uk February 2021 9 The call of the wild

The Hunt BBC

ust three days into 2021, the BBC production company behind A Perfect secured its first big hitter of the Shilpa Ganatra Planet and A Life on Our Planet among year: A Perfect Planet, narrated by investigates how the others (and recently bought by Sir David Attenborough, drew in All3Media), explains that “scientists 6.2 million viewers. That’s on a appeal of natural know what needs to be done, but the par with previous series pre- world is not going that way because mieres such as Seven Worlds, One history TV is growing in most people don’t understand the seri- J Planet (6.8 million), Dynasties ousness of what’s playing out. eco-conscious times (5.7 million viewers) and Blue Planet II “So natural history film-makers have (10.4 million). with bright colours or the cosiness of a responsibility to urgently get that out. It’s a sign that the natural history shows such as The Repair Shop,” he says. As David Attenborough says, in one genre continues to thrive. Netflix, Dis- “Or they want escapism in the form of a way, the environmental crisis is a ney+ and Apple TV+ are all commis- complex narrative, such as twisty-turny communication crisis.” sioning high-end, original, nature crime with heroes and villains. Natural But meeting the increased demand programming; Discovery has recently history speaks to both those needs at – even with higher commissioning announced a new nature-heavy the same time. It’s a comfort, but it’s budgets – is far from straightforward. streaming service, while Sky has a also thrilling and distracting. For starters, the pandemic has halted dedicated nature channel, spearheaded “Another aspect is the interest in the production in key countries. And even by three or four landmark series a year. environment. The BBC’s Science Unit, when filming returns, there’s no hurry- At the same time, the traditional beat- which collaborates closely with the ing up giant tortoises so the crew can ing heart of the genre, the BBC’s Natural NHU, made Extinction: The Facts, which begin their next project. History Unit (NHU), has announced an [attracted an audience of] 4 million in Moreover, only a limited number of expansion of its Bristol HQ and a new its opening week. That was incredible production staff have the specialist outpost in Los Angeles, as the global for a hard-hitting film in the middle of experience to deliver a premium show. demand for nature programmes surges. a pandemic.” “A landmark series can take four years The gold rush was already in full We saw the tangible effect that film- to deliver, and you’ve got to work on flow when the pandemic hit. As Tom making can have with An Inconvenient three or four of those to become a McDonald, director of BBC Studios Truth in 2006 and Blue Planet II in 2017, producer,” says Scholey. Factual, explains, natural history ticks both of which delivered persuasive “The danger is that people will get all the boxes for lockdown audiences. environmental messages. overpromoted and the quality will fall. “The trends in the pandemic are Keith Scholey, co-founder and And if buyers come in to a new genre clear: audiences want escapism – things co-CEO of Silverback Films, the expecting a certain standard because

10 “Audiences want the authenticity of someone who knows that topic well. That’s how David Attenborough became so respected. Plus, when it comes to on-screen presenting, we have a responsibility to not travel across the world all the time.” Emerging cameraman/presenter Hamza Yassin (host of CBeebies’ Let’s Go for a Walk as Ranger Hamza) believes that an inclusive approach to presenting helps to tell natural history stories through a new lens. “It’s about reflect- ing the audience,” he says. “Also, finding new talent will bring in younger film-makers. As the older generation, we need to make sure that we’re including the younger generation, otherwise they’ll feel disconnected.” The shift is not only in the “who” of the storytelling, but also the “how”. We have already seen a growing emphasis on narrative, “and, with super-saturation Our Planet

Netflix of the genre, it’s going to become even more key,” warns Scholey. Technological innovation will con- ‘SCIENTISTS KNOW WHAT NEEDS TO tinue to help inject new life to stories. BE DONE, BUT… THE ENVIRONMENTAL Attenborough’s forthcoming series with the BBC, The Green Planet, will be CRISIS IS A COMMUNICATION CRISIS’ accompanied by a 5G-friendly app that uses augmented reality to bring the show’s exotic plants into viewers’ of what they’ve seen before, and that Packham, Liz Bonnin and Steve Back- homes. doesn’t happen, they will think it shall – but newcomers would be for- “I think the golden ticket is always doesn’t work and move on.” given for feeling that it’s a particularly about the next visual perspective, in BBC Studios NHU’s expansion to Los tricky genre in which to make headway. the way that Seven Worlds used drones Angeles is both a symptom and a solu- It’s a situation that’s familiar to Lizzie so effectively,” says McDonald. “If you tion, as it addresses interest in natural Daly, a Welsh wildlife biologist who look back 10 years ago, it was all quite history globally, while creating an has presented for Animal Planet, far away – you couldn’t get that close opportunity to recruit and train to a National Geographic and BBC Two, to animals. Audiences have an unbe- best-in-class standard.Says McDonald: and is due to front a three-part series lievable proximity now, and they desire “If we weren’t setting up in LA, we on the online platform BBC Earth. to be in the thick of the action. And I would still be winning commissions “It’s a difficult industry to get into think we’ll see more CGI. That hybrid from US broadcasters. The expansion is because there’s so much competition between fact and fiction is an interest- about the depth of the relationship we – there’s only a handful of landmark ing area.” have, and the opportunity to tap into productions and they only want one With these developments on the the brilliant emerging US film-makers presenter,” she says. “But now, if you’re horizon, the slate for the months ahead out there.” passionate about the natural world, already looks crammed with natural As the need for engaging natural you’ll find ways to tell stories, even if history. Frozen Planet II is due later this history programmes increases, it is it’s via YouTube.” year, Greta Thunberg will be airing her evident that there’s only one David Natural history presenting is suscep- debut series for the BBC, and Planet Attenborough to go around. Has his tible to becoming celebrity-led, like Defenders will be introduced to CBBC. dominance as a presenter of blue-chip travel and entertainment shows. For Meanwhile, ITV re-enters the landmark shows stifled the search for new talent? example, Hollywood star Paul Rudd natural history arena with A Year on “Possibly,” concedes Scholey. “He’s narrates the Apple TV+ series Tiny World. Planet Earth. an immense figure so, naturally, things But Daly hopes that the move towards While the genre is clearly in the have gravitated towards him. There are a global approach will allow the report- middle of a purple patch, Scholey great presenters who have come through ing of local conservationists to come to warns that, akin to its subject matter, and we work with many of them. But the fore. “That trend’s become a lot balancing forces are at work. they wouldn’t be asked to be Director- more noticeable recently,” she says, “I’ve seen a few of these cycles General of the BBC or present at the citing Our Gorongosa, a film about the before, so there’s a slight sense of déjà World Economic Forum.” national park fronted by Dominique vu,” he says. “To me, the interesting There’s a strong list of well-known Gonçalves, who runs the Gorongosa thing is how long this boom will last wildlife presenters – such as Chris Elephant Ecology Project. for – and what happens afterwards.” n

Television www.rts.org.uk February 2021 11 Rob Beckett and Romesh Ranganathan… taking on the art world

Rob Beckett and Romesh Ranganathan reveal the secrets of their Sky 1 hit, Rob and Romesh Vs Sky Laughing all the way to the ballet

omedy is hard graft. the BBC’s In at the Deep End, featuring at something, I’m like a rat up a drain- But comedians Rob Chris Serle and Paul Heiney. pipe.” The ever-enthusiastic Beckett Beckett and Romesh In the new series of Rob and Romesh Vs, provides the perfect foil to his comic Ranganathan made the duo grapple with the worlds of ten- partner’s deadpan style. light work of an RTS nis, drag performance and art. The settings that they enter in the session that turned the In one episode of the last series they series have something in common – spotlightC on the pair’s hilarious Sky 1 joined the Birmingham Royal Ballet, an at least one of the pair is completely factual entertainment series, Rob and experience that led to them performing ignorant of these worlds. This is where Romesh Vs. The third season starts Swan Lake live on stage. Yes, really. the comedy comes in. And it helps that this month. Watching them struggle into their ballet the pair’s friendship is genuine, some- The show sees the likely lads gamely tights was not for the faint-hearted. thing that was abundantly clear during taking on unfamiliar worlds and situa- And, once they got down to learning this good-natured chat, where, despite tions. It could be basketball or, more to dance, it became clear that Ranga the limitations of Zoom, their rapport unlikely still, ballet. nathan wasn’t a natural. and affection for one another shone They even underwent the indignities “Everything we do, we’re hoping through. Like the series itself, the RTS of colonic irrigation for the benefit of we find some undiscovered ability session was a perfect pandemic pick- the cameras in series 2 – an experience – but it hasn’t happened for me yet,” me-up. Ranganathan told the RTS that he still he explained, tongue planted firmly “In this show, when we go and do regrets – while in LA getting the low- in cheek. “The ballet revealed a really mad things, when we’re so out of our down on NBA basketball. “To give you annoying trait of Rob, where he’s happy comfort zone, especially something like an idea of how bad we were at basket- to say we’re doing this as a team until ballet…. I don’t think I could do those ball, we weren’t allowed to play basket- he spots any kind of distance between things without Romesh,” said Beckett. ball in the show, but we were allowed to us in ability. Ranganathan added: “Often, when have a colonic,” recalled Ranganathan. “Once he knows he’s better than you, we’re about to do something really Having TV stars do ridiculous things he’ll cut you loose in a heartbeat.” terrifying, one of us will look at the is a telly trope that goes back at least to Beckett conceded: “If I’m half good other one and go, ‘This is going to be

12 OK, isn’t it?’.” They agreed that the Today, they are familiar faces on TV we immerse ourselves in any kind of thrill of putting themselves up for thanks to panel shows such as 8 Out of world, we’re always going to get some- these potentially intimidating situations 10 Cats, Have I Got News for You and A thing out of it,” Ranganathan explained. was comparable to when they started League of Their Own, and BBC Two’s Having said that, sports do feature doing stand-up, a feeling that tended Bafta-winning The Misadventures of prominently in Rob and Romesh Vs. to dissipate the more performances Romesh Ranganathan. “We first met in a The pair had to watch five days of Test they clocked up. pub playing to about eight people and, match cricket – something Beckett “We still get off on that buzz when in 2019, we co-hosted the Royal Variety found akin to watching paint dry – and we throw ourselves into something Performance. It’s nice to have a mate the new series reveals what happens as stressful as these situations,” said alongside you for that ride,” said when Ranganathan was introduced Ranganathan. “When you’re doing Ranganathan. by Beckett to the joy – or otherwise stand-up, you think that it is in your True to his working-class roots, – of golf. power to make this gig go well, Beckett recalled how the pair wrote As for working alongside the profes- whereas, if you’re doing Swan Lake, it their script for the Royal Variety Per- sionals, whether it was Carlos Acosta isn’t in your power to make it go well. formance over a cold apple juice at a or cricketer Kevin Pietersen, the duo

Romesh Ranganathan and Rob Beckett… taking a crash course in golf Sky

You’re holding on, hoping you don’t pub in Crawley that he’d driven to in discovered that sports luminaries fuck it up too much.” his battered Nissan Micra. tended to be less forgiving of the pair’s “It’s not like I’ve got a pirouette up One reason Rob and Romesh Vs worked, shortcomings than those from the arts. my sleeve,” chipped in Beckett, who they thought, was because their friend- “Carlos Acosta was so keen to pro- met his partner on the stand-up circuit ship was genuine. “It resulted in the mote ballet, and for people who are just over a decade ago. “I remember a show, rather than the other way round,” outsiders to get an idea of what it’s like, friend saying, ‘I’ve seen this Romesh said Beckett. “I like to think that we’re that he was very welcoming to us,” and he’s pretty good.’ I thought: ‘I’ll be such good friends that we’ve never remembers Ranganathan. “But Kevin the judge of that.’ I went to see him at been competitive. We’re never compet- Pietersen just couldn’t understand why his dad’s pub and I thought, ‘Yes, he is ing for the same job.” we couldn’t do any of this.” good.’ I was quite annoyed at that point The show was created by its producer, Commentating on a cricket match because I wanted to be the only good CPL Productions, when Sky Sports was, to be generous, challenging – as one at comedy.” wanted to find an original way to pro- was playing it. “I couldn’t even catch Their careers on the stand-up circuit mote one of Anthony Joshua’s big fights. a ball. It was too hard,” said Beckett. were on the same upward trajectory. “I’m a big boxing fan,” said Beckett. “Fashion, ballet, art – those worlds “I’d seen Rob perform. He was a bit “They wanted to put together someone were a bit more open and accepting.” obvious, but he smashed it,” remem- who knew about boxing with someone Although they made light of it, a lot bered Ranganathan, a former maths who knew nothing about it. Sky Sports of hard work went into the programmes. teacher. said: ‘You’re really good friends with “We properly commit to it,” said Beck- “Coming up through comedy and Romesh – why don’t you lead him on ett. “We don’t just fake it for telly. We’re telly, which is quite a middle-class this journey, showing him boxing?’” not going through the motions.” n world, we bonded because we both The programme was a one-off but felt we didn’t belong,” said Beckett. their evident on-screen chemistry Report by Steve Clarke. Rob Beckett and “We really did get on… having a mate persuaded Sky to commission a series. Romesh Ranganathan were in conversa- that you could share the madness with “Originally, the idea was just to do tion with Caroline Frost on 5 January. It was great.” sports, but it soon became clear that, if was a joint RTS-Sky event.

Television www.rts.org.uk February 2021 13 For real and lasting change Narinder Minhas reviews a radical manifesto for transforming television by Lenny Henry and Marcus Ryder

h, noooo. The D word. Access All Areas: The more staggering. Those white, able- Surely not Donald? No, Diversity Manifesto bodied, heterosexual men in London not that D word – the for TV and Beyond make up just 3.1% of the national pop- other one. The one that by Lenny Henry ulation. The other 96.9% are the rest of makes your heart sink and Marcus Ryder us, who, right across the country, are a little, too. The one is published by female, black, Asian, LGBT+, Welsh and that reminds you of years of struggle. Faber & Faber, many, many other identities. TheO one that tells of endless meetings priced £7.99. ISBN: As the book argues in its jaunty style, with fellow campaigners in drab rooms, 978-0571365128 “We think of ourselves as the minority, banging heads against brick walls. when, really, we are the majority. If you It is diversity, of course. The word are of the mind that this new drive to that everybody hates, but no one can down, the book starts with a bang, a make society more ‘diverse’ does not think of anything better. Don’t get me Big Bang, challenging the very idea include you – then you, my friend, like wrong, diversity is one of the biggest that diversity is about the “minority”. members of the Covid-19 fan club, are issues facing the British media. And, as One of the more interesting charac- in a very, very small minority.” an Asian immigrant, who came to this ters in the book – and there are many Just like the seven stages of grief, the country not speaking a word of English, – is Susie Symes, who runs a museum book induces a range of emotions. I with working-class parents, it has in London dedicated to immigration often got stuck at the “anger and bar- occupied my thoughts more times and diversity. She is a former Treasury gaining” stage. Not surprising, given than I wish to remember. economist, who knows her stats and the truly disturbing statistics: women But have we really moved on over does not mince her words. “One of the make up roughly half of the students at the past 30 years? Forgive the jaded pieces of lazy thinking” she loves to film school, but only 13.6% of film outlook, but do I really want to plough squish is the idea that diversity is a directors in the UK; non-white people through Access All Areas: The Diversity minority issue. In fact, she says, “it is a make up 14% of England and Wales Manifesto for TV and Beyond by Lenny majority issue”. and yet only 2.2% of TV directors. Henry and Marcus Ryder? It feels like But how could that possibly be true? And, for disability, which is seriously homework; it sounds like homework. Stay with this: “According to Suzie neglected, it is even more depressing: The reality, however, could not be Symes, the people we generally think of 14% of people in employment aged more different. This is a book that every- as the majority – white, heterosexual, 16 to 64 consider themselves disabled, one should read. Written in an accessi- able-bodied males – make up less than but only 0.03% are found in the overall ble, punchy style, fizzing with ideas and a third of the population. The rest come film workforce. warmth, with the very distinct voice of under the umbrella term ‘diverse’.” And as Henry told The Daily Telegraph Henry beating at its heart, it is an inspir- If we look at London, where most of last month: “I don’t believe men are six ing call to arms. Don’t be put off by the the media is located and where power times more likely to be better directors Jane Austen-esque references to “Dear ultimately resides, the figures are even than women, or white people are Reader”, this is a modern text with a 6.3 times more likely to be better than modern message. It is a political mani- someone from an ethnic minority, or festo for today and tomorrow, demand ‘DIVERSITY IS able-bodied people are… OK, my cal- ing proper structural change. In fact, it NOT A MINORITY culator just had a nervous breakdown reframes the entire conversation about at this point, because the figures are so diversity. And this particular reader, ISSUE… IT IS A ridiculous!” Dear Reader, is inspired. Behind these gruesome statistics are Turning conventional wisdom upside MAJORITY ISSUE’ the real human stories. This is where

14 Lenny Henry Getty Images the book is at its most moving. Ryder “According to self-discrepancy theory, break, he didn’t need more training.” tells the story of a friend of his, Jay prejudice in the media industry could Yes, there is more representation Merriman-Mukoro, who drowned in literally be making people from diverse on-screen, but, behind the camera, Barbados in an accident before he backgrounds mentally ill. Especially as where the powerful sit, the picture is could direct his first film. It was Ryder this prejudice is nearly always indirect broadly unchanged. Henry calls this who was about to give him his first rather than overtly in your face.” the “Milli Vanilli” syndrome, named break as a director, something that If you combine this with the loneli- after the famous lip-synching duo, should have happened a long time ness that many of us feel in the indus- who simply mouthed the words of the before: “His talent was so immense try, including the famous names, such writers operating behind the scenes. and obvious. He should have had a as Henry and historian David Olusoga, If I had to make one criticism of the plethora of directing credits.” you are left with a deeply concerning book, and I do this reluctantly, as it This theme of “wasted talent” runs and serious mental health crisis. deserves to be read widely, I would through the book and it was hard not So, who is to blame for the appalling like to have had more on the solutions. to hold back the tears when I read: “Jay state of diversity in our industry? But then, this a relatively short book, was never able to fulfil his potential. The According to Henry, “nearly all the around 180 pages. same is true for too many people from people I have met in television are Its real strength lies in the reframing diverse backgrounds working in televi- nice and liberal. None of them are of diversity. And via a brilliant analysis sion – we may not die as tragically and secret members of the Ku Klux Klan, of the problems, it gives us a road map early as Jay, but our untapped potential nor do they go to anti-immigrant ral- to steer clear of the potholes of the past, follows us to the end of our careers.” lies on their days off.” as we search for a new way forward. Instead of just touching on the emo- So, it can’t be them, right? As Vimla (not her real name), a tional impact, the book delves deeper For Henry and Ryder, the issue is one diversity officer in the industry, argues, and makes some fascinating links of what they call “fake diversity”: years we need a radically new approach, between wasted talent and mental of the industry pursuing cosmetic strat- which avoids the broadcasters and health. Apparently, the medical profes- egies that have led to very little struc- those in power essentially “marking sion has a term – “self-discrepancy” tural change, resulting often in “blaming their own homework”, and high-fiving – to describe the gap between where the victims”. You know the stuff: we each other on hitting their own self-set you are in society and where you can’t find the right people; we must low standards. n should be. increase our training and mentoring And it is this gap that seems to spend. As Henry once said: “Idris Elba Narinder Minhas is Co-Managing Director be creating many of the problems: went to the US because he needed a of Cardiff Productions.

Television www.rts.org.uk February 2021 15 David Mitchell, Robert Webb and Simon Blackwell tell the RTS how they dealt with emergency surgery and the pandemic to deliver the second series of Back

iewers have been kept waiting for a second outing of Back, David Mitchell and Robert Webb’s bitingly funny Channel 4 sitcom, whichV returned to our screens at the end of last month. The delay had nothing to do with a lack of commissioning courage – how could anyone find fault with the filth and comic fury of Simon Blackwell’s scripts, the ever-watchable Mitchell and Webb or the fantastic ensemble cast? Webb took up the story at a recent RTS event, beginning with a routine insurance medical in autumn 2019, as filming was due to start on series 2: “Normally, it’s very perfunctory and the doctor just makes you cough. This time, he put a stethoscope on my heart and pulled a face and said, ‘Oh dear, what have you been doing about the heart murmur?’ And I said, ‘What heart murmur?’ “A couple of days later, I had a cardi- Back ologist tell me I had a mitral valve prolapse, that it wasn’t something that could be fixed with drugs and that I needed surgery – otherwise, the heart was going to fail in the next two to six against months. That was a bit of a shocker.” Filming resumed when Webb had recuperated, but then the pandemic brought the production to a shuddering halt. Finally, the show wrapped in autumn 2020. the odds It has been worth the wait. Back series 2

Mitchell is Stephen, a man who has Channel 4 failed as a husband, a lawyer and at running his late father’s pub. Worse, let the air out of the set-up.” There was, – there’s a lot of comedy and fun act- the charismatic Andrew (Webb), sup- though, a handbrake turn, he added: ing to be had from the character who posedly a foster child of Stephen’s “In series 2, the roles are reversed things are happening to.” parents, has usurped him in his fami- – [Stephen] comes back and Andrew is The character, Mitchell maintained, ly’s affections. the boring, mundane one [working] in was based on no one other than him- Series 1 ended in October 2017 with the pub. Suddenly, Stephen feels that self: “What he looked and sounded like Stephen strung out on booze, and he’s the exotic one, having spent some was inspired by me.… They gave me Andrew in charge of the pub and loved time away in therapy. We thought that other clothes to wear that some people by all. “It seemed to be a nice way to was a nice mirror to the first series.” have been good enough to say are finish, with Stephen catatonic in a The supporting cast returns, including sometimes distinguishable from the chair… driven to the edge of his sanity,” Penny Downie’s hippy mum, her vicar sort of things I wear anyway. said Blackwell, whose credits include lover, John MacMillan, and Geoffrey “I’m not going to claim for a Armando Iannucci’s political satire The McGivern as potty-mouthed uncle Geoff. moment that I got the walk from my Thick of It and parental comedy Breeders. Mitchell was happy playing Stephen, old geography teacher and the look of In series 2, Andrew’s true character whom he described as “disappointed despair from a homeless man in a remains uncertain, said Blackwell: and self-loathing and endlessly self- doorway. No, I said the words like I “Once you know for sure whether he’s doubting, also intelligent and a little bit thought people might say them if it this guy coming back to a family where angry. I like to play the comic mattress was really happening, which it wasn’t.” he was very happy or he’s Satan… you on which people jump up and down Mitchell was comically dismissive of

16 Acting the part …David Mitchell

‘People talk in a lot of interviews about the tremendous pain and struggle of their creative processes – that’s not my feeling in terms of performing. If it doesn’t feel great, From left: Geoffrey then it’s not going well. McGivern, John ‘I did Upstart Crow in the West MacMillan, David End… it was going well and really Mitchell and good fun. But one thing I baulked Penny Downie

Channel 4 at was when somebody came in to work on our voices… He said: “If his acting, comparing his philosophy to of the group, it completely died, but we it doesn’t feel embarrassing, you’re two of the greats: “Dustin Hoffman had a brilliant time writing it and really not doing it right.”’ – transformative, method; Laurence made each other laugh. The same [Webb shouts: ‘Oh, fuck off’, and Olivier – ‘Why don’t you just act?’; things amuse us and we amuse each then can’t stop laughing as Mitchell David Mitchell – ‘Why don’t you just other. That’s been a very strong part of builds up comic steam.] read it out.’” what’s kept us going.” ‘What I didn’t say to him was, “David and I try not to look too deeply Mitchell added: “We’ve always been “Listen, I can’t play the oboe, I can’t into what it is about our personalities on – it’s a sort of clichéd phrase – the dance, I can’t sing. All I’ve got in this that makes writers come up with people same comic wavelength, and yet we theatre is my sense of what feels like this for us to play,” added Webb. don’t come across like we’re necessarily shit. You’re not going to pay my There are marked similarities to both going to be… pension, sunshine. So, if it feels shit actors’ dysfunctional characters in Peep “We have always found the same and there’s an audience watching, Show, the RTS-award-winning sitcom things funny but we have contrasting stop.” I didn’t say that to him; I created by Sam Bain and Jesse Arm- personas.” went along with it.’ strong, for which Blackwell also wrote. The duo wrote for other people’s “Andrew is a liar. So is [Peep Show’s] shows, before landing roles in the BBC Back series 2 Jeremy, but Jeremy was an idiot, Two sketch show Bruiser, and then whereas Andrew is a better liar.… He getting their own vehicle, The Mitchell …Robert Webb goes around telling these whoppers,” and Webb Situation. The wonderful Peep said Webb. “So Andrew is either this Show followed. ‘As an actor, you’re massively con- very needy person who’s so desperate Back is a worthy successor. On the ditioned [to the idea] that the show for approval that he will say potentially eve of series 2, Webb was able to laugh must go on. I went to work when quite dangerous things, or he’s an at his ill-health, which he said was all my wife was in labour with our first absolute maniac. too evident on screen: “The continuity baby.… I’ve missed funerals; I’ve “I never really decided during series 1 is pretty funny on my face.… You’ve got missed weddings… or 2. I’m not sure if Simon [Blackwell] someone who is clearly very, very ill… ‘It took having quite serious has decided. Certainly, the character and then you’ve got someone who is surgery for me to go: “Do I need to doesn’t know what he’s doing. He’s like not ill any more but pretty knackered, be here? I don’t think I should be [Tony] Blair, he believes it while he’s and then, finally, someone who is creeping around the set trying to saying it.” [pointing at his face] whatever you not have a fucking heart attack.” Mitchell and Webb met almost think of this face. It tickles me to ‘[Now] there are certain things 30 years ago at an audition for a Foot- watch that.” n that you thought mattered that lights panto at Cambridge University clearly don’t matter.… There’s at and immediately began writing Report by Matthew Bell. ‘Back preview and least a moment [every] day when together. Their first attempt, recalled Q&A’ was held on 20 January, chaired by I’m fairly close to being overcome Webb, was “a terrible sketch called War journalist Caroline Frost and produced by by gratitude for being alive.’ Farce.… When we read it out to the rest the RTS and IJPR.

Television www.rts.org.uk February 2021 17 Refining Sky’s winning strategy

Sky’s new CEO, Dana Strong, is a dynamic former engineer who knows how to stand out in a room, says Kate Bulkley Comcast

t is just over two years since cable business in the US. There, she both great loyalty in them and good Comcast bought Sky for a launched several new products and results for the company.” massive £30.6bn, but it is only reset the strategy of the consumer Although a native of the US – Strong now that the company has cable unit to focus on changing con- was born in Ohio – most of her career appointed one of its own sumer needs. has been spent outside of the US. She senior executives to run the Strong, who has two teenage children met her husband, Mark, when they EuropeanI pay-TV giant. Last month, and a husband who is an art history were both studying in Philadelphia. A the dynamic Dana Strong, head of PhD student at Columbia, rebranded colleague notes that Strong jokes that Comcast Cable’s consumer services the Comcast broadband product to she first left the US so long ago that Bill business, was announced as the suc- Xfinity and added wi-fi boosters and Clinton was still President. cessor to Jeremy Darroch, who led Sky parental controls as part of the package. Strong will report directly to Com- for 13 years and was chief financial “Dana knew that focusing on just cast CEO Brian Roberts, who poached officer before that. speed and price wasn’t going to move her from Virgin Media in 2018 follow- Strong’s appointment represents the the needle,” says a US colleague. ing reports that she was a rising star. end of an era for Sky and comes as the Strong’s ability to lean into product A recruitment dinner in Philadelphia TV business is being challenged by the segmentation comes from both her followed, when they discussed Com- rise of direct-to-consumer streaming pedigree as an engineer and her cast’s family-oriented culture and she services led by Netflix, Amazon and 20 years’ experience of working outside decided to accept his job offer. Disney. the US, in both Australia and Europe; Three years later, Roberts recognises While Sky’s brand and business she was COO for Virgin Media, and there are big changes afoot in the cable remain strong, the impact of the pan- chief transformation officer at Liberty business and figures that Strong has demic, as live sports were cancelled and Global as well as CEO of Liberty’s Irish the right credentials to tackle them. advertising fell, led to a 22.5% drop in cable TV operator, UPC Ireland. Even so, Craig Moffett of media ana- earnings for the nine months to 30 Sep- “She really knows how to navigate lyst MoffettNathanson believes that the tember. Some observers argue that a the upper echelons of corporate envi- business case for Comcast’s decision to pivot is needed to ensure Sky’s future ronments very effectively and how to buy Sky is still unclear. He argues that growth and market relevance. bring out the best in people who work a more “platform-agnostic business For the past three years, Strong has for her,” observed Claire Enders, who model” is required to counteract the been running Comcast’s consumer runs Enders Analysis. “That inspires trends of cord cutting and companies

18 business, Stephen van Rooyen, for the past year, an indication that, under former CEO Darroch, there had been a move to centralise Sky. It seems likely that Strong will continue to bed this in. Having worked in Comcast’s Phila- delphia HQ for the past three years, Strong should be able to drive still more co-ordination between Comcast and Sky, for example in R&D and product innovation. Sky has built its brand on pioneering technology and product innovation. Coupling that with the scale and ambi- tion of Comcast will allow Sky to “double down on innovation”, says a Sky observer. Clearly, there are some challenges ahead. Finding a growth plan in Ger- many may mean thinking beyond pay-TV. In the UK, it may be about identifying new products, such as home security or new mobile services – initiatives that will help “sweat” the subscriber base harder as well helping Sky reach new customers. Growth could also be achieved through acquisitions or expanding the geographic footprint, which might be easier to persuade Comcast to fund, given Strong’s credibility with Roberts and the HQ team in Philadelphia. Enders believes that Strong is joining Babylon Berlin

Sky Sky at an opportune moment. She says that Sky is noted for its “disciplined” prioritising their own direct-to-con- arguably be the steepest learning curve approach to what it is willing to pay for sumer distribution over third-party for Strong. Some observers have live sports rights – particularly the players such as Sky and Comcast. expressed concerns that, under Strong, English Premier League. With most However, others might counter that Comcast could scale back Sky’s invest- other key content rights secure until Sky is already “platform-agnostic”, ment in content or integrate it more 2026, working out the long-term tele- because it owns NowTV, one of the with NBCUniversal. coms strategy of Sky will be Strong’s UK’s biggest direct-to-consumer “Dana is going to have quite a few biggest challenge. broadband services. big questions to answer, with the big- “There is a transition to the fibre To bolster its distribution business, gest probably being deciding what the universe that is coming by the end of Sky has already committed to doubling growth plan is,” said a TV executive the decade, and positioning for that will its content spend, reaching £1bn a year who has worked with her. “Sky is a be a strategic challenge,” says Enders. by 2024. In June 2019, the company different business to what she has run The growth plan and the rationale also unveiled Sky Studios, a pan- before. She understands the retail side for Comcast to pay as much as it did European production arm that will well, but she has never done the con- for Sky may still elude media analyst create new shows for Sky channels, tent side.” Moffett, but he concedes that “sharing Universal Pictures and NBC broadcast While the UK business is far and managerial talent can be one source of and cable, as well as for third parties. away the most profitable part of Sky, synergy, and Dana Strong is an excep- Meanwhile, Sky Elstree Studios is set to there are potentially bigger growth tionally talented leader with rare expe- open in 2022, creating up to 1,500 jobs. opportunities in the German and Ital- rience in both the US and Europe”. Sky has agreed deals to offer Netflix, ian markets. In Italy, a big push on Strong also has flair, a characteristic Disney+, Discovery+ and Amazon’s broadband and mobile products has noted by Enders, who booked her to Prime Video on its platform, but creating already begun, while, in early 2020, speak at the annual Deloitte Enders original content is clearly a big part of Sky Deutschland appointed its new conference when she was still working the plan. The focus will be on drama CEO, Devesh Raj. Before joining Sky he at Virgin Media. “She has an articulate- and comedy following the success of was a senior vice-president for strategic ness and a freshness in her approach the multi-award-winning Chernobyl, and financial planning at Comcast that is compelling,” says Enders. “I also Gomorrah from Sky Italy and Babylon NBCUniversal in the US. remember the trouser suit she wore Berlin from Sky Deutschland. Raj and the CEO of Sky Italy have which was in that bright Virgin Media The content side of the business will both reported to the head of Sky’s UK red. It was so Avengers, so cool.” n

Television www.rts.org.uk February 2021 19 20 OUR FRIEND IN THE SOUTH WEST

Devon and Cornwall

have never before been locations are a and appreciate our own backyard gifted with such an abun- magnet for film- a bit more. dance of natural beauty.” But I think it has also encouraged a The words of Steven Spiel- makers – and never yearning for a more innocent world, berg when asked his and maybe a more relaxed and sim- thoughts on Devon when he more appreciated ple life. There is a perception that was here filmingWar Horse than in lockdown, Cornwall and Devon are somehow on Dartmoor in 2011. trapped in a time capsule, a glimpse ‘ICinema has long held a fascination says Chris Williams of Britain 30, 40 or even 50 years ago. with Devon and Cornwall. Some of It’s an idyllic vision of small-town, Hollywood’s most celebrated direc- tight-knit communities; hardworking tors have shot here. Ang Lee filmed fishermen, caring farmers, passionate Sense and Sensibility in South Devon. artists and independent businesses. Roger Mitchell shot My Cousin Rachel All looking out for each other. there, too, and Tim Burton has used It’s not just a myth, or a TV artifice. both counties as a backdrop. Those stories do exist. They are here. TV dramas have a love affair with It’s not the complete picture of life in the landscape of Devon and Cornwall these two counties, as Simon Reeve’s as well. Wycliffe was filming in Corn- series poignantly points out, but it’s at wall way back in 1994 for five series. least a partial truth. Doc Martin has been running for Living and working in Devon, I’m 16 years. The Dawn French vehicles very aware of its natural wonders, its Wild West, Delicious and, most recently, breadth of breathtaking landscapes,

The Trouble with Maggie Cole were all Williams Chris its picture-postcard villages and its shot here. rich cultural history. There was the Dartmoor-set Julia Plymouth and, most recently, a holi- But it’s more than that. It’s not just Ormond drama Gold Digger, and the day park in Looe! the climate, or the cream teas, the endless succession of Rosamunde Others have been quick to follow beaches or the pasties. To me, it’s the Pilcher, Agatha Christie and Daphne with a plethora of shows, including atmosphere and the attitude. The du Maurier adaptions. The list goes on Cornwall: This Fishing Life, Cornwall with spirit of the people. and on. Simon Reeve and Rick Stein’s Cornwall. From a programme-maker’s per- But it’s not just Hollywood and TV And Channel 4 is on its third series of spective, it’s a great place to live and dramas that are drawn to this most Devon and Cornwall. work. And a great place to film, a beautiful corner of the country. Fac- What’s driving this love affair with treasure chest of heart-warming tual programming has also found it the South West? Is it simply a rural stories and stunning locations. a rich seam to mine. fantasy of a bygone age of rolling hills At Twofour, we are very lucky to At Twofour, we’ve always been at and sun-kissed beaches? Is it because have such a bounty on our doorstep. the front of the line for championing the two counties conjure nostalgic And we are proud of this region and the region. From two series of Corn- bucket-and-spade memories of family all it has to offer. In a world of nega- wall with Caroline Quentin to the most holidays? tives, it’s a positive that we are cele- recent series of Cornwall and Devon Undoubtedly, Covid has a part to brating our homeland. n Walks with Julia Bradbury. play in our current obsession. When In between, we’ve done everything it comes to leisure, the pandemic has Chris Williams is the series director from following the marines in Lymp- forced us to reassess our relationship of Twofour’s ITV show Cornwall and stone to the Royal Navy schools in with travel, narrow our field of vision Devon Walks with Julia Bradbury.

Television www.rts.org.uk February 2021 21 Season 2 of The Mallorca Files is guaranteed to bring some much-needed light to BBC One’s winter line-up

he first series of BBC One’s The Mallorca Files aired at the tail end of 2019 and proved a huge hit with critics and daytime audiences. On the surface,T it’s fluff, but it’s also clever, funny, and beautifully shot and acted. More than anything, The Mallorca Files recalls the wildly successful 1980s comedy drama Moonlighting, in which Bruce Willis and Cybill Shepherd sleuthed and flirted in equal measure. This is no accident, as the show’s creator Dan Sefton admitted at an RTS event in mid-January: “Definitely, just totally stole it. From the very beginning, part of the discussion was that we don’t really do those buddy cop, light crime shows any more. I grew up with Moon- lighting – loved it, it was fantastic.” Sefton, a former doctor who penned ITV’s The Good Karma Hospital and BBC thriller Trust Me, recalled the one-line pitch for the series: “Essentially, it was German and British cop on Mallorca.” The tweak, which confounds any lazy stereotyping, is that it is the German who is gregarious and loves life but The Mallorca Files

proves less than efficient as a detective. BBC Sefton was thrilled at the reception for the first series: “[We] wanted to make a fun, light-hearted, sexy, sunny show… and I think the vast majority of people really bought into that.” Series 2, which began its new run Daytime fun on BBC One at the beginning of the month, offers more of the “will they, won’t they get it together” relationship between Welsh cop DC Miranda Blake (Elen Rhys) and her German colleague, in the sun DC Max Winter. The latter is played by the Vienna-born and -raised Julian Looman, a new face to British TV audi- dreary, and you want a bit of lovely when we started talking to the produc- ences. Rhys is best known for BBC light and sunshine. But this year, more ers, we were a little bit worried [about] drama Ordinary Lies. than ever, it’s so important – the sun Mallorca as a crime set,” said Pedro The Mallorca Files offers some much- and scenery are what we’re all craving.” Barbadillo, head of the Mallorca Film needed escapism during the UK’s third The Balearic island landscape shares Commission. “But it’s a great way to coronavirus lockdown. “We can’t wait joint billing with Rhys and Looman. show what locations Mallorca has to to get it into the schedules,” said BBC The producers, Clerkenwell Films and offer for other series and films. We are daytime commissioning editor Helen Cosmopolitan Pictures, worked closely very happy to host the series.” Munson at an RTS preview in early with the island’s film body to find Munson added: “Mallorca is very January. “Winter is pretty dark and standout locations. “At the beginning, familiar to a lot of our audience but not

22 Will they, won’t they?

The odd-couple relationship between the detectives played by Elen Rhys and Julian Looman is at the heart of The Mallorca Files. The producers tried out four different Mirandas with four Maxes at audition but, recalled Looman at the time, ‘it was immediately obvious that I had the best chemistry with Elen’. Will the chalk-and-cheese detectives – Max Winter is a lazy cop with a big personality, while Miranda Blake is professionally driven but uptight – finally get it together? As series 2 starts, Blake has rejected a promotion in the UK and decided to put down roots on The Mallorca Files

BBC Mallorca. ‘It gives her the opportunity to enjoy island life and be a bit the bits of Mallorca that we’re showing very po-faced drama about this, it more open and relaxed,’ said Rhys. in this series. People see it as a beach- wouldn’t be as accessible to people,” ‘As she and Max become better holiday destination but, in these epi- said Sefton. friends and their partnership grows, sodes, you’re seeing so much more “It’s about that mix of tone. It’s not she’s influenced by him and his about island life. As well as the dynamic easy to do and you’re always trying to approach to life.… Hopefully, you’ll between the two leads, that’s certainly get the balance right,” he continued. see a bit of a warmer, more open what appealed to us.” “We try and keep it contemporary and Miranda.’ Series 2 features a chase up the Cal- relevant but, at the same time, it’s an Looman revealed that Max tries vari Steps in Pollensa, atmospheric old entertainment show.” to become a better cop and person. Palma streets and bars, and even a Filming on the second series was ‘Max’s big [thing] is his… lack of scene filmed during the half-time curtailed by coronavirus restrictions responsibility in season 1. In sea- break of Real Club Deportivo Mallorca’s early last year. “We had to leave before son 2, he’s taking [more] responsi- La Liga match against Valencia. “We had the last four [were shot]. I’m very bility – there’s a growth.’ just 20 minutes to shoot the sequence pleased that we were able to get six Yes, but will they or won’t they…? on the pitch – there was a lot of pres- out, but I’m also sad because we had Rhys was coy about revealing too sure on us,” recalled Looman. some great new writers [on board]. much: ‘You’d like to think that the Sefton promised more scenery and There’s some great material still wait- “will they, won’t they” element is escapism for the show’s second outing, ing there,” said Sefton. what keeps bringing people back but also revealed that it would take on “We’re in a very good position to – the core of the series is the Max tougher topics, such as the Spanish carry on as soon as it opens up – we’re and Miranda relationship. But, with Civil War. a show that could start straight away.” anything like that, the moment This is the subject of an episode The stars of the show are both keen they do get together, perhaps, – Sefton’s favourite of the new series to return to Mallorca. “I’ve loved living might dispel some of the magic. – featuring Phil Daniels playing a there for half of the year and miss it ‘In series 2, we didn’t want to “hard-bitten, ex-pat private detective”. terribly. I’m desperate to go back,” said keep playing on that one tone… The showrunner added: “There are lots Rhys. “We get to go to the most beauti- so their relationship develops in a of great references to [film] noir, so I ful locations. It’s a dream job.” n different way… it’s like a slow burn.’ think it’s a great example of what we Looman added: ‘We have made do well. It’s funny – you can watch it Report by Matthew Bell. ‘The Mallorca six episodes out of 10, so we still on one level but it’s clever as well. Files preview and Q&A’ was held on 12 Jan- have four in the pocket – it’s a “Some of the information is shock- uary. It was chaired by journalist Emma surprise what will happen.’ ing and disturbing but, if you did a Bullimore and produced by the RTS.

Television www.rts.org.uk February 2021 23 A duty of care Ofcom is beefing up rules aimed at protecting vulnerable people who appear on TV shows, reports Caroline Frost

or decades, putting members of the public on screen was a win-win situation. From Blind Date to The Gen- eration Game, from Survivor to Big Brother, there was always new fodder for the tabloids, huge audiencesF for advertisers – including that vital but hard to reach 16-24 demo- graphic – and, for ordinary folk, the chance for a few dazzling moments to make their lives extraordinary. In 2018, everything changed with the death of Sophie Gradon. The former Love Island Love Islander’s suicide prompted questions about the mental health of those who participate in reality shows. In the protected the rights of under-18s and broadcasters and programme-makers. digital era, these contestants experi- other vulnerable people, the new The good news for companies is that ence unprecedented personal scrutiny guidelines extend that duty of care to this new requirement will result in few in mainstream media and, especially, people made vulnerable by their parti changes to the procedures they have on social media. cipation in TV shows. This applies dur- been following in recent years regard- Another contestant from Love Island, ing production and broadcast, and ing reality-TV participants. Mike Thalassitis, killed himself in March afterwards, particularly on social media. David Jordan, the BBC’s director of 2019 and more questions were asked. Damian Collins MP chaired the House editorial policy and standards, says: Two months later, a contestant on The of Commons select committee inquiry “We’ve had guidance on that for the Jeremy Kyle Show, Steve Dymond, killed into reality television. For him, a wider past decade. We recognise that even himself a week after appearing on the duty of care is a basic responsibility of people who don’t have inherent vul- show. Instantly, we were reminded that broadcasters and programme-makers. nerabilities can be made vulnerable as these “characters” were, in fact, not “It’s not a special duty of care. It’s a result of being put in the public gaze. caricatures created in a writers room, bringing them on a par with other That runs through the gamut of shows, but real people. professionals,” he says. “People should although it’s more pronounced in con- Parliament swung into action. An know what they’re signing up for. It’s structed reality.” inquiry was set up to examine what not a news broadcast where someone Paul Moore, head of communications was happening on these programmes. talks and goes. You’re bringing in and corporate affairs at ITV, highlights Suddenly, reality TV had got all too real. members of the public, where you’re the benefit of the altered code: “There Now, 18 months after the inquiry going to present them a certain way, is nothing in these amended rules that began, Ofcom has announced changes whether it’s as a liar or as cheat. You’re we weren’t already doing. The great to its rules. Specific guidelines coming stripping them of their agency.” benefit you get when you formalise in March, and to be enforced from With the new rules covering public them, is that you are much more likely April, will extend the scope of the participants appearing across all TV to think more deeply and clearly about Broadcasting Code. genres, not just reality shows, it seems what the risks are, and, therefore, what While the regulator has long there’s good news and bad for mitigation you need to put in place.”

24 The bigger challenge for broadcasters, the one that might be seen as the bad news, seems to be Ofcom’s standard procedure of applying its guidelines equally across the industry and to all programme genres. Naik says that, while the makers of established reality-TV shows will not be adversely affected by the code’s changes, other genres will experience a significant impact. He explains: “It will require putting in place risk assessment and care procedures with a clear paper trail so that, in the event of a complaint by a participant that they have suffered harm, the producer or broadcaster can demonstrate that they took reasonable steps to mitigate against this.” He argues that, while news and current affairs, with their quick turna- rounds, should not have been subject to such provisions, producers can take some comfort that the rules include a public interest exception and a propor- tionality requirement. So, for example, a game show contestant may require a lesser duty of care than a Love Island contestant, and a subject of a news investigation even less when measured against the public interest. “Ultimately, these are value judgements,” Naik believes. The BBC’s Jordan thinks that having a “one-rule-fits-all” approach represents a challenge for many different genres: “The difficulty is ensuring that some-

ITV thing devised to cope with the kind of instances we’ve seen in reality-TV does However, one of the most challenging sometimes, we do have to turn people not have a deleterious effect on news aspects of the whole exercise is that it down because we don’t think they’re and other output, which is not the rea- is, frequently, the most vulnerable peo- psychologically suited to the kind of son this came into being. ple who are affected. The people who scrutiny they’ll get if they take part in “We’re still wrestling with that, try- are often the most enthusiastic to sign a show.” ing to minimise the impact on areas up for a trip to the Love Island villa, a For Moore, clearly sensitive to ITV’s which were never the problem.” stint in the Big Brother house or a dra- tragic record in contributors’ vulnera- At its best, reality TV will continue to matic reunion with an Ex on the Beach, bility, any extra money or resources provide great entertainment and drama are the very people who, as Ricky committed to risk assessment early on without anyone suffering in the pro- Gervais so damningly described it, in the process is well worth the outlay: cess. One recent example of what is “live their lives like an open wound “Investing the money in better analysis possible was the 2019 series of Love to be famous”. and improved screening gives everyone Island, when contestant Amy Hart was Prash Naik, former general counsel more guarantees that only people with left heartbroken by Curtis Pritchard and for Channel 4 and now a lawyer at adequate resilience will be allowed to decided to leave the villa. Reviewed and Cleared, makes the participate in the higher-risk genres. Moore remembers: “It was clear to point that producers can rely only on You don’t want people dropping out or the viewer that Amy had the support material that contributors are prepared being affected afterwards.” she needed. She worked her way to to disclose: “Experience says that there One of Ofcom’s senior associates, leaving with her head held high, and will always be certain information Lily Bewick, stresses that there is no that narrative arc was as compelling as your contributor won’t share, if they wish on the part of the regulator to any we’ve had.” think it means they’ll be excluded.” squash participants’ opportunities: So what will success look like? For For Jordan, the risk assessment “We don’t want to dissuade anybody Collins, it is straightforward: “We don’t approach – analysing and, if necessary, from taking part. But it’s important see a repeat of the tragedies we’ve rejecting participants – is one the BBC that, when they do, they are properly seen in the past, as a consequence of has been used to taking: “The screening informed as to what that entails, both people being misrepresented and not process is very important. It is sad that, during the show and afterwards.” being supported.” n

Television www.rts.org.uk February 2021 25 opened the door and f****** exploded.” Dreams can be wild – stories that our minds invol- untarily create as we sleep. While most of us forget them the next morning, Martin Freeman ‘had one five or six years ago that becameI the inspiration for a TV series. “I knew I had gone through this many times in real life… I was going up the stairs to go and shout at my children,” he recalled. “With each step, I was talking myself down: ‘You know you’re better than this, and they won’t respond positively.’ “I thought I’d got the better of my temper before I opened the children’s bedroom door…” The opening scene of Breeders, a raw, pacey, sweary comedy about parenting, produced by Avalon and FX Produc- tions and broadcast on Sky 1, was taken directly from Freeman’s dream. Created by Freeman, director Chris Addison and writer Simon Blackwell, the 10-part series aired last spring and is an uncompromising look at modern parenthood. A second series was commissioned in May and is due to air later this year. Addison and Blackwell have impec- cable comic credentials, having collaborated with Armando Iannucci on such masterpieces as The Thick of It; Black- well wrote for the brilliant Peep Show. “That scene became the opening episode of a comedy that spoke to what it truly means to be a parent in my and Chris and Simon’s shared experience,” said Freeman. “We found enough common ground between the three of us – all the stuff you don’t say in polite society and all the truths you’re harbouring about how you A parenting sometimes speak to your kids.” Freeman plays fortysomething pas- sive-aggressive parent Paul, juggling the stresses and strains of fatherhood, work and maintaining his relationship with his wife, Ally, played by Daisy nightmare Haggard. There is a lot of Freeman in Paul, Martin Freeman and his co-creators who, alongside Haggard, Addison and Blackwell joined broadcaster and jour- recall how they drew on their own nalist Edith Bowman to discuss Breed- ers for an RTS event. He acknowledged experiences for Breeders, the that he is, in effect, playing himself. “If no-holds-barred Sky 1 comedy there is ever a character that is as close to me as possible, then it’s Paul, and it’s Breeders

unashamedly so.” Sky

26 He added: “I enjoy playing a charac- the programme’s makers had to devise such an intense experience that we ter close to myself because it takes off a way to conceal the four-letter words wanted to have that pace and that the pressure of, ‘Oh, you’ve got to do a from the child actors who are a key volume of story. It’s quite fragmented limp or an accent or whatever’. part of the show. in terms of style, flash backwards and “Paul’s not me but he’s quite like me. Freeman revealed that “we would do forwards and sideways.” The idea was to get as close [as possi- our non-swearing version with the A case in point was the very first ble] to the truth of parenting in a kids. Then we’d take the kids out of the episode, which depicts Paul and Ally’s comedic setting. room, do our swearing – they’ve got tortuous struggle to get to sleep – and “I loved Outnumbered [the mould- headphones on, so they don’t hear any to get their kids to sleep – while other breaking BBC One sitcom created by bad words.” characters and side stories are intro- Andy Hamilton and Guy Jenkin that Haggard, grinning, noted how they duced that were not part of the main ran for five series]. They struck gold would substitute polite words for storyline. but what was always missing was: why is someone not threatening to put someone’s head through a window?” Breeders appears to have been cathartic not only for audiences, especially those stuck at home with their offspring during the pandemic, but also for its creators. “[Our meetings] felt like therapy – we all said, when we talked about our various [parenting] experiences, that it felt like we were in a sort of support group,” remarked Blackwell as he recounted the trio’s early brain- storming sessions for Breeders. “Audiences have thanked us for saying the things they didn’t think we were allowed to say,” said Addison. Haggard was similarly impressed with the show’s realistic tone – and, despite having recently given birth to her second child, was keen to audition for Breeders. “I could hardly walk and was exhausted, but I read the script and it was brilliant,” she said. “It made me laugh so much but I thought: how am I going to do this? I already had a Breeders three-year-old. Sky “I remember sitting at home on the floor, rocking the baby in a car seat four-letter ones – using the word “It makes it more interesting than it with my foot while my husband held “clock”, for example. would be if you just filmed it as some- the script out in front of me so I could Addison explained that the mezza- one’s story through the night, unable to read it.” nine-styled set was a device to give sleep,” he suggested. In common with Outnumbered, Breeders the feeling that the characters were But the show is not all humour. Bow- strives for naturalism. While Outnum- always under pressure and in the pres- man pointed out that “you laugh your bered contained a lot of improvisation, ence of each other: “It gives you pants off but there are some brilliant Breeders “is pretty much scripted – but nowhere to hide. If you look down the emotional threads in there as well”. the naturalism of it is a testament to stairwell and you see the den at the Blackwell said it was important to the cast”, said Blackwell. bottom, it is full of crap – all that plas- keep Breeders feeling authentic: “If you Sometimes, though, it is better if tic stuff that kids accrue.” do push things too far and it stops nothing is said at all. If a picture paints Another important device in Breeders feeling real, then you pull it back until a thousand words, a look on the actor’s is the flashback and the flashforward, it feels real and universal and primal. face can sum up an entire scene. which help hit the balance between We wanted to make it feel serious in “Once we get into the edit, some- humour and drama. “You’re allowed, certain points, but equally, if you push times we might lose a line because when you flash away from whatever it too far, you end up in soap land.” n we’ve got a look that does the job,” the crisis is, to get some comedy in Addison said. there,” said Blackwell. Report by Omar Mehtab. Breeders was With so much swearing in Breeders, He added: “Parenting young kids is an RTS event held on 11 January.

Television www.rts.org.uk February 2021 27 he prospect of a brand-new Michael Winterbottom drama starring Kenneth Branagh as a pandemic- beleaguered Boris Johnson has already got mouths watering among audiences and critics alike,T and This Sceptred Isle is just one of Sky’s bumper line-up of 125 new Sky Originals promised for 2021. Keeley Hawes, Rita Ora and Dame Judi Dench are among the other big names bringing star power to Sky, with the broadcaster announcing 30 exclusive original films and 30 documentaries, all part of an impressive roster that prom- ises 50% more original content than last year. If this seems a highly ambitious project after the production chaos of 2020, Zai Bennett, managing director of content for Sky UK and Ireland, explained that it was the culmination of half a decade’s investment across drama, comedy and entertainment. This has been boosted by Comcast – Sky’s owner since 2018 – pledging to support Sky’s aim of owning its own content: Sky plans to spend £1bn a year on originals by 2024. Bennett told the RTS: “We’re getting into original film for our Sky Cinema service, and landing documentaries in a really big way. We’re about investing in authorship.” He revealed that he had already binged on one high-end drama, Interga- lactic. Coming to Sky 1 in April, the series is a mix of soap and sci-fi, following a mutiny on a women’s prison ship in space – what he described as “Orange is the New Black in space”. He noted that “the vast majority of the cast is female – in the sci-fi world, that’s not normally the case. It’s fun, with great production – the money is on screen.” Away from drama, the factual commissions sound equally broad, with titles such as Liverpool Narcos and The Sky reaches Bambers: Murder at the Farm. Bennett said: “It’s about a theatrical premium experience. Character and narrative are really important in our documentaries.” The list includes new profile docu- for the stars mentaries on Stephen Hawking and Tina Turner, and Bennett sounded particularly enthused by Bruno vs Tyson. Zai Bennett reveals why the satellite giant is “It’s the story of society at that time through the fights these two guys had,” splashing out on a star-driven line-up for 2021 he said, confident that it would find a large audience beyond boxing fans. Despite the big names on the list, Intergalactic

Sky there was good news for aspiring

28 film-makers and producers across the epic drama co-funded by Sky that the broadcasting of live performances. board, claimed Bennett: “For front of became, as Bennett proudly reminded “It’s about promoting the arts and being screen, it’s all about the narrative and us, the most-awarded single show ever a force for good for the arts,” said the story. The story’s the star. We’re at the Baftas. Of showrunner Craig Bennett. often looking for shows, developing Mazin’s phenomenal achievement, With the BBC’s increased focus on them from the beginning, investing in Bennett said his own job had been, as iPlayer on the one hand and the grow- authorship.” it was now, to be the “quality control- ing audiences and deep pockets of the In factual, too, there was room for ler”. “All we can do is invest in the streaming platforms on the other, Sky more: “We’re commissioning docs at a creator’s vision. We were there to help occupies a unique position in the Brit- fairly fierce rate. We’re coming into them realise that.” ish marketplace. For Bennett, the this marketplace and we want really Bennett looked back on the success broadcaster’s mission remains straight- high-end pieces. of the miniseries as a turning point in forward: “It’s about adding value to the “Across the genres, there’s plenty of Sky’s approach to content: “We’d been Sky subscription. The channels are scope for companies to get involved making pretty good telly up until then brands. Commissions need to be talked with us. For small companies, there are many ways we can help you or partner up to get those shows away. Our doors are open.” Anyone visiting Sky’s huge com- pound at Osterley, west London, comes away aware of the broadcaster’s focus on sustainability. Bennett said: “Sky takes it incredibly seriously. We’ve done it across the board, making sure productions are net carbon neutral. Telly is such an amazing force for change. Where we can have an important impact, we want to try.” Alongside this concern, sits Sky’s commitment to workplace diversity. Its target is to have a fifth of its employees from ethnic minority backgrounds by 2025. “Sky likes setting itself a target and then smashing it,” he Zai Bennett said. “Doing it for our societal good as RTS well is a great thing. We’ve had targets in production since 2014. It’s a but Chernobyl was a moment when about, to be loved, to be something moment to judge ourselves, to say to everyone said, ‘We’ve got to take you that sparks conversation. the world, ‘This is how we’re doing it.’” guys seriously’. We’re shoulder to shoul- “We’re not necessarily looking at On-screen, too, he agrees that a der with the best in the world now.” ratings themselves, it’s more about bunch of white men together is no As for whether such critical acclaim making sure that customers have longer a good look: “Audiences will is more or less important than com- choice, that there’s something for desert you. It would be terrible. We mercial success, Bennett argued that everyone in your home that is one of can’t make any show that doesn’t the two went hand in hand. “Sky is a their favourite shows – it’s about the reflect the world that we live in. commercial entity. We make money shows being brilliant.” “We need to help producers, and ask by our customers being satisfied with Pressed on what brilliant shows he them, ‘Do you need more time to make shows they can’t get anywhere else, had been watching during these a show, more money?’ Every show is that they think are awesome. Part of strange days and long evenings, Ben- bespoke, and every solution to inclu- people thinking the shows are awe- nett declined to reveal his personal sion is bespoke.” some is winning the odd award.” favourites from the many comedies, Sky’s big plans for 2021 follow a year Another demonstration of Sky’s dramas and factual shows he had in which its shows, like those of other ever-broadening goals was the recent commissioned. “That would be a way broadcasters and streamers, have addition of Sky Arts to Freeview. to make all of my genre routines for found big audiences thanks to the “That’s about Sky giving back some- the future really awkward,” he said. lockdowns. “Viewing has gone up thing to the nation,” was how Bennett Like the rest of us, though, it seems massively – the pie got bigger and our explained the decision to take Sky Arts that he is a sucker for something to share of that pie has grown by 7%,” said free-to-air. “We want people to enjoy escape into: “At home, I tend to watch Bennett, citing titles such as Gangs of and love that service, showing that we fiction and narrative pieces to relax.” n London and Billie Piper’s impressive are really part of the cultural commu- turn in I Hate Suzie. nity in the UK.” Report by Caroline Frost. Zai Bennett was This purple patch, however, began Brand-building ideas for the channel in conversation with Minnie Stephenson of the year before with the all-conquering, have included artists being invited to Channel 4 News for the RTS on 25 Janu- multiple-award-winning Chernobyl, the take over the channel for a period and ary. The producer was Lisa Campbell.

Television www.rts.org.uk February 2021 29 New stages under construction at Elstree

The race for space

ith three dramas there was a real demand for some shooting early Tim Dams explains how more capacity.” this year, Chernobyl the boom in scripted Pressure on studio space has also producer Sister been growing since Disney and Netflix has run into a shows is driving the need signed long-term deals to lease all the familiar problem stages at Pinewood and sister studio for many producers of scripted shows for more UK studios Shepperton Studios, respectively. –W finding studio space in the UK. Saffery Champness is projecting Sister’s head of production, Magali Bristow, partner in the film and televi- double-digit annual growth in UK film Gibert, says it has been difficult to find sion unit at media accountants Saffery and TV production over the next five what it needs for upcoming adaptations Champness, who played a key role in years. As a result, Bristow doesn’t think The Power (for Amazon) and This is Going the introduction of the UK’s tax relief the new studio developments will lead to Hurt (for the BBC and AMC) and crime scheme for high-end drama. to oversupply. “It will be good for the drama Landscapers (Sky and HBO). The new Sky Studios Elstree, which industry to have more studio competi- Sister is just one of many producers has 13 sound stages under construction, tion,” he says. “Producers pay a lot of vying for limited studio space in an era will be one of the first to open, aiming money for studio space in the UK, so of buoyant UK content production, for the first half of 2022. Eastbrook the more entrants the better.” which hit £3.62bn in 2019. Growing Studios in Dagenham, east London, In the short term, the need for stages demand for shows from streamers and with 12 sound stages, is targeting 2023. is only likely to grow, thanks to Covid-19 US studios, attractive tax incentives for Sky Studios COO Caroline Cooper and Brexit. making films and high-end TV here, says the investment in its new studios Covid has led to producers looking and the country’s highly regarded crews, comes as the Comcast-owned firm has for relatively safe, controlled studio talent and infrastructure have all con- more than doubled its investment in environments at a time when many spired to drive up output and, with it, original content. “We need places to locations are nervous about accepting the need for more sound stages. put those shows,” she says. large film crews. International travel Yet very little new studio space has Sky is working in partnership with restrictions make shooting abroad a come on to the market, despite plenty sister-company NBCUniversal on the major challenge, and have caused of announcements about new devel- new studios. “They really enjoy making many to opt instead for UK bases. opments (see box opposite). “There is movies in the UK, and they’d make Brexit has added to the challenge a long way between a press release and more if they had more space to do it,” of filming UK productions in the EU, a shovel in the ground,” says Stephen says Cooper. “Between the two of us, given the need for work permits and

30 carnets in many countries. There are housing, you are really struggling.” also short-term worries about moving Until recently, most studio expan- New studios in kit to and from the continent to hit sions and new builds were led by local shooting deadlines due to port bottle- authority investment, as the studio development necks and paperwork problems. business model is a risky one. Most Environmental concerns, adds Gibert, tenants only stay for short periods; n Sky and NBCUniversal have are also leading many producers to long void periods can be very difficult begun construction on Sky Stu- favour building (and recycling) sets in a for the business. dios Elstree, with 13 stages set to UK studio, rather than flying cast, crew Local authorities were prepared to open in the first half of 2022. Sky and kit around the world. invest because they recognised the Studios CFO Caroline Cooper says Not every production requires a long-term benefits that studio facilities construction is on track and has studio, of course. It is possible to be brought to their communities, such as been ‘remarkably unaffected by creative and to film in converted ware- skilled and well-paid jobs, and growth coronavirus’. houses or shoot extensively on loca- among support-service companies. n Hollywood property developer tion in the UK. But a professionally run Now, however, private-sector money Hackman Capital Partners has studio, with its ancillary services, such as is increasingly attracted to the sector, agreed a £300m deal to build props, parking, make-up and costume, particularly in the South East. Aermont Eastbrook Studios in Dagenham. With 12 sound stages, it has a 2023 completion target date. n Leeds Studios, backed by Allied London’s Versa Studios, is set to open this spring, with four stages located near Channel 4’s base in the city. n US studio operator Blackhall Studios says it will invest £150m in a studio complex near Reading. n In Liverpool, two stages are being developed as part of plan to Netflix’sThe Crown transform the former Littlewoods has required a number Pools building. of lavish studio sets

Netflix n Peaky Blinders creator Steven Knight is developing Birmingham’s is a big draw for complex, high-end Capital’s 2016 acquisition of Pinewood Mercian Studios with six stages. It productions. for £323m is widely seen as a success, is targeting a 2022 launch. In 2019, Lambert Smith Hampton particularly in light of the studios’ n Last month, news emerged of (LSH) – a leading property advisor to long-term tenancy deals with Netflix three new stages being built as the UK film and TV industry, and and Disney. This has given other part of the Meridian Water devel- involved in developments such as investors the confidence to follow suit. opment in Edmonton, north Lon- Eastbrook Studios and Sky Studios Post Covid, some think studios look don, by Troubadour Theatres, and Elstree – estimated that an additional more attractive for real-estate investors opening this spring. 170,000m2 of studio space would be – certainly compared with office prop- n In Kent, the Creative District required in the UK by 2025. erty, as home-working looks set to Improvement Company and Quinn LSH head of media real estate Chris- continue. Given the underlying growth Estates are behind the Ashford topher Berry stands by that figure. He rates in production, studios are also, Studios project on a 15-acre site. notes that existing studios, such as arguably, a safer bet than the over- n Studio operator Quartermaster Pinewood and Leavesden, have added heated logistics sector. is developing two television stu- new stages since then but no new com- Indeed, Hollywood property devel- dios, in London and Birmingham. It plexes have been completed. “There oper Hackman Capital Partners is is also working on four film studio have been hardly any new stages built investing more than £300m in East- developments within the M25. and, if anything, demand is stronger.” brook Studios in Dagenham. Legal n Elsewhere, Manchester’s Space Securing sites, and funding and & General, meanwhile, is providing Studios and north London’s Elstree building studios takes time, explains financing for Sky Studios Elstree. Studios are adding two stages each. Berry. In particular, there’s strong Elsewhere, New York-based Bateleur In Northern Ireland, Belfast Harbour competition for sites from other indus- Capital is backing studio developer Studios plans to build six more tries. “Logistics is the hot investment Quartermaster, which plans to open stages. Pinewood has consent for sector,” says Berry, citing the growth of a number of studios in the UK. 26 more stages at both Pinewood online shopping and its demand for In the medium to long term, this and Shepperton. Great Point Media large distribution warehouses. means the studio development boom has taken over the lease of Wales The needs of the logistics and studio is likely to bear fruit and drive up the Seren Stiwdios, with an option to sectors are identical, he adds. Both want number of stages available to produc- expand the site. Bristol’s Bottle Yard big sites that are well connected in the ers. But in the short term, finding stu- Studios is adding three stages as South East of England. “When you dio space is likely to remain as part of an £11.8m expansion. throw in demand for residential challenging as ever. n

Television www.rts.org.uk February 2021 31 RTS TELEVISION JOURNALISM AWARDS 2021

THE RTS CONGRATULATES ALL THE NOMINEES LIVE STREAMED ON 24 FEBRUARY

HOSTED BY MISHAL HUSAIN

FULL NOMINATIONS AT: #RTSawards rts.org.uk/award/tvj2021 32 This year’s RTS careers fair broke new ground and increased attendance, reports Matthew Bell

he annual RTS Futures Careers Fair returned early this month in a new and bigger form, with exhibitors from the length and breadth of the UK. Held over two days, More than 2,200T people signed up for the-two day virtual event, hoping to get their foot on the first rungs of the TV ladder. “This year’s virtual careers fair has been a huge success. We have wel- comed more attendees, and offered more sessions and industry exhibitors than ever before,” said RTS Futures Chair Alex Wootten. “It has also been more accessible and inclusive. “It is testament to the hard work of the RTS Futures team and all the industry professionals who volunteered Job fair spurs their time to inspire and inform our members at the start of their careers.” The fair, which was sponsored by the National Film and Television ambitions School and IMG Studios, offered

almost 90 interactive exhibitor Emmanuellelhoni.com booths. These allowed companies to speak to attendees, who could also job at ITV News Meridian, producing Service as a bilingual reporter (she attend a CV clinic, an “ask me any- lunchtime news bulletins. “It’s been speaks French and English) and a thing” area and sessions geared to life-changing,” he said. “If I can make news presenter, before returning to newcomers and those in the early it, anyone can. Trust me.” her native Manchester to work for stages of their TV careers. In “Making the local news”, ITV BBC North West Tonight. More than 1,400 CVs were submit- News Meridian reporter Kit Bradshaw, She stressed the importance of ted, and the total number of chats BBC East executive Rachel Sharman work experience: “It doesn’t have to across the “virtual booths” was just and BBC regional journalist Emma- be with an established, well-known under 6,000. nuelle Lhoni, discussed journalism company – you can do community A session on access schemes offered outside the capital. or hospital radio… or have your own the inspiring story of Toby Winson, a Bradshaw worked on radio and TV YouTube channel – anything that young Kent builder who discovered national news at Sky, before moving shows you are interested in the field a love for writing through blogging to ITV News Meridian as an on-screen and have the commitment to make about his recovery from alcoholism. journalist. National broadcasters tend your own content in your own time.” He entered the Media Trust’s to react to events, he said, whereas The remaining sessions on the first “Breaking into news” competition to with “regional news – and it’s what I day of the fair were “Get ready for find journalists from diverse back- love about it – nine times out of 10, your first job in TV”, with line pro- grounds. ITV Meridian journalist you are generating your own stories.” ducer Jude Winstanley, and a Q&A Chloe Oliver mentored Winson, Sharman started out in radio, before with award-winning director David G whose winning report on alcohol becoming an early video journalist, Croft who now runs the entertain- education in schools was broadcast filming and editing her own packages ment TV course at the National Film on TV. “The scheme gave me contacts for TV. Currently, she produces the BBC and Television School. and the chance to show people in a Look East evening news. She said: “A On day two, there was a session on newsroom what I could do,” he said. regional newsroom throws you in programme development; a master- Winson took every opportunity – there are not that many people to class on long-running BBC drama going for work experience and was hold your hand. You are going to go Silent Witness and a session on oppor- rewarded with a series of short-term and film and get on telly [quickly]” tunities for women in broadcast contracts. He now has a permanent Lhoni worked for the BBC World media technology. n

Television www.rts.org.uk February 2021 33 RTS NEWS “Intelligence is mostly single both Mohammed and camera – two when there is Schwimmer excel. likely to be lots of improvisa- Mohammed said: “Of late, tion. It was more like shooting there’s been a fashion for a movie or a comedy drama. single-camera, I enjoy a lot of half-hour those shows. comedy.” ‘HE IS But there was Schwimmer INSPIRED never any joined Nick question that Mohammed, NOT ONLY Intelligence who wrote and BY TRUMP would be an also stars in outwardly, Intelligence, for BUT BY THE bare-chested the RTS discus- WHITE MEN comedy in its sion; both men gag rate and its are executive IN POWER joyous silliness.” producers on He added: the show. WHO HAVE “There aren’t It emerged BEEN too many that the Intel- recent exam- ligence character ENABLING ples of shows played by the HIM’ that put com- former Friends edy first, above star, the maver- emotion, drama ick Jerry, owes and storytelling. some of his brashness to “I wanted to make a show Intelligence: Nick Mohammed and David Schwimmer

Sky Donald Trump. that has lots of proper laughs “He is inspired not only by over a short space of time. our former President, but by That’s because of the influ- a lot of the white men in ence of shows such as Schwimmer power who’ve been enabling Friends, which had a huge gag him,” said Schwimmer. rate. Even [with] a show as “They’re just as dangerous, nuanced as The Office, you if not more so. But it was can count the gags.” crosses pond important to realise that each Schwimmer added: “I’m a of these men, the senators fan of all kinds of comedy. I and congressmen and others, love dark comedy when it’s Steve Clarke learns how an ex-President are real human beings and done well. I am not so sure I informed the Friends actor’s character in have their own weaknesses. am a fan of shows that are “What we landed on was kind of dramatic comedies. Sky 1’s GCHQ-set comedy, Intelligence that Jerry’s need for power “I thought the situation of and his narcissism was a the comedy was inherently Over the years, much there’s a difference in humour, combination of ignorance original and really funny. has been written about but I think funny is funny,” and a growing feeling of Equally important, was the the difference between David Schwimmer told an irrelevance – his being out of opportunity to be able to

RTS London British and American RTS London event in Janu- touch – and a huge amount work with Nick. TV comedy. The Brits go for ary. He was discussing his of insecurity.” “I thought we’d have a lot short series and tend to first comedy show since In the second series of of fun improvising on set. I avoid writers rooms. Across Friends, Sky 1’s six-part Intel- Intelligence, due later this feel incredibly grateful to the Atlantic, 22-part comedies ligence, a workplace caper set year, audiences will learn have a job where you go to are common and writers in a fictionalised GCHQ. more of Jerry’s past, prom- work and have fun and try to rooms essential. The actor added: “The main ised Schwimmer, and why make people laugh. It’s very But, according to one of difference is our process. he is so damaged. humbling.” n the biggest stars of US sit- Friends was performed live, in Make no mistake, however, com, these distinctions tend front of an audience with four the show isn’t about to devi- ‘Get the intel on Intelligence’ to be exaggerated. cameras, and was like doing a ate from its inherent silliness was an RTS London event held “There are different cultural one-act play every week. You and gag-driven style or its on 21 January. It was hosted by references and, sometimes, rehearsed four days a week. physical comedy, at which journalist Boyd Hilton.

34 sa Butterfield, who plays gauche teen- ager Otis Milburn in the Netflix comedy ASex Education, has described how he was blown away by the show’s remarkable success. “I don’t think any of us realised the scope that Net flix brings – being on the platform and being available around the world immediately for anyone to watch on their phone or their TV,” he told the RTS last month. “It’s insane. I’d worked in film, where there’s a build-up to the release date, but to have it all there at the touch of your fingers was quite surreal. Then, to have it amplified by social media. I’d experienced some of that in my [previous Asa Butterfield

film] work, but, for some of Homma Vice/Fumi the cast, going from very little public exposure to being on one of the most watched shows on Netflix was insane.” Growing up in movies In Sex Education Butterfield, who is 23, is cast as the son of sex therapist Jean Milburn, Film star Asa Butterfield recounts the whirlwind impact of played by Gillian Anderson. He said: “It was a privilege to working on Netflix’s Sex Education. Steve Clarke listens in have Gillian Anderson play my mum. virtue of its sexual content. until he starred in Martin and the holocaust movie “Funnily enough, my actual “For me, as someone who’s Scorsese’s 2011 filmHugo . The Boy in the Striped Pyjamas. mum is a psychologist – not not done much comedy, not The director told him about Butterfield was a child a sex therapist – but [has] a much sexual comedy, to push cinema history, giving him when he made The Boy in the similar vein of questioning myself on screen was fun,” he films to watch at the week- Striped Pyjamas. How much and [is] quite cerebral. Me and explained. “I’m always look- end. He recalled: “It was the was he aware of the dark- Gillian have a lot of fun. ing for projects that are going ultimate education. That ness of the subject matter? “We found this really nice to test me.” captured my imagination and “It was almost 15 years ago. rhythm to the mother and son Regarding the sex in Sex made me think, ‘Maybe I I remember reading the book relationship, which sometimes Education, Butterfield noted: could do this as an adult’.” before we started shooting, so is quite mature and civilised, “I feel that, these days, young One reason Butterfield was I did have some understand- but, at other times, they can people are growing up quicker attracted to Sex Education was ing of the Second World War both be so immature. and exposed to a lot. that he wanted to be involved and some of the things that “It’s quite a volatile relation “It makes sense to treat in a returning TV series that went on, but when we made ship. There are some very them with maturity because could expand his acting it, they did try and preserve touching scenes and very of the knowledge that every- ability. my innocence. funny scenes.” one has at their fingertips. Another factor was the end “As a nine-year-old, that When he accepted the part You don’t need to shy away of the classic film and TV made sense for my mental of Otis, who, as the story from it.” divide, with US cable chan- health. I do remember some progresses, becomes a reluc- Butterfield, now putting nels, and then streaming of the scenes being quite tant sex therapist at his the finishing touches to services, pouring millions of difficult.”n school, Butterfield wasn’t series 3 of Sex Education, dollars into scripted shows. sure Sex Education would be a started acting aged seven. He Apart from Hugo, Butter- Asa Butterfield was talking to hit “because of the way it revealed that he did not field’s film roles have included journalist Caroline Frost at an pushes at boundaries” by consider acting as a career Greed, starring Steve Coogan, RTS event on 19 January.

Television www.rts.org.uk February 2021 35 RTS NEWS

“TV viewing has terms of delivering news and

remained very, very information”, said McGrath. strong” despite the “News was the big star of

Republic of Ireland rapid growth in 2020 – people really wanted streaming services such as information across all broad- Netflix and Amazon Prime. casters,” said Paul Loughrey, So said Jill McGrath, CEO of RTÉ head of audience insights. TV Audience Measurement “The reason for that is trust.” (TAM) Ireland, at the RTS The most-watched pro event “What Ireland is gramme on RTÉ, as in most watching” in late January. years, was The Late Late Toy She noted that “69% of all Show, which enjoyed its viewing is to linear-TV… that higher-ever ratings last year. is viewed either live or within Homegrown Sally Rooney seven days of the original adaptation Normal People was broadcast. the RTÉ Player’s top show. “In 2020, the average per- Viewing of Sky entertain- son watched 89 hours of ment programmes was up linear-TV every month, which 10% in 2020, said Carpenter. is the equivalent of watching Sky’s biggest hit, both on the whole of The Queen’s linear-TV and on-demand, Gambit on Netflix 12 and a was Gangs of London. Box-set The Late Late Toy Show É

half times.” RT consumption, especially of The panellists at the RTS older titles such as The Sopra- Republic of Ireland event, nos, was also high. chaired by the centre’s Dr “The effect of Covid on Helen Doherty, agreed that Linear-TV alive viewing was massive,” said linear-TV was very much Dave Moore, schedule and alive. “Even with the wealth research manager at Irish- of choices on the Sky plat- language broadcaster TG4. form, the number-one [thing] and kicking Its list of most-watched a customer does when they programmes last year was turn on the box is to go to “Our Virgin Media Player [is] McGrath ascribed the resil- dominated by coverage of the linear EPG TV guide and not competition to our linear ience of TV viewing to it being Gaelic football and hurling. choose [a] channel,” said channel – it is incremental “live and local”, offering “a “[There’s] no barrier if your Mark Carpenter, Sky Ireland’s viewing to linear.” communal experience” and Irish language fluency isn’t director of regulatory and She added: “We are actively “easily discoverable” content. so good – you can still watch corporate affairs. targeting Netflix and Amazon TAM research revealed that, the matches.” News pro- Audrey Clarke, Virgin paying customers to come in Ireland during the pan- grammes and TG4 soap Ros Media Television’s head of back to our free, advertiser- demic, TV was “by far the na Rún were also popular. audience knowledge, said: funded content.” most trusted medium in Matthew Bell

at our chest of content… [and] make sure that the necessary Legal eagles battle coronavirus rights were either there or were subsequently acquired TV legal teams have and producers, and agreeing But the pandemic also before broadcast took place.” responded to the what payments needed to be brought opportunities. Producers, though, were Covid-19 pandemic, made.… It was an additional At All3Media’s distribution able to shoot some formats.

RTS London keeping production cost on the budget.” arm, formats specialist Nick Gogglebox was kept on air by teams on set and shows on air. Katrien Roos, TV, film and Smith was dealing with moving production crews out When the UK first went theatre associate at law firm broadcasters worldwide: of homes and into vehicles into lockdown in March 2020, Harbottle & Lewis, recalled: “Massive holes appeared in parked outside. “It’s about Fremantle lawyer Damian “We were seeing producers their schedules.… There was being adaptable and creative Kent told an RTS London grappling with new ways of a market for sales of ready- to make things work during event last month, “produc- working in compliance with made programmes or for- this tough time,” said Smith. tions had to be suspended or enhanced health and safety mats that could be made The RTS London session stood down generally, so that measures that had to be put during the pandemic.” was chaired by ex-Disney meant looking at cast, crew in place.… [They] were work- Olusoga Adamo, head of lawyer Nana Duodu and and suppliers’ contracts. It ing with smaller crews and business affairs at ITV Stu- produced by Lettija Lee. meant going to broadcasters fewer extras.” dios, added: “We had to look Matthew Bell

36 The final RTS Futures event of 2020 turned the spotlight on motion

RTS Futures graphics and visual effects. Emma Kolasinska, an executive producer at Moon- raker VFX, who recently worked on Netflix wildlife series Night on Earth, started out as a receptionist at an editing facility, before moving into producing. The key to getting on, she said, was “working hard, not pretending to know everything but finding out quite quickly”. Junior compositor Michael Vodden said: “Take opportunities and run with them – you never know where Night on Earth

[they will lead]… a job can Netflix come out of anywhere.” He recently graduated from Escape Studios in Lon- don with a first-class degree How to make a splash in the art of visual effects and worked on last year’s CBeebies Christmas show. Having studied graphic in TV visual effects design for his degree and then worked in advertising communication skills,” he showreel.… If the showreel [also] take a look at LinkedIn.” in his native Colombia, VFX explained. Rincón is cur- and work are strong enough, Vodden added: “Every job compositor and motion rently working in New York and the person in their own I’ve had so far has been designer Sergio Rincón for Conex Digital. time has learnt their software through my network, whether moved to San Francisco to A degree, though, is not well, then I might not always that be from Escape Studios… take a master’s degree in essential. Kolasinska stressed look at their [education].” or friends I’ve made while animation and visual effects. that, when recruiting for VFX Rincón said the pandemic working on productions. “It helped me a lot… it was a artists, she looked for “atten- had given him the chance to LinkedIn has been a huge mix of artistic, technical and tion to detail in a CV and the spend time working by him- help – that’s where I’ve been self, improving his software contacted a lot.” and technical skills: “I’ve Summing up the appeal Richard Hoptroff, founder of created my own projects and of working in VFX, Vodden The internet Hoptroff – a tech company tried to network as much as said: “It’s really cool… you that helps to synchronise [possible].” get to take stuff that is not ticking clock time in the virtual world – Kolasinska, who leads the real and, as a compositor, to and Gerard Phillips, a systems global e-mentoring initiative put that on the other side of engineer at Arista Networks. at Access: VFX, the industry- the lens and make it look RTS Thames Valley The 2018 launch of the led body that aims to improve like it really happened – discussed how the SMPTE ST 2110 standards diversity in visual effects, there’s something magical broadcast industry is suite was significant for live advised aspirants to look about that.”

Thames Valley implementing new TV as it defined how we now beyond the large, London- The RTS Futures event standards with respect to send digital media over IP based visual-effects “Kick-start your career in time harmonisation at its (internet protocol) networks. companies. motion graphics and VFX” first event of 2021. Mark Couto, who won RTS “There are a lot of smaller was held in collaboration Bruce Devlin, standards Thames Valley’s Young Tech- companies popping up with Access: VFX on vice-president of the Society nologist prize at its 2019 regionally,” she said. Kolasin- 14 December. It was chaired of Motion Picture and Televi- awards, introduced the event ska usually fills jobs with by Nutopia head of talent sion Engineers (SMPTE), led “As time goes by… Precision “artists that I’ve used previ- Natalie Spanier and produced the session, which featured time protocol in the emerging ously, or by word-of-mouth by Spanier and Alex Wootten. the expert knowledge of broadcast networks”. [recommendations].… I might Matthew Bell

Television www.rts.org.uk February 2021 37 RTS NEWS Fine-tuning a choral classic

Shortly before Christ- The production considered mas, RTS Thames Val- using a “virtual congrega- ley went behind the tion”, but this was rejected.

Thames Valley scenes of the BBC’s “It would have jarred, I think, annual choral treat from no matter how we had done King’s College, Cambridge, in it,” said Taylor, who has the company of director Ian worked on Carols from King’s Russell, production engineer- for a decade and a half. “We ing manager Peter Taylor and also looked at putting in lighting director Bernie Davis. screens, with people joining Carols from King’s, which in with the congregational Carols from King’s

was first televised in 1954, is hymns. In the end… it was BBC a well-oiled machine in decided that would be such normal years, but this time a television artifice.” brought advantages, too. was a little noise, it was much the production team had to Russell was brought on “Normally, when we do more apparent than it would work under Covid-19 restric- board in early December after King’s, I have to fade out the have been with a congrega- tions. “It became very clear the original director, Pamela congregation for most of it tion there.” early on that we would not Hossick, became indisposed. because they are sitting Without a congregation, have a congregation,” recalled “The viewing public expects fidgeting in their Christmas the production was able to Taylor, who was talking to big occasions to look… as jumpers and can be a distrac- use a jib for the first time, RTS Thames Valley Chair filmic as those productions on tion behind shots,” said Davis. which improved camera Tim Marshall, a former BBC Netflix and other such chan- The lack of a congregation, coverage. “Having a jib and a head of events. nels. So King’s, being one said Russell, made the sound moving camera is something The challenge, he contin- of those jewels in the BBC simpler. “There [wasn’t] that that will probably remain a ued, was “to reflect the con- crown, has to measure up…. noise of people in the chapel part of King’s for years to gregational style and make it To have any chance of achiev- echoing around… they didn’t come,” said Russell. still feel like a church service, ing that, it has to be planned have coughing to remove… Carols from King’s aired on rather than a Christmassy down to the last crotchet.” But what they did have was a Christmas Eve on BBC Two. Songs of Praise”. The Covid-19 restrictions very clean sound so, if there Matthew Bell

some of his many admirers. One founders of television. In January much cheered by his team’s admitted to ‘hyperventilating’ at 1926, at his workshop in Soho’s recent mauling of Wycombe The the prospect of ‘seeing that per- Frith Street, Baird famously Wanderers. The result, you may fect nose live’. Another swooned demonstrated how moving recall, was a truly remarkable UPSIDE over his recent ‘buzzcut’. pictures could be transmitted 7-2. The Bees’ promotion push For the fan who was distraught and received. to the Premier League is looking that the session coincided with He was one of a group of more and more credible. Nose that launched her maths class, she’ll be relieved engineers who formed the Tele- to know that a recording is avail- vision Society, the forerunner of a thousand sighs able on the RTS website. the Royal Television Society and Micah Richards It might not have been Beatle- which first founded this wields the red card mania but, for some female fans magazine. of the mild-mannered Martin Logie Baird coins Talking of the beautiful game, if Freeman, the actor’s appearance it for television you haven’t yet seen Sky Docu- last month on an RTS panel was Bees’ dream sets mentaries’ Micah Richards: close to it. The Upside was delighted to hear all Brentford abuzz Tackling Racism in Football, this The social media reaction to that the 75th anniversary of the timely, heartfelt film presented seeing the star on Zoom, dis- death of John Logie Baird is As we all look for silver linings in by the erstwhile Manchester City cussing how he helped to create commemorated in a new 50p Lockdown III, former ITN chief and England defender is a must- the fast-paced Sky 1 comedy coin. The prolific Scottish inven- Stewart Purvis, a director of watch – and its message can’t Breeders, was too much for tor is, of course, one of the Brentford FC since 2019, will be be repeated too often.

38 RTS PATRONS RTS Principal BBC Channel 4 ITV Sky Patrons

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

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

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

Television www.rts.org.uk February 2021 39 P40

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