Features

Richard Spencer, Whitby Harbour 2

My Wife, My Abuser: The Secret Footage, Channel 5

Director David Ward explains the sensitivity need to help Richard Spencer open up about 20 years of abuse at the hands of his wife

Wayne Garvie

SPT’s Wayne Garvie on why a reset is coming

President of international production discusses the state of the industry, why there is too much doom and gloom, and life after The Crown

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Derek Drennan: Is unscripted the forgotten child?

Last week’s budget had great news for HETV, but other areas of the industry are feeling a little neglected

Ossage County

The ethics of collaborating with documentary ‘story holders’

Genuinely working with contributors, rather than just filming them, is a powerful tool, writes Anna Keel

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Queens, Disney+

Showrunner Chloe Sarosh on pulling together a female-led team to capture animal societies where females rule the roost

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Why comedy shorts are more than just a development tool

In the wake of the launch of the C4 Playground scheme comedy producers & talent speak about the benefits of keeping things short and sweet

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Nicola Shindler: ‘There is a lot of complacency post-#MeToo’

To mark International Women’s Day, execs at Quay Street Productions discuss #MeToo, positive on-set experiences and workplace flexibility

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Directors UK chief: ‘It’s hard to see how directors can sustain a career’

Andy Harrower warns a steady stream of programmes cuts means the industry is haemorrhaging talent

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The Titan Sub Disaster: Minute by Minute, C5

Series PD Daniel Smith on the challenges of shedding new light on the well-covered search for the Titan submarine

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How athletes can bring authenticity to content

Jon Dyson, head of sport at Formidable, explains the value of authenticity

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In conversation: Harnessing the power of real life drama

Directors of ITV’s Mr Bates Vs The Post Office and Breathtaking discuss their different approaches to making series based on real events

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Exploring the growing appeal of Asia

Documentary agent Moray Coulter shares his experiences of a trip to Asia TV Forum

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Sarudzayi Marufu: Producers must embrace private equity lifeline

It might not be a silver bullet, but it’s vital that the industry finds a way to diversify its funding

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In conversation: Lauren Sequeira and Candice Carty-Williams on changing the script in UK drama

The Queenie and Domino Day writers on flying the flag for Black female creatives, fighting to tell their stories & overcoming ‘imposter syndrome’

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End Credits: Tom Garton

Wonderhood Studios’ Tom Garton on subversive comedy and getting arrested in Kazakhstan

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Hannah Cheers: Reducing Hollyoaks hours will allow us to do our stories justice

The Hollyoaks executive producer explains why dropping from five eps a week to three will help the show better serve its audience

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Kerene Barefield: It’s time for a new way of doing business

As the freelancer crisis continues, the industry needs to create new ways to keep the door open for those who are struggling

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Things You Should Have Done, BBC3

Lucia Keskin shot to fame on YouTube parodying sitcoms - Robin Parker finds out how the 23-year-old came to be running one of her own

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First look: The Responder, BBC1

Martin Freeman and Adelayo Adedayo return in second series of Dancing Ledge Production’s thriller, written by Tony Schumacher

Roy Ackerman

Roy Ackerman: Development should be a joy not a costly barrier to creativity

The demands being placed on producers before a project is even greenlit are creating unnecessary hurdles

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Josh Must Win: The Primal Media format turning the dial on reality TV

In this new series for E4, celebrities secretly influence the competition by trying to help an ‘ordinary Joe’ contestant triumph over their ‘alpha’ rivals

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Cân i Gymru (Song for Wales), S4C

Executive producer Emyr Afan on the increasing the profile of singing contest Cân i Gymru (Song for Wales) with a staging revamp

Famous Five

Distributors Index: BBC Studios on the hunt for content with global appeal

Execs Mark Linsey and Kate Ward discuss their aim of getting the best of British TV out to the world

Destination X

NBCU pushes on with search for international entertainment

From BBC partnerships to filming abroad, the US broadcaster is prepared to travel for good TV

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This Town: Steven Knight revisits the ska era

The Peaky Blinders creator discusses his latest BBC1 drama, set amid the emerging music scene of 1980s Birmingham

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Buyers roundtable: Strategies for securing the best scripted content

Heads of acquisition from Sky, HBO Max, Starz and BBCS/UKTV reveal their priorities

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Capital gains: The UK welcomes the world

The London TV Screenings has cemented its place in the industry’s calendar

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London TV Screenings: Thrillers dominate as comedy declines

Laughs will be in short supply at this year’s London TV Screenings as distributors instead opt to push their premium scripted content

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Is the motorsport docuseries market overcrowded?

Simon Hinchliffe, Prism Sport and Entertainment head of motorsport, looks at whether the cluttered landscape of behind-the-scenes motorsport series is it makes it hard for new entrants to succeed

Netflix Six Nations Box To Box Full Contact rugby union England

What traditional broadcasters can take from Netflix’s sport strategy

Luke Boyle, chief growth officer at UIC Digital, gives his recommendations to the likes of the BBC & ITV

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Bronagh Monahan: YouTube isn’t a threat - it’s an untapped resource

The video platform offers a pipeline for talent who can really shine on linear

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The Push

‘The fact that this story has exclusive coverage of the courtroom is really compelling’

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The Negotiators International

‘The new series comes at a time when hostage negotiation is a highly topical issue’

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Unscripted

Mayhem! Secret Lives Of The Georgian Kings; Dead In The Water; The Negotiators International; The Push

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Dead In The Water

‘It feels utterly accurate and authentic, allowing a real sense of place and time’

Spinal Destination

Spinal Destination

‘It’s a very warm and humane gang comedy with a group of friends unlike any other you’ve seen’

So Long, Marianne

So Long, Marianne

‘It will appeal to a young audience that has no idea who Leonard Cohen is’

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Monsieur Spade

‘Clive Owen has a real presence – he fills each scene with a real intensity’

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Samber

‘The series is about the massive failure of society and the system to protect women’

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International scripted

Rebus; Austin; Borderline; Conflict; Monsieur Spade; Paris Has Fallen; Samber; So Long Marianne; Spinal Destination

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Paris Has Fallen

‘The movie franchise has a real added value that brings visibility to the series’

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Conflict

‘The idea of civilisation coming under attact is something audiences can relate to’

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Borderline

‘This is very premium, with great storytelling. It’s gritty and it’s got a political dimension’

Austin- ITV Studios

Austin

‘It’s a story of acceptance that has diversity and family at its core. Multiple generations will enjoy it’

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Wolf Hall: The Mirror And The Light

‘There’s a big footprint where the drama will travel, as period drama is a safe bet, particularly with this cast’

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The Jetty

‘It’s a good crime thriller, but also opens up deeper questions about sexual consent and morality’

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The Cuckoo

‘The Cuckoo is a suburban thriller, which always works well with global buyers’

Renegade Nell

Renegade Nell

‘Broadcasters need both the familiar and the surprising, and our slate delivers on that’

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UK Scripted

Red Eye; Coma; Nightsleeper; Renegade Nell; The Cuckoo; The Jetty; Wolf Hall: The Mirror And The Light

Coma

Coma

‘It feels local, but the situation is universal and that elevates it for global audiences’

Nightsleeper

Nightsleeper

‘Nightsleeper will have viewers across the globe on the edge of their seats’

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First look: Small Town, Big Story, Sky Max

Playground Entertainment and FilmNation’s six-part series set in Drumbán, a fictional village in rural Ireland full of misfits

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Take a deep breath and keep the faith through tough times

The short-term outlook may still be gloomy, but viewers haven’t lost their appetite for quality TV

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Inseparable Sisters, BBC1

Producer and narrator Lucy Owen on making an intimate documentary exploring the story of conjoined twin sisters

Kate Phillips

Fewer, bigger, better: Kate Philips unpacks BBC mantra

Unscripted director reveals how audiences have steered ‘painful’ programme cuts, but insists there is still space for features and lifestyle shows

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High: Surviving a Dubai Drugs Bust, BBC3

Director Alex Irvine Cox explains how he and his team stretched their budget to tell a dramatic story set in an exotic location

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Why broadcasters need to get off the sidelines to grow women’s sport

Anna Reynolds, consultant and Yonder Consulting, believes broadcasters could miss the opportunity available with women’s sport

Comedy Blaps Red Flag

C4 looks to futureproof comedy with Playgrounds scheme

New fund will complement Blaps and provide a more experimental space for budding talent

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Why I believe the entertainment industry mustn’t fear AI

Tim Levy, CEO of digital twin creator Twyn, gives his pitch as to why the media industry should embrace AI

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First look: The Gathering, C4

World Productions thriller will explore modern parenthood and how parents impose agendas and issues on their children

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Into the Congo with Ben Fogle, Channel 5

Series producer Frederick Martin on why careful planning and optimism are vital when filming extreme adventures

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Deep Dive Australia, Sky Nature

Presenter Lizzie Daly on getting breathtakingly close to the wildlife of some of Australia’s most remote locations

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Eight things we learned at Realscreen

From co-pros to murder shows and FAST channels to theme park rides, here’s Broadcast’s top takeaways from New Orleans

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How the year is shaping up for VFX and post houses

Execs from post house Gorilla and VFX specialist BlueBolt discussed the state of the sector, flexible working and the growing use of AI

Broadcast Awards (20)

Broadcast Awards 2024 in pictures

Familiar faces gathered for the 29th Broadcast Awards, hosted by Sue Perkins

NFL

This Super Bowl, Gen Z are voting for spectacle over sport

Tom McGirr, executive director of strategy and creative at The Wild By Jungle, on how American sport is attracting younger viewers

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Honoring the best of British TV

‘Big events, big shows and big brave programming bets have never felt so vital’

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Special recognition: Martin Lewis

‘Never flustered, always forensic, always empathetic, Lewis has become a major figure in British TV’

Broadcast Awards 2024 index

Broadcast Awards 2024 - the judges

Methodology and list of judges

The 1% Club (1)

Best entertainment programme: The 1% Club

“It is the most brilliant format with the most effortless production on TV”

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Timeline TV Moment of the Year: Succcession

“The reactions of all four Roy children were revealing and fabulously acted”

BBC Casualty

Best soap/continuing drama: Casualty

“A bold and innovative way to get a hardhitting message across in a soap”

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Best independent production company: Studio Lambert

‘The Traitors became a truly elite format in doublequick time’

The Sixth Commandment

Channel of the Year: BBC1

‘Placing itself at the heart of the action, BBC1 continues to prove is might as a truly public service channel’

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Emerging indie of the year: Curious Films

‘Curious Films made more hours of TV than ever before last year and grew its client base to include streamers and US networks’

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Best post-production house: RunVT

“A truly great post house that is brave enough to grow during difficult times in the industry”

A Kind of Spark

Best children’s programme: A Kind Of Spark

“This series showcases neurodiversity in an organic and engaging way, without it being the sole focus”

Black Ops

Best comedy programme: Black Ops

“The two central performers have real funny bones. Black Ops was totally addictive to watch”

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Best current affairs programme: Russell Brand: In Plain Sight

“This was vital and remarkable journalism that changed the national dialogue”

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Best daytime programme: Scam Interceptors

“A surprising and riveting show. This is public service broadcasting at its best”

Lyra

Best documentary programme: Lyra

“A stunning tribute to a remarkable young woman whose story had only just begun”

Once Upon a Time in Northern Ireland

Best documentary series: Once Upon A Time In Northern Ireland

“Brings the horrors of recent history to life more than any other doc series I can remember”

I Kissed A Boy

Best multichannel programme: I Kissed A Boy

“A true depiction of dating in the modern age. This format needed to happen”

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Best music programme: Eurovision Song Contest 2023

“Eurovision 2023 was the perfect celebration of music and unity”

ITV News at Ten The Lucy Letby Verdict

Best news programme: ITV News At Ten: The Lucy Letby Verdict

“Paul Brand’s exclusive interview with Dr Jayaram got closer to the story than any other coverage”

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Best original programme: The Piano

“The Piano reinvented the talent show with an authenticity and realworld reference that was refreshing”

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Best pre school programme: 123 Number Squad!

“Turns parts of the curriculum into an accessible and fun experience for its audience”

Joe Lycett Vs Beckham Got Your Back at Xmas

Best popular factual programme: Joe Lycett vs Beckham: Got Your Back At Xmas

“Joe cleverly crafts a brave viral moment to show what true LGBTQ+ support means”

I AM RUTH

Best single drama: I Am Ruth

“A subject that we are all familiar with was handled with great subtlety and care”

Chris Packham

Best specialist factual programme: Inside Our Autistic Minds

“This programme has left an indelible mark and prompted a shift in my perspective”

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Best sports programme: Monday Night Football

“The punditry is engaging and credible. This show is pushing football coverage to new heights”

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International programmes sales: Dreaming Whilst Black

“Its critique of the screen industry’s approach to inclusivity resonated with viewers worldwide”

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Rukhsana Mosam: RIP RDF

The 30-year-old indie was past its prime - but that prime was something rare and special, says Ten66 Television’s creative director

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Best drama series: Happy Valley

“Beautiful, surprising, original anf at all times staying true to what it is”

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First look: Clarkson’s Farm, Amazon Prime

Third series of agricultural format from Expectation

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End Credits: Julia Hardwell

Arrow Media’s head of talent on loving a tearjerker, Everton FC and Gary Lineker

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Analysis: Commissioning falls across the board in 2023

Orders taking a significant tumble in 2023, co-pros in decline and the streamers cutting back according to Programme Index analysis

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The right business model is key to company valuation

Some major media firms are up for sale but what they are worth depends on how you see the market developing

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Gallery: Broadcast Best Places to Work event

Winners in this year’s annual list attended a special event in London last week

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Roundtable: a new era of specialist factual

Leading commissioners from around the world reveal how they are moving the genre forward, dealing with budget cuts and embracing co-production

Will Hanrahan

Will Hanrahan:​ Midlands indies welcome BBC’s return and fund support

FirstLook TV’s creative director on the importance of the Small Indie Fund

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Sarah Lee: Signs of recovery in the TV jobs market, but industry must collaborate

This January has seen more jobs advertised than in any month since September 2023

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Ian Rumsey: Collective effort is needed to weather the storm

The production industry can emerge from the slowdown in a good, if different, place

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Roundtable: How to ease the freelancer crisis

Industry leaders discuss what can be done to help out-of-work freelancers – from government aid to greater industry collaboration

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Broadcast predictions: What 2024 has in store for the industry

Broadcast’s editorial team look into their crystal balls to predict the changes, challenges and opportunities the industry faces in the year ahead

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Analysis: How to measure a hit show

Content chiefs at the BBC, ITV, C4 and C5 reveal what they believe constitutes a hit on their channels

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Best Places to Work 2024: category winners

The top-performing companies across four key disciplines

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Virtual Post

‘We are a friendly bunch, working in a fun and supportive atmosphere’

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Run VT

‘We have a genuine family feeling, with a really eclectic mix of cultures. We treat people as people, and respect work/life balance’

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Red Bee Creative

‘Our commitment to working with diverse teams extends to freelancers and contractors’

Wimbledon

Moov

‘MOOV is committed to being a net-zero business by 2030 and is working with Albert to calculate its carbon footprint’

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Senior figures can be bullied too: a director speaks out

The devastating impact of bullying can be magnified by the pitfalls of informal referencing, writes an anonymous director

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Molinaire TV & Film

‘The Molinare culture is driven by a love for the craft, and a genuine care for one another, while having fun’

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Kinetic Pixel

‘At Christmas, we distribute a pot of money equally between employees to help with additional food and energy costs’

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Best firms shine for staff in tough times

‘The 45 firms on our list have managed to keep morale high and workers feeling valued’

First Dates

The Finish Line

‘We constantly evaluate salaries so we can be pre-emptive in paying people what they deserve’

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Creating a happy office

Staff at the Best Places to Work are rewarded for their hard work with everything from food & drink to team quizzes & parties

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Workerbee

‘We champion internships and actively seek out talent from all backgrounds as well as supporting access to training and development’

Worlds Most Dangerous Prisoners

Woodcut Media

‘We actively promoted flexible working even before the pandemic. One exec told me I’d changed his life’

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Living up to Gen Z standards

From wellbeing and recruitment to sustainability and career progression, BPTW firms are trying hard to meet the expectations of their younger staff

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Wildstar Films

‘Wildstar has paid cost-of-living payments and offered free, on-site access to an external financial adviser’

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The Whisper Group

‘We promote wellbeing by encouraging regular breaks, offline time and a work-life balance’

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Voltage TV

‘Both the co-founders are of minority ethnic origin so we place great importance on diversity and inclusion’

I Kissed A Boy

Twofour Broadcast

‘Our staff go to schools/colleges/universities to give talks, and we offer work-experience placements’

Top Gun Maverick Credit Paramount Pictures

Analysis: the shape of a WBD/Paramount supergroup

Merger could create new player in the race for scale

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The Connected Set

‘There is a real feeling of community, through team-building, regular check-ins and supporting staff wellbeing’

Gordon Ramsays Future Food Stars

Studio Ramsay Global

‘We ensure that everyone gets the most out of their time with us, and we try our hardest to offer longer-term contracts’

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Silverback Films

‘We put our trainee and junior production co-ordinators on the overseas and foreign filming course’

Digging For Britain

Rare Television

‘We believe in taking collective responsibility, which is repaid in loyalty and everyone having a sense of ownership of our output’

Kirstie and Phils Love It or List It

Raise The Roof Productions

‘We give our permanent staff bespoke plans and one-to-one coaching, and recently increased their wages in response to the cost-of-living crisis’

Sort Your Life Out

Optomen Television

‘We have a relaxed and welcoming environment where everyone is treated as equal and with a high level of respect’

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Mindhouse Productions

‘We are kind, we are fair and, when in doubt, we surround ourselves with dogs and cake’

Dancing On Ice

Lifted Entertainment

‘We allow employees to participate in community service during business hours without losing pay or using holiday time’

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Hello Halo Productions

‘Kindness and respect are hugely important in creating a positive culture, and are demonstrated from the top down’

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Firecrest Films

‘The short-term freelance culture in TV is a significant discriminatory obstacle, so we often engage people on longer contracts’

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Expectation Entertainment

‘We want our employees to feel empowered to discuss how we can improve as a business. We are collaborative in our approach’

Sex Education

Eleven Film

‘We are committed to creating an environment where people feel valued, inspired and confident to do their best work’

A Very British Job Agency

Drummer Television

‘Our office is fuelled by renewable energy and all staff walk or use public transport to come to work’

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Fostering a culture of inclusion

The Best Places To Work are actively promoting diversity, equity and inclusion policies

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Cwmni Da Cyf

‘We have set up an employee group that decides on different opportunities to support local community projects’

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Curious Films

‘We actively seek to increase the number of people we work with who are from groups/communities that are underrepresented’

Yorkshire Midwives on Call

Candour Productions

‘We support inclusivity in its most genuine sense so our staff can flourish’

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Buzz 16

‘We have regular social events to encourage team building and to celebrate milestones’

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John McVay: The evolved Terms of Trade will help indies continue to thrive

The Terms of Trade had a revolutionary effect on the industry - and the changes in the Media Bill will safeguard their future

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Stuart Pender: Podcasts can enhance TV documentary storytelling

Simultaneous commissions of podcasts and TV docs offer an efficient way to enage audiences and dig deeper into your subject

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Big bets and clever commissions kick off the new year in style

Linear is far from dead – but there’s more to Gladiators and Mr Bates’ success than a slot in the schedule

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Blue Zoo

‘We have transitioned to 100% renewable energy for our on-site and off-site server farms’

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Bad Wolf

‘Our values and aims embrace carbon reduction goals, accessibility and inclusion, creative excellence and boundary pushing’

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Arrow Media

‘We have a good track record of people moving up through production roles and we’re big on in-house training’

Bangers and Cash

Air TV

‘Last year, Air TV was able to award a company-wide cost-of-living bonus to all staff. We have continued to support staff this year’

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A Productions

‘We are committed to ensuring A Productions is a welcoming, enjoyable, diverse and inclusive place to work’

Britains Best Beach Huts

Yeti Television

‘We trust and empower people and don’t micromanage’

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Wilderness with Simon Reeve, BBC2

Chris Mitchell, series producer and director, on filming in remote areas where nature still has the upper hand

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Leading the way to better times

Good leadership is the main criteria for employees in this year’s survey

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Hidden Light

‘We nurture new talent and promote training to ensure our team are confident in their role’

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Andrew Dagnell: A new era for ITV News

ITV News editor on starting in the week of the Queen’s death, ushering in a streaming service and updating newsroom culture

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The Garden

‘We’ve signed up to We Are Doc Women’s 50:50 female director pledge, & BEAM Network to address the low South Asian numbers’

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Stellify Media

‘For a company on a small island, we see no limits, plan strategically, and always act with heart and integrity’

The Responder

Dancing Ledge

‘We pay significant bonuses based on individual performance and company revenue’

After the Flood

Quay Street Productions

‘We match team members with passion projects and nurture trusting relationships between team members and writers’

Toad and Friends

Wild Child Animation

‘We set annual goals for recruitment, using Screen Scotland’s diversity goals, and assess our progress bi-annually’

Ambulance

Dragonfly Film & TV

‘We were able to offer all of our staff on less than £70,000 a cost-of-living payment’

Fur Babies

Wonderhood Studios

‘We’ve publicly committed to We Are Doc Women’s 50:50 pledge, so half our directors are female’

Big Brother

Initial

‘Kindness and collaboration are at the heart of everything we do. If you treat staff with respect, profit and productivity will follow’

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Open letter to Tim Davie: 10 ways to survive 2027

BBC expert John Mair lays out his thoughts for the director general as the BBC prepares for the future funding debate

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Mark Webb: Why The Traitors’ inclusion of disability has been pitch perfect

The disability advocate outlines how the BBC1 format helps disabled people feel seen

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Gallery: Gladiators, BBC1

Selection of images from the Hungry Bear Media reboot of the popular competitive series

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First look: Ludwig, BBC1

Peep Show and Back star David Mitchell leads comedy produced by Big Talk Studios in association with That Mitchell and Webb Company

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Mr Bates Vs The Post Office writer “flabbergasted” by public response

The impact of the series highlights the importance of continuing to make such dramas, ITV’s Polly Hill says

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Andes Plane Crash, Channel 5

Director Oliver Price on dodging French kite skiers to recreate the remote Andes mountains

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Silverback, BBC2

Executive producer Andrew Zikking on a wildlife documentary that went in an unexpected direction

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Three big tech themes for post-production in 2024

Chris Bailey, head of innovation at Jigsaw24 Media, reveals what post-production houses should be prioritising in 2024

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The Secret Life of the Safari Park, Channel 4

Executive producer Alex Sutherland on the challenges of filming animals who are free to roam on a budget that isn’t

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Truelove, Channel 4

Executive producer Emily Harrison on keeping a high-octane premise grounded yet stylish

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Bariau, S4C

Producer Alaw Llewelyn Roberts explains why she chose to build a prison from scratch

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How to ditch legacy workflows and start afresh

Tim Burton at 7fivefive explains how cloud economic models can deliver a plethora of long-term benefits

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Ellie Kahn: Such Brave Girls (Various Artists and A24 for BBC3)

“In a year of incredible TV, this one came late and out of left field”

Rebecca Thompson

Top 10 comment articles of 2023

Including Rebecca Thompson, Andy R Worboys, Scott Bryan and Ash Atalla

Once Upon a Time in Northern Ireland

Paul Weatherley: Once Upon a Time in Northern Ireland (KEO Films & Walk on Air Films for BBC2)

“It shone a light on a very dark period where communities were ripped apart and it all seemed very normal. An essential watch”

shows of 2023

Broadcast’s shows of the year

Members of the team pick their favourite programmes of 2023

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David Singleton: Succession (Gary Sanchez Productions for HBO/Sky Atlantic)

“For my money, TV writing doesn’t get any better”

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The Castaways, Paramount+

Exec producer Mike Benson on finding the perfect spot to crash a plane

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John Elmes: Koala Man / Colin from Accounts

“Peppered throughout this annus horribilis were some moments of respite in the form of Australian scripted comedy”

Happy Valley

Marian McHugh: Happy Valley, (Lookout Point & BBC Studios for BBC1)

“I have never seen a character quite like Catherine Cawood on TV”

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Top 10 behind the scenes of 2023

Including The Piano, 007: Road to a Million, The Long Shadow and Go Hard or Go Home

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Mog’s Christmas: Festive feline fun from Lupus Films

How 63 artists worked to produce 170,000 animated frames in a distinctive hand-drawn style

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Top 10 interviews of 2023

Including Amelia Brown, Russell T Davies, Tanya Shaw, Joe Lycett and Esther Rantzen

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Top 20 news stories of 2023

Click for a round-up of the year’s most significant events

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Year in Review: scandal, strikes and royal ghosts

From a new monarch to a slew of celebrity scandals + the end of two of TV’s finest dramas, Broadcast looks back at the past 12 months

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Maya Marie: The Bear (FX Productions for Disney+)

“We see the immense pleasure the characters get from producing such carefully curated dishes and we feel it too, without having to taste it”

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Seetha Kumar: assessing eight years at ScreenSkills

Outgoing chief executive discusses the successes and challenges of navigating skills policy in our sector

Juice

Fleur Feeney: Juice (Various Artists for BBC3)

“I loved the surrealist style, the nods to classic comedy bits, and the slapstick, tactile, physical nature of the whole thing”

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Why broadcast & streaming need standardised sustainability metrics

Johan Bolin, chief business officer of media & broadcast at Agile Content, calls for collaboration across the industry

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Tom Williams: The Last Of Us, HBO & Sky Atlantic

“They made audiences forget they were actually watching an episode of an apocalyptic zombie series”

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Alice Redman: Daisy Jones and the Six (Amazon Prime Video)

“The styling was particularly gorgeous and entirely to blame for me spending most of my paycheck at Free People the month it came out”

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Heather Fallon: Dreaming Whilst Black, (Big Deal Films & A24 for BBC3)

“It’s a brutally accurate depiction and one that could so easily fall into despair but instead manages to find humour at every turn”

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End Credits: Blair Mowat

The freelance composer on Doctor Who, buying a lightsaber and bringing back Blake’s Seven

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Analysis: How PSBs are fighting back against the streamers

Broadcasters are putting their VoD platforms at the centre of commissioning decisions, making use of audience data & tapping into their archives

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Virtual production in the spotlight

Experts on virtual production discuss the benefits of the technology, the essential kit needed to get the most out it, and the impact of the recent layoffs at Unreal Engine maker Epic Games

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STV Studios’ David Mortimer: Greenbird, growth and great ambition

The STV managing director discusses the acquisition of Greenbird and his ambition to build the UK’s largest nations and regions group

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Dan Korn: Keeping ahead of the pack in true crime documentary

Crime+Investigation’s vice-president of programming discusses the innovations helping content stand out in a crowded genre

Sort Your Life Out

Studios look to brighter days in 2024

After weathering a perfect storm of US strikes and a slowdown in commissioning, UK studios are cautiously optimistic about the coming year

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The Crown: The royal saga that ruled the airwaves

Left Bank execs reflect on the landmark royal drama, while Netflix UK’s  Anne Mensah reveals the potential successors to its throne

Broadcasting-House

Philippa Childs: Now is the time to stand up for the BBC

If we allow the BBC to be undermined, our cultural landscape and democracy will be fundamentally weakened

The Gold

Danny Brocklehurst: ‘Real life’ drama should always be rooted in truth

Writers getting a little creative with the facts is one thing, but we don’t want Arthur Scargill on a motorbike

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Scott Bryan: The industry should follow these new year resolutions

Let’s do away with the pointless rebrandings, invasive personalised ads and meaningless figures and support our staff

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Provocative language and antisemitic tropes don’t help the industry come together

Suggesting people are scared to speak out against Israel implies the old trope that Jews control the media, writes Fulwell 73’s Leo Pearlman

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Keeping It Up: The Story of Viagra, BBC2

Director Stephen Bennett on rising to the challenge of telling the story of the little blue pill

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BBC’s future up for grabs, even as good sense prevails with chair

Samir Shah breaks the mould, but faces plenty of challenges as licence fee review kicks off in earnest

Fatima Salaria

Fear of backlash stifles open exchanges on Israel/Gaza

Fatima Salaria hands her column to an anonymous colleague to explore why discussing the Middle East is so challenging

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Winning strategies for fan engagement

Top sports content makers reveal the thinking behind industry-leading campaigns that have engaged and entertained fans and athletes alike

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The Famous Five, CBBC

Producer Sophie MacClancy on breaking showbiz rules and bringing classic stories to a modern audience

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Hope Street: Providing opportunities for Northern Irish talent

Executives at Long Story TV reveal how the BBC1 drama has built a skills training platform & an outlet for local production talent to thrive

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Mike Darcey: Netflix is the clear winner of the streaming wars

While the US streamer’s strategy is paying off, rivals are in a sorry state and need to reassess their business models

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Amelia Brown: From runner to the top job at Fremantle

The Fremantle UK chief exec on taking on the top job after 20 years at Thames, mining its back catalogue and creating an inspiring workplace

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Regenerating Doctor Who: The anniversary specials

As the beloved sci-fi franchise turns 60, it looks towards a new era – led by some familiar faces.

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Big Zuu: Hitting the big time

The grime star and TV chef is bringing fresh flavour to the food-travel genre with 12 Dishes In 12 Hours for ITV1

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Studios should take the lead on clean energy

Bottle Yard’s business operations manager and sustainability lead Katherine Nash on how community energy could spell new opportunities for studio solar installations

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Channel 4 trio named unsung heroes

Channel 4 executives Clemency Green, Art Sejdu and Kiran Nataraja are recognised by their peers in this year’s survey for always going the extra mile

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Concerns grow as slowdown hits hard

Rocketing costs, a downturn in the ad market and struggling streamers are all playing a part in reducing commissions

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End Credits: Phil Mount

The Potato creative director on ’80s rock, ice baths and Rebel Wilson

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Buyers have their say on slowdown

70 buyers from across the industry reveal their views on the current industry landscape and how they’re navigating the slowdown

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Alisa Pomeroy tops peer poll

C4 head of documentaries dethrones two-time winner Ben Frow as peers vote her the commissioner they most admire

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Streamers fall down the pecking order

Commissioners believe that well-resourced streamers are becoming less attractive to indies

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Job satisfaction high among commissioners

Despite having to negotiate a slowdown and strained indie relationships, a resounding 93% of commissioners say they are happy in their role

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Gallery: Slow Horses, Apple TV+

Selection of images from the third series of espionage thriller. Produced by See-Saw Films

Chris Curtis

Indies desperate for clarity as brutal year draws to a close

Uncertainty over Channel 4 commissioning patterns has been a factor for much of the year

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Richard Wallis: A Sustainable Future for Skills report offers a welcome vision for developing talent

Georgia Brown’s taskforce offers us a way forward - it’s vital that we act on it

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Gallery: Christmas on the BBC

Click to view a selection of programme highlights unveiled by the BBC for the festive season

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Media giants look to the past to build models for the future

Advertising tiers, windowing and licensing are all making a comeback as studios return to old formulas for success

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Analysis: The fractured relationship between indies and C4

Suppliers have criticised the broadcaster for its handling of the commissioning slowdown and what they see as poor communication

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Alex Mahon sets out Channel 4’s perspective on the challenges of 2023

Chief executive addresses indies’ concerns and offers update on financial performance

David Holmes: The Boy Who Lived

David Holmes: The Boy Who Lived - how closeness gave the film breath

Creatives behind the HBO/Sky single discuss the personal bonds which made the doc possible and using it as a platform for industry exposure

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First look: The Gentlemen, Netflix

Netflix, Moonage Pictures and Miramax TV production will air in 2024

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Lucy Frazer: The Media Bill will unleash the full potential of our PSBs

Culture secretary praises broadcasters but says ‘success today is not a guarantee of success tomorrow’

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Why our Glasgow indie now has desks in London and friends in Europe

Commissioners still want to talk in London - but Ofcom rule changes would help to shift that

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Why we shot our JFK doc on film

Producer director Sarah Hunt explains the joys and challenges of taking modern-day Dallas back to the 1960s using Super 8

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Gallery: The Crown, Netflix

Selection of images from the sixth and final season of Left Bank Pictures’ royal drama

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First look: Big Boys, C4

Roughcut TV comedy returns January 2024

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The Basics: Everything you need to know about "shiny floor" studios

Paul McGavin, studio turnaround manager at dock10, explains why shiny floor shows are called just that

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Dan Walker: TV can still be a powerful tool to make a difference

Programmes which touch people’s lives are public service broadcasting at its finest

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On-the-ground journalism can illuminate humanity across the divides of conflict

Channel 4 commissioning editor Nevine Mabro on the broadcaster’s commitment to international investigations

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Connections, Curiosity Stream

Executive producer Iain Riddick on bringing back an iconic series with a modern twist

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Silence from colleagues is a terrible sound for our industry’s Jews

Documentarian Neil Grant issues a plea for understanding as antisemitic incidents escalate in the UK

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Gallery: Broadcast Sport Awards 2023

Familiar faces from across the industry gathered for the annual Broadcast Sport Awards, hosted by Dara Ó Briain

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Mixmups, Channel 5

Creator, writer and exec producer Rebecca Atkinson explains how she mixed play and representation to create a magical new world for kids

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Why women’s sport coverage needs to catch up with public interest

Duncan Maud, associate partner at OC&C Strategy Consultants explains why now is the time to invest in women’s sport

1. Penelope Wilton and David Jonsson in Murder is Easy, coming soon to BBC One and iPlayer

First look: Murder is Easy, BBC1

Agatha Christie novel is latest adaptation from Mammoth Screen

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BBC kids’ commissioners reaffirm linear commitment

Bosses of CBBC and CBeebies aim to support the UK industry with a renewed focus on animation

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End Credits: Chris Reindorp

The Rex development executive on Chris de Burgh, Cling Film and James Norton

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Broadcast Tech Fest: challenges of digging into the past

Panellists on the Archive & Restoration Forum discuss the commissioning slowdown, tracking down the perfect piece of content and the use of AI

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Lorraine Heggessey: Talent’s bad behaviour has been indulged for too long

The industry has to commit to stamping it out and creating an environment where people feel heard

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Banged Up, Channel 4

Shine producers on recreating a realistic prison experience while ensuring a duty of care to reformed criminals

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What makes a show risky? Top execs have their say

The BBC’s Clare Sillery, UKTV’s Mark Iddon, ITV’s Sue Murphy and C4’s Tim Hancock discuss the shows on which have taken risks

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Britain’s Human Zoos, Channel 4

Exec producer and co-director Paul Berczeller on the challenge of uncovering a forgotten and painful history

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One Life: The story of a remarkable hero

How Nicholas Winton’s wartime efforts and heroism inspired a SeeSaw Films/BBC Film feature starring Anthony Hopkins

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That’s Life!: ‘A show ahead of its time’

From law-changing investigations to talking dogs, That’s Life! was a groundbreaking show that kickstarted the careers of some of TV’s biggest names

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Esther Rantzen: in her own words

The veteran TV presenter on the funniest moments on That’s Life!, the story she’s proudest of and the state of consumer journalism today

Siena Kelly as Domino Day and Percelle Ascott as Leon

First Look: Domino Day, BBC3

Dancing Ledge Productions drama about a coven of witches

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Big Brother, Survivor and Deal or No Deal: a Remarkable run

How have Natalka Znak and Claire O’Donohoe resurrected a trio of monster formats – and what’s next?

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Esther Rantzen: Fighting the good fight

Esther Rantzen talks to Broadcast about her time on That’s Life! and its lasting legacy

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Licence to thrill: the inside story of 007 Road to a Million

How 72 Films’ globe-trotting adventure format for Amazon Prime Video makes the most of Bond

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Roy Ackerman: A good old co-pro may hold key for future of indie docs

Streamer interest may be waning and budgets getti ng smaller but co-pros with PSBs offer a route to success

Ade Rawcliffe

Black women in TV salute their sisters: Part two

Nicola Gregory, Sarah Asante and Samantha Stewart are among those celebrating their peers for this year’s female-focused Black History Month

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Black women in TV salute their sisters: Part one

Angela Ferreira, Annika Allen and Lola Oliyide are among those celebrating their peers for this year’s female-focused Black History Month

The Teacher

C5 greenlights thriller from The Teacher creator

The Cuckoo (w/t) is a ‘tense and twisty’ drama created by Barunka O’Shaughnessy

Bullying and harassment

Analysis: Is the industry doing enough to prevent sexual harassment?

Broadcast speaks to the author of a damning study of sexual misconduct in film and TV, and asks what can be done to tackle it

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Race for scale amid tough times points to reshaped indie sector

The bigger players are competing for mega-budgets, while smaller producers get resourceful

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Paul Epstein: We still need to be vigilant about AI in writers’ rooms

AI will bring opportunities to the industry, but it cannot replace human ingenuity

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Alexander Jacob: Doctors cancellation puts a generation of talent at risk

Director warns loss of a key training ground could have huge impact, and urges greater investment in continuing drama

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Sunshine Jackson: You don’t have to be #*@! to work here, but it helps

Many filmmakers thrive in a high-pressure environment - but if we want to make the industry more accessible, we have to accept it’s not healthy

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Ria Hebden: Let’s realise the true value of mentorship

The TV industry has some truly brilliant mentors - with greater commitment we could make their expertise available to everyone

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The Continental: avoiding a John Wick ‘cash grab’

Exec producers Basil Iwanyk and Erica Lee explain their care in not “killing a franchise”

Truelove

All smiles as comedy comes to the fore

While unscripted still dominates, international drama and comedy are well represented as the knock-on effects of the US writers strike continue

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Dispatches’ Alistair Jackson sets out in-house unit’s stall

Investigations editor explains the team’s mission to support indies with their ambitious investigations

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Comedy and local content out in force

International editor John Elmes highlights which programmes are likely to make biggest splash in Cannes

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Obituary

‘There’s the overarching murder mystery, but suffused with a darkly comic element reminiscent of Killing Eve’

The Dark Emu Story

The Dark Emu Story

‘International audiences have always been fascinated with the Aboriginal experience in Australia’

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The Arctic, 66.5 Degrees North

‘The production is very rich in entertainment, as well as having a powerful message’

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The Nobody Zone: Interview with an Irish Serial Killer

‘This is a striking and immersive way of bringing this extraordinary story to life’

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Factual and Formats

Ob-docs and true crime continue their factual streak with Strip and The Flight Attendant Murders leading

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Haaland: Breaking Ground

‘Offers unfiltered access to the biggest name in football right now’

The Flight Attendant Murders

The Flight Attendant Murders

‘It’s a potentially jaw-dropping miscarriage of justice with lots of eyewitness contributors’

BangedUp

Banged Up

‘This is quite full on – the celebrities have to be tough to even agree to do this’

Snake Oil

Snake Oil

‘This is a light and fun show that dials down the intensity and really focuses on the humour’

ReSolved

ReSolved

‘Combines conspiracy theory, true crime and the deep journalism for which Vice is well known’

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Scrublands

‘There are lots of twists and a very unpredictable plot, which makes the series bingeable’

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Of Money And Blood

‘It’s a gripping thriller featuring solid characters with strong back stories and intriguing personal journeys’

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Estonia

‘We tell what we know for sure - through the eyes of survivors, relatives of the victims and the investigators’

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International Scripted

Davey & Jonesie’s Locker heads up an eclectic array of global dramas and comedies including Bargain, Estonia, Strife and Obituary

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Slip

‘This is a hilarious and unexpected love story. A dramedy that us heartfelt, sad, funny, poignant and captivating’

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Strife

‘It is not a conventional comedy or drama - it’s a relationship dramedy with a lot of nuance’

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Stuart Prebble: Don’t lose faith in the power of telly

It can be frustrating when shows don’t capture the public imagination but the moments when they do make it all worthwhile

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The Continental: From the World of John Wick

‘The series offers the action and edginess of the box-office franchise, but with its own distinctive feel’

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Trust No One

‘Delves into, espionage, action and danger. International audiences know and search out these elements’

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Bargain

‘It’s an absolute rollercoaster from start to finish. A cat-and-mouse survival sequence’

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UK Scripted

Boat Story leads a flotilla of UK scripted series, sailing alongside Domino Day, Truelove, Dead Hot, The Serial Killer’s Wife and Men Up

Truelove

Truelove

‘We are excited because we know Truelove will be talked about by everyone who watches it’

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The Serial Killer’s Wife

‘Not only does it have great scripts and a great pace, but it also has a fantastic ending’

Dead Hot

Dead Hot

‘Dead Hot is irreverent and entertaining yet has the familiar pace, hooks and twists of a first-class thriller’

Domino Day

Domino Day

‘An exhilarating exploration of race, misogyny, sexuality and identity. It’s a fresh, exciting thriller for modern viewers’

Men Up

Men Up

‘What stands out is Men Up’s ability to balance comedy and heartfelt elements’

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The legal issues surrounding deepfakes & AI content

Oliver Lock, reputation management expert at law firm Farrer & Co., gives an overview of the risks and possibilities around AI-created or edited content

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Charlotte Moore: Jimmy Savile drama demonstrates the BBC’s bravery

BBC content chief reflects on the challenges of showing past failures at a screening of The Reckoning

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First look: This Town, BBC1

Kudos and Nebulastar are producing Steven Knight’s six-part drama

BIG BROTHER ITV2 Oct 2023

Inside the Big Brother House

The creatives behind the highly-anticipated revival on reimagining reality TV’s defining show

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Roundtable: What makes a great literary adaptation?

Raffaella de Angelis, Hannah Griffiths and Hilary Strong discuss the role of the author, current trends and the power of IP

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End Credits: Sharon Levy

The Endemol Shine North America chief executive on her passion for gift-wrapping, HBO’s Warrior and missing out on a circus career

Perfect Match

Turning up the heat in dating shows

The creatives behind some of the latest formats on freshening up the genre and the key ingredients for a hit show

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Best Kept Secrets: The world’s hidden programming gems

Four TV executives from across the globe shine a spotlight on the local shows that deserve more international attention

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Endurance - Race to the Pole with Ben Fogle, Channel 5

Series PD and cameraman Alexis Girardet on how October Films’ Channel 5 series was imbued with authenticity and adventure

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​Innovation Takes Centre Stage at IBC

Andy Walker at Accenture provides his opinion on the main themes to emerge from IBC2023

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Julie Pizzi: Game on for the next big franchise

The Bunim/Murray president on Buddy Games and why the time is right for a great new format to blow up on the global market

Josh Duhamel

Josh Duhamel: Let the Buddy Games begin

The Hollywood star on swapping film for TV and how competing in challenges with high-school friends helped inspire his new CBS gameshow

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Behind the Scenes: Zorro rides again

Amazon is reviving the ‘timeless Mexican superhero story’ with a new focus on strong female characters

Kate_hr

Kate Bulkley: It’s all change as media firms rethink their business models

Broadcasters are reviewing how their programming is curated and packaged in a hyper-competitive market

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Distributors make hay despite challenges ahead

Annual report shows revenues are at their highest level since before the pandemic amid tough times for the content business

Ben Fogle

Edinburgh announcements confirm commissioning dip

Snapshot from the 2023 festival reveals a decline in the number of shows being greenlit by broadcasters

Marie Antoinette

A great year but challenges ahead

“Many report that there is now an expectation for distributors to plug big financing deficits, particularly for scripted programming”

Traitors

All3Media holds on to top spot in Peer Poll

The Traitors outfit wins the backing of its peers for the sixth consecutive year, while Banijay achieves its highest ever position in second

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Danny Brocklehurst: Working-class kids need to see there’s a place for them

Making the industry more reflective of the viewers we serve will lead to better programming

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Distributors express concern over gaps in funding

Companies say they’re being asked to invest increasingly large sums up front

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​How to translate data into a compelling visual story

Ash Potterton at Arrow Media on bringing the data component in stories to life in on-screen graphics

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Culture is as important as process in weeding out behaviour

The sector must close the gap between the rhetoric of zero tolerance and the reality of working life for freelancers

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The Long Shadow, ITV1

Executive producer Willow Grylls on telling the story of the often overlooked victims at the heart of an infamous string of murders

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Otto Baxter: Not a F***ing Horror Story/Puppet Asylum, Sky Documentaries

Producer Daisy Allsop explains how the combination of a documentary and a short film helped a man with Down Syndrome tell his own story

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Why Netflix should become a channel distributor for its streaming rivals

The end of the streaming wars is in sight, and streamers should grasp the opportunities that it presents

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Supporting care-experienced children, BBC Teach

Exec producer Andy Glynne on how his team sensitively animated real-life testimony to help teachers support children who’ve been in the care system

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Gallery: Sex Education, Netflix

Selection of images from the fourth and final series of the Eleven Film comedy drama

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How Hardcash delivered the Russell Brand doc

Executive producer Esella Hawkey reveals the meticulous work that went into the C4 Dispatches programme

Caroline Norbury index

Caroline Norbury: The whack-a-mole approach to bad behaviour isn’t working

It’s time for the whole industry to step up to take collective action on harassment and bullying, the Creative UK chief executive says

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First look: The Doll Factory, Paramount+

Buccaneer Media’s period drama series airs late autumn

Richard Wallis index

Richard Wallis: The Russell Brand revelations are a call for reform

Wholesale cultural changes to tackle sexual impropriety, harassment and bullying must now become a priority

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Securing free-to-air services in broadband homes is crucial

Everyone TV boss Jonathan Thompson explains why Freely is an important step in securing the future of the PSBs

Richard Hammond's Workshop

Amazon brings Discovery+ premium to UK

Deal boosts Warner Bros Discovery sports and entertainment package on Prime Video Channels

Top Boy

Top Boy director sets her sights on ‘darker stories’

Myriam Raja talks to Broadcast about the series ending, collaboration with actors and similarities between Top Boy and The Wire

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Gallery: Juice, BBC3

Selection of images from the Various Artists comedy series written by and starring Mawaan Rizwan

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How Data Is Empowering Innovation

Skip Levens explains how building modern technology infrastructures will aid the growth of AR, VR and VFX

Adam Jacobs

Adam Jacobs: Digital commissioning could offer freelancers hope in uncertain times

Traditional TV is struggling, but the digital content space is open for business - and it still needs freelancers

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Our Sea Forest, BBC1

Producer director Sarah Cunliffe on braving the elements to film the underwater worlds off the UK coast

Sky Glass Voice remote - lifestyle, TV in action

Nick Swimer: There are some silver linings for PSBs in the Ofcom Media Nations Report

People are still watching PSBs’ content - but a long-overdue update to the due prominence rules will help to secure their position

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First look: Boat Story, BBC1

Two Brothers Pictures thriller starring Daisy Haggard, Paterson Joseph, and Joanna Scanlan

Trigger Point

Reaping the rewards of mentoring writers

The Responder indie Dancing Ledge explains the benefits of putting time and energy into supporting new writing talent

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Gallery: Top Boy 3, Netflix

Selection of images from Ronan Bennett’s East London drama. Produced by Cowboy Films, Easter Partisan and SpringHill Entertainment

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Elizabeth Kilgarriff on the subconscious tension of Wilderness

The exec reveals how her new Prime Video thriller balances scale, emotion and unease

Julie Fernandez

Julie Fernandez: We are making progress on accessibility, but there’s still work to do

Disability access co-ordinators are vital if the industry wants to make real, sustainable change

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First look: The Way, BBC1

First production from Wales-based indie Red Seam, written by James Graham

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End Credits: Ian Rumsey

ITN Productions’ managing director on his love of Liverpool, cricket and Jeremy Vine

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Gallery: Edinburgh International Television Festival, day four

The best images from the final day of this year’s event

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Scott Bryan: This year’s Edinburgh was fascinating, but not for the reasons you’d expect

Nobody seems to have the answers, Broadcast’s columnist concludes from a surprisingly downbeat TV Festival

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Gallery: Edinburgh International Television Festival, day three

The best images from the third day of this year’s event

Fatima Salaria

Fatima Salaria: Who are we to judge the choices that people make?

Whatever the reason for women stepping away from the industry, we need to do more to help them return to work

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Gallery: Edinburgh International Television Festival, day two

The best images from the second day of this year’s event

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Roundtable: Distributors make their case for building relationships with indies

Our panel bust some myths and highlight the important role they can play

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Gallery: Edinburgh International Television Festival, day one

The best images from the first day of this year’s event

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Declan Lawn and James Bluemel on Northern Ireland past and present

Blue Lights writer and Once Upon A Time In Northern Ireland director discuss the differences and similarities between their versions of the region

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Alex Connock: AI isn’t going to replace the human touch any time soon

The technology has upsides and downsides, but human insight and sensibility cannot be easily replicated

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Greenlight slowdown: ‘It feels pretty horrendous out there’

The TV ad market has crashed, the licence fee is frozen, inflation is rampant and streamers have slashed their spending. Five people offer an anonymous snapshot of their experiences

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Murder Trial: The Disappearance of Renee and Andrew Macrae, BBC2

Taking cameras in to courtrooms is challengeing but an important step for open justice, says the creative director of Firecrest Films, Iain Scollay

Rosie Jones

Rosie Jones: “I’m not the disabled poster girl”

Rosie Jones on the tricky balance between humour and activism and why the cynic in her thinks she’s ‘just the right amount of disabled’ for TV

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Commissioning slowdown: The commissioner

“I have friends who are highly experienced, who haven’t been able to pay their mortgages”

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Fiona Campbell: TikTok influencers are key to attracting young viewers

BBC’s controller of youth audiences explains how its Creatorlab scheme will help social media talent make the transition to television

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Ash Atalla: Bad behaviour isn’t justified – no matter who you are

It’s time the industry held ‘stars’ to account – and acknowledged that everyone involved in a production has ‘talent’

leaders

Is the sector nurturing the next generation of creative leaders?

Experience has been key to dealing with industry challenges, but should we be bedding in execs’ successors?

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Commissioning slowdown: Freelancer #2

“The sad case is that talented freelancers are leaving the industry in droves”

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Commissioning slowdown: Freelancer #1

“I had quite a few friends leave the industry in the 2008-9 recession – and this feels worse”

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Commissioning slowdown: Indie boss #2

“Award winners who have CVs I would absolutely kill to have aren’t working”

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Commissioning slowdown: Indie boss #1

“I do worry about the impact on freelancers. There are some great people who haven’t worked for a really long time”

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The Man Who Stole The Scream, Sky Documentaries

Producer Clare Beavis on the chaotic ups and downs of getting access to Norway’s most notorious and audacious art thief

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‘Dramatising trauma’: Ruth Wilson on her latest drama

Star and exec producer of BBC1’s The Woman in the Wall reveals why a blend of genres drew her towards a ‘vital’ story about Ireland’s dark past

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From the archive: Michael Parkinson - King of chat

The legendary presenter sat down with then Broadcast editor Lisa Campbell in 2010 to discuss his storied career

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Tops Guns: Inside the RAF, Channel 4

Exec producer Mark Tattersall reveals how unprecedented access to RAF Lossiemouth allowed him to take the audience into the cockpits of active fighter jets

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Say Yes To The Dress with Tan France, Really

Executive producer Richard Osborne on creating the perfect setting to revive an old favourite for the modern bride

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First look: The Long Shadow, ITV1

New Pictures drama airs in September

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Gallery: Painkiller, Netflix

Six-part drama series exploring some of the origins and aftermath of the opioid crisis in America

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First look: The Woman in the Wall, BBC1

Motive Pictures thriller examines the infamous Irish Magdalene Laundries

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My Top Tips for using AI-based VFX tools

Social media influencer Brandon Baum, founder and CEO of StudioB, explains how he uses a range of AI tools in his VFX work

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Alone, Channel 4

How do you make a contestant feel alone in the wilderness, while ensuring they can capture great footage? Rachel Bloomfield explains

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End Credits: Emily Feller

Warp Films’ chief creative officer on scuba diving, netball and a large G&T

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Ultimate Wedding Planner: A marriage of chaos and calm

BBCS exec Chi Ukairo explains how the production crew ‘faded into the background’ to capture the stressful world of planning nuptials

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Overcoming the language barriers on global co-pros

Broadcasters working with international partners are looking to solutions such as versioning and subtitling

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Open Door looks to expand remit

Founder David Mumeni on widening the charity’s scope to help disadvantaged groups enter the industry in behind-the scenes roles

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Diamond Data 6th Cut: why have we not made better progress?

The results are in and frankly they could be better, says Mel Rodrigues

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Roundtable: Holding the ladder for young talent

Four of last year’s Hot Shots on what the industry is doing right and what more could be done to support emerging talent

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Insensitive true crime titles risk undermining important filmmaking

As channels rush to attract audiences with provocative titles, grieving families can be left feeling traumatised and powerless

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Accommodations for neurodiverse staff can benefit the whole industry

Runner Hassaan Mohammad reflects on how his experiences show that a little flexibility can go a long way

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Mother Undercover, Disney +

Executive producer Thomas Viner on telling true crime stories of women turned detective to save or seek justice for their children

Jury Duty

Scott Bryan: There’s nothing wrong with a relaxed take on copyright

Stopping viewers from sharing footage on social media risks losing the buzz created by great TV moments

Mike Darcey

Mike Darcey: The industry must not repeat the mistakes of newspapers

Broadcasters and streamers need to face up to the fact that the problems they face may be structural rather than cyclical

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Acelya Kancelik

‘Acelya brings clarity of thinking to complex storylines, and her insights are fresh, unexpected and nuanced’

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Hot Shots continue to raise the bar

‘This year’s cohort are not just brilliant at their jobs, they are also people who have made a difference’

Kaio Grizzelle

Kaio Grizzelle

‘One of the sharpest and most impressive execs working across the digital landscape’

Dan Omnes index

Hot Shots 2023: Development producers

Daniel Omnes, Freya Judd, Hannah Moulder, Ameenah Taher, Soph Webberley, Kariim Case, Lottie Naughton-Rumbo, Anya Wilson, Eleanor Wright, Nasreen Ahmed, Robert Hunter

Art Sejdu

Art Sejdiu

‘His range is standout but, most of all, his manner is joyful and inclusive’

Oliver Diamond

Oliver Diamond

‘Olly’s understanding of the nuances of each platform allows him to formulate plans that are dramatic in their ambition’

Eleanor Wright index

Eleanor Wight

‘Eleanor is a truly gifted development producer. She has really strong ideas and knows how to turn them into reality’

Hannah Moulder index

Hannah Moulder

‘An outstanding ability to identify and nurture promising comedic voices’

Kim Tserkezie index

Hot Shots 2023: Writers

Kim Tserkezie, Nessa Wrafter, Charlie Quinn, Anna Costello, Imogen Greenberg, Nessah Muthy

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Nasreen Ahmed

‘Naz genuinely loves telly and goes the extra mile. She pushes for inclusivity and diversity and champions new writers’

Freya Judd index

Freya Judd

‘When the chips are down, Freya is someone you can rely on to be inventive and entrepreneurial in her approach to a script’

Charlie Quinn index

Charlie Quinn

‘He’s one of those people who’ll be running the industry in a few years, and I hope he gives me work’

Heather Winstanley index

Heather Winstanley

‘Heather is a tenacious and passionate talent manager. She has boundless energy and enthusiasm for her work’

Imogen Greenberg

Imogen Greenberg

‘Imogen intuitively grasps the mechanics of story and understands the emotions behind the characters’

Anya WIlson

Anya Wilson

‘Anya is uniquely placed to influence great change in the industry with powerful stories’

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Laura Taylor

‘The most impressive young post-producer I have had the pleasure to manage in my 25 years in post-production’

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Calum Leslie

‘He manages to get people on board and to open up in a way highly experienced film-makers struggle to do’

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Nessa Wrafter

‘Nessa has a unique and exciting voice. Her writing is ambitious, truthful and hilarious, putting female stories front and centre’

Soph Webberley

Soph Webberley

‘Soph goes above and beyond in all areas of her role. Her propensity for talent-spotting and her unique, fresh taste will stand her in good stead’

Pandora Monnas index

Pandora Monnas

Pandora Monnas

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Nessah Muthy

‘An exceptional talent whose writing has genuine heart, warmth and emotional depth’

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Ira Putilova

‘A fantastic editor with flare and integrity, whose dedication to finding solutions is exemplary’

Lottie Naughton Rumbo index

Lottie Naughton-Rumbo

‘Lottie is an incredibly dynamic, tenacious and exciting developer’

Nick Hitchcock index

Nick Hitchcock

‘Nick has taken on board our ethos of being a client-facing agency and has brought with him an excellent awareness of up-and-coming talent’

Martyna index

Martyna Knitter

‘Impressive commitment, drive and ability to transform challenges into opportunities’

Tolu Ogunware

Tolu Ogunware

‘Tolu is smart, talented and an absolute pleasure to work with’

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Eloise Millard

‘She will work tirelessly to get it right and is always thinking about the audience. This is what makes her exceptional’

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Christopher CF Chow

‘Christopher’s work is always elegant, precise and economic – he edits only in pursuit of elevating the story’

Zoe King index

Zoe King

‘Zoe has an endless well of positivity even in the face of the most bonkers productions’

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Hot Shots 2023: Directors & DoPs

Ade Femzo, Aurora Fearnley, Sam Ewen, Martyna Knitter, Tolu Ogunware

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Nathalie Swain-Diaz

‘Nat cares deeply about her work, is fascinated by story and strives to meet the highest editorial and trust standards’

Emma Rowe index

Emma Rowe

‘I don’t think you could meet anyone more conscientious, hard-working and able than Emma’

Sarah Masiyiwa index

Hot Shots 2023: Researchers & assistant producers

Sarah Masiyiwa, Nathalie Swain-Diaz, Calum Leslie, Dan Viner, Eloise Millard, Maria McCloskey, Katharine McCallum, Will Robbins, Dion Hesson

Milly Bell index

Hot Shots 2023: Talent managers

Milly Bell, Heather Winstanley, Nick Hitchcock, Ray Böhm, Seb Jewell

Kariim Case index

Kariim Case

‘Always one step ahead of the zeitgeist’

Jade Miller-Robinson index

Hot Shots 2023: Production managers

Jade Miller-Robinson, Zoe King, Will Shellard, Emma Rowe, Jennifer Dempster

Jess O’Riordan

Hot Shots 2023: Commissioners

Jess O’Riordan, Oliver Diamond, Art Sejdiu, Kaio Grizzelle

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Will Robbins

‘Will is super in tune with social media trends/TikTok, which has fed into the creative of shows and ideas’

Katharine McCallum index

Katharine McCallum

‘Katharine will one day be our boss. She embraces new roles and duties and always excels’

Maria McCloskey index

Maria McCloskey

‘Maria is too young to be this talented and experienced’

Dan Viner index

Dan Viner

‘Dan is keen to listen and learn and has a great work ethic. His research is always thorough’

Ellie Merz index

Ellie Merz

‘She’s a passionate film-maker, full of ideas, but calm when challenges arise’

Alyona Synegina index

Alyona Synegina

‘With Alyona we got so much more. She pitched idea after idea and was a creative force’

Ray Bohm index

Ray Böhm

‘The next-generation leader we need in this industry’

Robert Hunter index

Robert Hunter

‘Robert is a skilled writer, producer, sales person, negotiator and creative, with strong leadership skills’

Ameenah index

Ameenah Taher

‘With a real understanding of the next generation of audiences, she has proved to be a true asset to the future of our industry’

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Aurora Fearnley

‘Aurora is a fierce campaigner for disability rights and she wasn’t afraid to speak truth to power’

Will Shellard

Will Shellard

‘You can throw any challenge at Will and it’s completed with focus, determination and drive’

Steve Monger index

Hot Shots 2023: Producers & PDs

Steve Monger, Alyona Synegina, Louis Lee Ray, Ellie Merz, Chibuikem Oforka, Hassan Ghazi, Celia Jennison, Ruben Reuter, Georgina Lee, Pandora Monnas, Tafara Makopa

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Hot Shots 2023: Post & craft

Sara Hassan, Laura Taylor, Will Hewitt, Acelya Kancelik, Christopher Chow, Ira Putilova

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Anna Costello

‘Anna stands out as a real talent, not just because she is very funny, but because of how perceptive and considered she is’

Tafara Makopa index

Tafara Makopa

‘Nimbly redefined the modern-day indie, crafting a business model that navigates challenging budgets while allowing Wall to grow and innovate’

Georgina Lee index

Georgina Lee

‘A blockbuster year’

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Ruben Reuter

‘Ruben’s warmth and humour not only puts contributors at ease, but invites audiences to difficult stories in an accessible way’

Celia Jennison index

Celia Jennison

‘One of Celia’s greatest strengths is how seriously she takes duty of care. Her integrity and moral compass are second to none’

Hassan Ghazi index

Hassan Ghazi

‘Hassan has it all – he’s able to produce talent with great maturity, and has natural storytelling ability and impressive visual flair’

Chibuikem Oforka index

Chibuikem Oforka

‘He has a tireless work ethic and the determination to do right by the story’

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Louis Lee Ray

‘His judgement is impeccable, he’s calm under pressure and good humoured in the face of adversity’

Seb Jewell index

Seb Jewell

‘His likeable and warm personality allows him to build strong relationships with clients, commissioners and producers’

Will Hewitt

Will Hewitt

‘With Will’s ability to tell a visual story, plus his attention to detail, he will always be in demand as a creative collaborator’

Sam Ewen index

Sam Ewen

‘A natural leader with a relentless flow of creative ideas’

Jen Dempster index

Jennifer Dempster

‘Smart, creative and cool under pressure, I’ve no doubt she will rise to production manager level at lightning speed’

Dion Hesson index

Dion Hesson

‘I am genuinely in awe at the passion, dedication and intellectual engagement he brings to everything he’s involved with’

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The Sixth Commandment, BBC1

Writer and creator Sarah Phelps explains how she told the story of a real life murder without putting the perpetrator at the centre of the narrative

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The Rosie Jones doc: Why I advised Channel 4 to go with that title

Channel 4 disability consultant Ally Castle explains the thinking behind the controversial name

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Fifteen-Love: power games on Centre Court

Handling the themes of abuse and consent with sensitivity was key for the team behind the Amazon tennis drama

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What’s in a name? Provocative titles in the spotlight

Broadcasters are attempting to balance the need to stand out with the possibility of upsetting contributors or the public, says Chris Curtis

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Only eyewitness journalism can solve the case of Schrödinger’s War

The necessity of on-the-ground reporting has never been more apparent, argues Sky News chief Jonathan Levy

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Fred and Pete’s Treasure Tales, CBeebies

Executive producer Jasper James on the joys of unearthing local talent in Cornwall for a fast paced kids factual show

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Gallery: Broadcast Digital Awards 2023

Familiar faces from across the industry gathered for the annual Broadcast Digital Awards, hosted by Suzi Ruffell

Meet the Richardsons

Channel of the Year: Dave

‘A brilliant jewel in the UKTV crown’

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Multichannel Production Company of the Year: Yeti

‘An emerging Welsh powerhouse which proves that a smaller company can punch above its weight’

History Hit

Best Specialist Channel: History Hit

‘Innovative, clear and distinctive’

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Best Short Form Documentary: Kingpin Cribs: Drugs, Death And Pet Tigers

‘Eye-opening and terrifying, subversive and totally unexpected’

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Best Specialist Factual Programme: Prehistoric Planet

‘An innovative approach to a very assured format’

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Best Entertainment Programme: Don’t Hate The Playaz

‘An exhilarating watch, edged with a joyous sense of danger, in a format that is coming into its own’

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Best True Crime Documentary: Libby, Are You Home Yet?

‘A stark portrait of grief that told a parent’s worst nightmare in a sensitive and moving way’

Bangers and Cash

Gamechanger Programme of the Year: Bangers and Cash

‘Genuine warmth and authenticity’

Red Flag

Best Short Form Scripted: Red Flag

‘Absolutely hilarious and a very talented cast’

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Best Entertainment Channel: Channel 4.0

‘A brilliant example of a broadcaster acknowledging it needs to meet its audience where they are, with great success’

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Best Comedy Programme: Extraordinary

‘Everything about this show is extraordinary’

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Best Factual Channel: More 4

‘A standout channel that knows its own audience and delivers exactly what they are looking for’

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Best Digital Support for a Programme: Hollyoaks

‘The digital support has the potential to be a real force for good’

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Best Drama Programme: I Hate Suzie Too

‘Masterfully unpack layers of the modern-day anxieties behind the curtain of media’

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Best Programme Acquisition: The Dangerous Rise of Andrew Tate

‘An innovative approach to a very assured format’

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Best Current Affairs Programme: Sexsomnia: Case Closed?

‘Beautiful documentary-making with the present tense narrative of the investigation’

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Best Popular Factual Programme: Big Zuu’s Big Eats

‘An innovative approach to a very assured format’

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Best Content Partnership or AFP: Game & Glory

‘Beautifully made. I knew about esports but I didn’t realise it was exactly like this!’

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Best Sports or Live Event Coverage: The Hundred

‘Exciting, impressive coverage’

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Best Digital Support for a Strand, Channel or Genre: Game On!

‘It was innovative and sets the bar on how you create a community away from your own platform’

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Best Documentary Programme: The Footballer, His Wife and the Crash

‘An enthralling story in which nothing is quite as it seems’

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Creating a state-of-the-art shark lab in CG

Arrow Media’s Nick Metcalfe goes behind-the-scenes during the making of When Sharks Attack 360

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Action and accessibility hold key to Blindspot appeal

Director Jordan Hogg on how simple questions made producing the Clapperboard/Channel 5’s drama a better experience

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Studios set to navigate slowdown

Leading figures from the studios sector discuss the effect of stagnant economic conditions and the US writers’ strike

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Shark Eat Shark, National Geographic

Big Wave Productions’ director of natural history Emma Ross on proving that sharks off the coast of South Africa are eating each other

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Evacuation, Channel 4

How Wonderhood gained access to the human story of the soldiers who helped evacuate Kabul

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Creative Review: Stormy seas and old masters

UK post houses’ best recent work, from creating CG oceans for No Escape to drawing inspiration from great artists for The Gallows Pole

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Jon Snow: A Witness to History, Channel 4

Director Johnny Burke on the thrill of filming your hero - and the challenge of covering a 50-year career in 60 minutes

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Why range is key for Passion Pictures

The documentary maker on choosing to pursue an eclectic mix of films rather than specialise

I Am Ruth

Kate Bulkley: Broadcasters need to be smart to hook Gen Z viewers

The challenge is not only to come up with relevant content, but to find new ways to ensure it reaches the target audience

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NHU chief on the ‘moral responsibility’ to support overseas filmmakers

Jonny Keeling shares his long campaign for more in-country training

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Analysis: How the sector is making use of AI

From automating time-consuming tasks to aiding creativity, use of the technology is spreading rapidly

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Andy Waters: Pushing boundaries is vital – especially in tough times

Embracing tech such as virtual production can help navigate challenging periods in a sustainable way, says the Dock 10 head of studios

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End Credits: Caroline Roseman

Initial’s creative director, development, on meeting Dynasty stars and her ‘drive-by-Minnelli’ moment

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Seen on screen: LGBTQ+ stories come out of the closet

Three figures involved in shows with LGBTQ+ themes discuss the significance and creativity of the likes of I Kissed A Boy and Heartstopper

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Roy Ackerman: My top 10 tips for navigating an industry reset

Turmoil in the streaming business is striking fear into factual producers, but we will come out the other side

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Simon Evans: Bringing down the curtain on Staged

The lockdown comedy is the product of a strange time, but it continues to resonate even as it draws to a conclusion

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Emmys spotlight: The Crown costume designer Amy Roberts

Emmy award winner on dressing Imelda Staunton and Lesley Manville in autumnal fifth season

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Black Mirror: reflections on true crime

Charlie Brooker’s pastiche in Loch Henry serves to reinforce the importance of the documentary staple in popular culture argues Will Hanrahan

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Emmys spotlight: Jack Lowden on Slow Horses

Lead actor discusses the See Saw Films drama, moving into producing and his ‘funny career’

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Nick Swimer: How the Media Bill could modernise due prominence

Moves to make ‘due prominence’ requirements fit for the digital age are long overdue, and much is still unclear

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Puzzling, Channel 5

12 Yard Productions’ head of entertainment Paul McGettigan on the speedy turnaround of a new quiz format

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Emmys spotlight: Emily Blunt on The English

Lead actor on Hugo Blick’s revenge western on executive producing and why the ‘best material is on television usually’

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Katie Piper’s Jailhouse Mums, W

Series producer Kate South explains how her team unlocked the stories of Americas mothers behind bars

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Catching up with Amazon Prime Video’s £10m talent initiative

Dan Grabiner and Donna Taberer on the streamer’s Prime Video Pathway one year in

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Marcus Ryder: AI presents an existential threat to media diversity

Here’s how we can protect the precious progress with have made on diversity from the biases built into artificial intelligence

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Emmys spotlight: Succession director Mark Mylod on taking credit and avoiding spoilers

‘There were so many key episodes in this season — I was greedy as ever to do them all’

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Look See Wow!, Sky Kids

Executive producer Eline van der Velden explains how her team got hands on to make an ASMR-inspired immersive show for toddlers

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Emmys spotlight: Bad Sisters cast on the challenges of balancing comedy and drama

Creator Sharon Horgan and fellow cast members discuss the importance of presenting an authentic portrayal of domestic abuse

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Jean Mackenzie: ‘My sources could have been executed – I haven’t stopped thinking about it’

The BBC’s Korea correspondent talks to Broadcast about her BBC2 doc North Korea: The Insiders

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Andy R. Worboys: Why I’m quitting as an editor

The industry’s refusal to take a chance on people is making docs look samey - and worse, it’s driving talent out

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The complex journey to air Blackadder's pilot episode

Executive producer Tom Edwards explains the challenges of bringing the 40-year-old pilot of a beloved show to TV for the first time

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Our Planet II, Netflix

How the landmark Silverback sequel reinvents itself, getting notes and harnessing the latest tech

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Gwenda Carnie: Deal-making tips for creative people

Ahead of the Sheffield Doc Fest, here are some helpful hints for a moment creatives anticipate and dread in equal measure

3. Sheila Hancock as Liz Zettl in The Sixth Commandment coming soon to BBC One and iPlayer

First look: The Sixth Commandment, BBC1

Wild Mercury and True Vision thriller explores the death of Peter Farquhar

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Frankie Dettori: An Ascot Legacy, Sky Sports Racing

Little Dot Sport creative producer Will O’Sullivan on how to make the most of limited time with a documentary star

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Dan Walker: “You just don’t get many opportunities like this”

One year into the job, the 5 News lead anchor sits down with Broadcast to discuss building trust, impartiality, and having Ben Frow as a boss

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John Cassy: It’s early days, but Apple’s virtual reality headset really could change everything

VR will bring in new ways of experiencing and telling stories – and the TV world must be prepared to evolve

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Forced Out, Sky Documentaries

Producer Sophie Perrins explains how she and her LGBT+ crew told the story of those who were ejected from the Armed Forces because of their sexuality

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The Writers Strike: Broadcast on the picket line

From Paramount to Netflix, Sony to CBS, an on-the-ground account from writers and WGA members about the cause for which they are fighting

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The Future of sustainability in the broadcast sector

With World Environment Day encouraging action for the protection of the environment, Adrian Pennington talks to tech companies about their sustainability plans

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My Husband the MMA Fighter, BBC1

Director Christine Johnston explains the challenges of directing and producing her first documentary film

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Stephen Arnell: Never mind the optics, show me the money

It’s an arrogant mistake to award sizeable bonuses to C4’s top team shortly after cost-cutting measures left producers in the lurch

David Shipley

Monster In The Morgue: David Fuller, Sky Documentaries

Series director Andrew Parkin on the challenge of making a documentary about one of the biggest taboos

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LA Screenings: is global licensing back?

With Amazon selling originals and Disney and Warner screening again, buyers and distributors assess whether the pre-streamer sales market has returned

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A Paedophile in My Family: Surviving Dad, Channel 4

Producer-director Sophie Oliver on how she navigated complex duty of care needs to tell a difficult story

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Gender Wars, Channel 4

Director Pamela Gordon explains how the much-contested documentary gained the trust of trans contributors

Life & Rhymes

Meet Sky’s new cohort of commissioners

Broadcaster recruits seven creatives from different walks of life to help it deliver more authentic stories

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Interview: Zinc Media’s Tanya Shaw shows her mettle

Indie group’s MD of television on turning what many perceived as a confusing array of indie labels into a cohesive & profitable business

Richard Sharp

Richard Sharp exit highlights flaws in system

The BBC chair’s resignation has raised concerns over the corporation’s governance and spotlighted the political nature of the recruitment process

Master Of None

Faraz Osman: Under-representation persists but there is cause for optimism

Younger generations are exploring their identity on their own terms and the way they support each other is inspiring

Liev Schreiber and Artem Lytvynenko Against All Odds

Ukrainian producers come out fighting

War has devastated Ukraine but a group of production companies have come together to kickstart the country’s TV industry

Huw Edwards

Huw Edwards: An unprecedented year for BBC News

The News at Ten anchor on helming the corporation’s coronation coverage, standing up to critics, and the problem with impartiality

Fatima Salaria

Fatima Salaria: Taking time out has given me a fresh perspective

The value of journalism and the challenges that women and people of colour face have been brought into focus, says Fatima Salaria

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End Credits: Declan Lawn

The screenwriter/director and co-creator and writer of Blue Lights on Jack Charlton, hurling and a rough ride at Alton Towers

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State of the Nation: The view from the post sector

The Post-Production: State of the Nation panel at MPTS brought together three execs from leading facilities to discuss the challenges they face

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Training needs to adapt to TV’s specific needs

Seetha Kumar: Government-backed apprenticeships have given emerging talent a break, but they have exposed faultlines in the system

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Schedules and familiar shows take us back to the future

Clear release patterns and even clearer programme concepts appear to be the order of the day

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Rescue the relationship between public service content and young people

Reach audiences where they are, rather than where we think they should be, says Emma Scott

Libby, Are You Home Yet

How pots of funding can help middle ground indies

Candour Productions director of development Hannah Demidowicz on the vital support available to indies

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Gallery: Alexander Armstrong in Sri Lanka, C5

Selection of images from Burning Bright Productions’ travel format

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Silverpoint: Imagining the impossible

Series producer Trevor Klein on bigger expectations and a bigger budget for series two

Sarah Lee

Comment: unpicking the slowdown with Talent Manager data

The volume of jobs being advertised is well down on pre-pandemic levels, says Sarah Lee

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Ten Pound Poms, BBC1

Executive producers Danny Brocklehurst and Joel Wilson on making a drama series with ‘dirt under its fingernails’

Matt Willis

Matt Willis: Fighting Addiction, BBC1

Grace Reynolds, executive producer, on telling a story which is both personal and wide-ranging

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First look: Mary & George, Sky Atlantic

Hera Pictures’ seven-part series airs later this year

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​The growing influence of gaming VFX on the film and TV industry

Allan Poore at Unity explains how the lines between gaming and film technology are more blurred than ever

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Eurovision Song Contest Postcards, BBC1

Series producer Tom Cook reveals how his team put together the Eurovision VTs showcasing the different countries involved

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How we brought Eurovision to UK viewers

dock10 studio manager Adam Balcombe reveals the facility’s work as a production base for the BBC’s transmission

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Sara Putt: While we celebrate our industry’s excellence, let’s remember tomorrow’s talent

We must level the playing field if we want the best creatives, says the deputy chair of BAFTA and chair of the BAFTA TV Committee

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The creative use of generative AI in post-production

Graham McGuinness at Jigsaw24 Media explains how AI is already helping post-production with creating technical grades and post-producing scripted content

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Therapy: Tough Talking, BBC3

Northern Child creative director Andrew Eastel on balancing duty of care with opening up the world of therapy

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Gallery: Ten Pound Poms, BBC1

Selection of images from Eleven drama set in 1956 following the Brits who are charged just £10 to head to Australia

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Behind the scenes on Kids, Channel 4

Producer-director Paddy Wivell explains how the power of obs docs help contributors tell previously unheard stories

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BBC’s biggest week: Kate Phillips and Martin Green on Eurovision

Unscripted director and Eurovision chief on producing a momentous musical spectacle a week after the Conoration

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Content Summit: What's the game plan with social media?

Three leading sports content makers on how they produce engaging films for social media platforms and the best way to hook the target audience

Houses of Parliament

Nick Swimer: The Media Bill could lay the foundations for regional indie growth

The opportunities this legislation presents for out-of-London production are in danger of being overlooked

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​The rise of France as a VFX hub

Tony White explains why France could soon lay claim to being the next big home for visual effects

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End Credits: Rob Butterfield

The head of Ricochet, Glasgow, on Cowboy Builders and finding a sex dungeon

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The regional SVoDS taking on the big guns of streaming

In a David vs Goliath scenario, regional streamers are going toe to toe with the giants of the industry and holding their own

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Kidnapped – The Angel Lynn Story: The ethics of filming a story of abuse

Wonderhood Studios navigated a complex consent issue to bring the tragic story of a victim of coercive control to screen

Screw

N&R indies call for greater commissioning autonomy

While broadcasters’ nations and regions push is praised, decision-making is still seen as too Londoncentric

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Scott Bryan: Even in the streaming age, there’s plenty of life in live

The industry and the audience would both be worse off if the rise of streaming makes live shows a thing of the past

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Analysis: Grabbing a slice of online original content

With online platforms stepping back from ordering original content, what are the opportunities for indies working in the space?

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Mike Darcey: BBC is betting goodwill holds key to licence fee debate

Viewers struggling with the cost of living may decide not to pay the licence fee despite using a plethora of free services

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Broadcast Indie Summit: Indies raise concerns over mid-market squeeze

Fears over dwindling appetite for mid-priced shows as broadcasters focus more on cut-through or low-price content

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Broadcast Indie Summit: Amazon reveals all

The SVoD giant’s full UK team offer insight into its commissioning strategy

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Leo Pearlman: The industry overlooks the north east at its peril

The TV sector stands to reap significant benefits if it follows Fulwell 73’s lead and invests in this incredible region

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Catherine Reitman: Workin’ hard

As Workin’ Moms kicks off its final series, its creator reflects on how a primarily female team helped capture motherhood in all its messy details

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First look: The Gallows Pole, BBC2

Shane Meadows’ series, produced by Element in association with Big Arty, is based on Benjamin Myers’ book

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The Mysterious Mr Lagerfeld, BBC2

Director Michael Waldman on the quirks of capturing the lavish life of one of fashion’s most eccentric stars

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Christopher Yip: TV must trust people of colour to tell their own stories

The industry needs to embrace the wealth of talent that exists if it wants to make honest, authentic shows

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Chloe Sarosh: Why we need new voices in natural history

Wildstar Films’ executive producer explains why increasing diversity in wildlife films is crucial

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The US writers’ strike: What will it mean for the UK industry?

British peers show solidarity with fight for fair pay

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Tweaks to distribution models point to more flexible future

Format deals are back with a bang thanks to the fresh thinking and bold partnership behind The Traitors

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How an ageing professor inspired James Reed’s latest Netflix epic

Oscar winner embraced the drama of handheld cameras to keep up with battling chimps

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Dr Xand’s Con Or Cure, BBC1

Executive producer Brendan Hughes explains the challenge of shooting 10 shows in four days

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The Missing Heiress: Betrayals In The Riviera

‘The originality of the series is the Shakespearian element of betrayal and tragedy’

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Scared of the Dark: shining a light on the social experiment

Creators of Channel 4 series on creating a reality show in total darkness

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Factual leads the charge in Cannes

“Unscripted programming is the driving force as documentary accounts for half our Hot Picks”

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Silence, language barriers and crime syndicates: the making of The Good Mothers

First director Julian Jarrold explains the challenges of filming a drama about the mafia in their own back yard

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Deborah James: Bowelbabe In Her Own Words, BBC2

Director Sara Hardy explains the challenges of creating an archive documentary using very 21st Century material

The Man Who Played with Fire

The Man Who Played With Fire

‘It’s visually impressive, narratively captivating and will have viewers hooked’

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The Last Secrets Of Humankind

‘It’s a high-quality production where you can see the budget on screen’

Royal Mob

Factual

True crime, docu-drama and follow docs are the order of the day in a bumper unscripted line-up

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Formats

Competition titles continue to dominate as buyers look for multi-layered storytelling

Old Enough

Old Enough

‘It is fascinating to see how children are capable of thinking and acting on their own’

Chameleon

The Chameleon: The Killing Of Ronald Platt

‘Stranger than fiction is more than just true crime and this film embodies that’

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The Piano

‘We’re living in dark times. Beautiful, uplifting stories are much needed’

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Hot Wheels: Ultimate Challenge

‘This is a shiny floor general entertainment show that is universally relatable’

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The Real Fatal Attraction

‘It is counterintuitive of the genre because true-crime victims are usually female’

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Bend it Like Bollywood

‘You feel like you can’t walk away from the screen in case you miss a critical piece of information’

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Nazanin

‘You feel like you can’t walk away from the screen in case you miss a critical piece of information’

The Pez Outlaw

The Pez Outlaw

‘Steve broke the law, but he was also an underdog and you can’t help rooting for him’

Orphan Black - Echoes

Orphan Black: Echoes

‘Many buyers are familiar with this universe and are looking forward to re-engaging with it’

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Competition in the streaming business is growing FAST

Revenues from free-ad supported TV channels are predicted to triple by 2027 and the battle is on to win the biggest share, says Kate Bulkley

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Staying on top in distribution

Five European distributors explain how they’re adapting their business models to remain competitive in a challenging market

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Ob-docs put true crime in the shade

Analysis of Broadcast’s 100+ Hot Picks submissions reveals nearly 75% are unscripted, with just a single UK drama making the final list

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Lyra, Channel 4

Director Alison Millar explains the heart-wrenching task of allowing her friend, the murdered journalist Lyra McKee, to tell her own story

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Fifteen-Love

‘It’s a love letter to what sport can and should be, but it’s also an unflinching look at it’

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Ronja, The Robber’s Daughter

‘The story may play out in medieval Scandinavia but everyone can relate to it’

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Scripted

Character-driven series span fantasy, sci-fi, crime and families in this international-driven selection

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In Limbo

‘In Limbo is a smart, funny, relatable series with a powerful message at its core’

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A Body That Works

‘It is a very emotional watch. Audiences will find themselves laughing and crying’

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It’s time for an overhaul of TV ratings

Pierre De Lannoy, EMEA Strategy Director at MiQ on how TV ratings need to keep up with changing viewing habits

Will Hanrahan

Will Hanrahan: look to journalists when setting true crime standards

Established journalistic good practice balances ethical conundrums with exposing wrongdoing – so let’s not reinvent the wheel

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Made Up In Belfast, BBC3

Emma-Rosa Dias, managing director for Afro-Mic Productions, explains how BBC NI’s new glossy reality show came to be

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Brink Of Disaster

‘There has always been a fascination with this genre and it hasn’t diminished’

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Relocating Six Four to Scotland

How ITVX’s latest thriller reimagines Hideo Yokoyama’s Japanese bestseller in Glasgow

Rob McElhenney Wrexham S4C

What can Wrexham’s Hollywood takeover teach other sports brands?

Chris Whitson, global head of strategy at creative agency Iris, explains how other rights holders could follow in Wrexham’s footsteps

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End Credits: Carlo Dusi

The Endor Productions managing director on crying at Happy Valley and learning from Ridley Scott

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Job uncertainty threatens progress made on diversity

Great strides have been made in attracting people from diverse backgrounds – but now we need to keep them, says Lorraine Heggessey

Julia Lopez

Julia Lopez: Let’s make sure the UK keeps making brilliant kids’ TV

The DCMS minister explains how the government plans to ensure children can continue to access inspiring, life-enriching British-made content

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What producers look for in a post house

Two leading producers discuss what they want from a post facility, from talent and technology to the quality of biscuits

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Broadcasters target novel IP

Netflix’s Alice Dill and Audible’s Lydia Shamah reveal what they look for when commissioning book adaptations

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Diversity roundtable: We’re in it together

Amazon, Banijay and Fremantle diversity heads say more collaboration between broadcasters & indies is essential for true progress on inclusion

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Chasing the Rains, Sky Nature

Producer Faith Musembi on getting close to animal families during a severe drought

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HiddenLight: Shining a light on trailblazing women

Chelsea and Hillary Clinton’s indie aims to create change by bringing remarkable stories of female pioneers to screen

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Highland Cops, BBC Scotland/BBC2

Series producer Andrew Abbott explains how his team captured the realities of policing across vast swathes of northern Scotland

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Interview: Studio Lambert discuss the triumphant Traitors and the Squid Game controversy

Chief executive Stephen Lambert and creative director Tim Harcourt discuss scale, ambitions, the secrets behind Traitors and the Squid Game: The Challenge controversy

Jack and Lisa

In Conversation: Jack Thorne and Lisa McGee

The Derry Girls and Then Barbara Met Alan scribes discuss the creative processes behind their shows and the future of British TV writing

Calculator & cash

Indie Survey 2023: funding and inflation top list of indie concerns

As inflation bites and belts tighten due to the rise in the cost of living, the UK production sector is feeling the squeeze

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Talent crunch poses questions we desperately need to answer

The logjam has finally eased off – so now is the time to get stuck into practical solutions

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PSBs win praise in tough times

After a difficult year for both broadcasters, the BBC is voted the strongest broadcaster and Channel 4 is named the best to work with

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ITV: ITVX yet to impact spending patterns

Broadcaster has earmarked an additional £160m a year of spending on the platform for drama and comedy

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Bumps along the road to recovery

‘Given what we have all endured, there is much to celebrate in this year’s survey’

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Channel 5: Frow doubles down on drama

Broadcaster set to air 60 hours of the genre in 2023, compared with just eight four years ago

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UK indies feel the effects of Brexit

Increased costs and bureaucracy involved with filming on the continent among UK producers’ biggest concerns

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Peer Poll: top 10 revealed

Which company does the production sector rate the highest?

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Indies feel pinch as inflation squeezes margins

While total turnover is up £600m on 2022, respondents to the Indie Survey 2023 say that cost inflation & funding gaps are their biggest concerns

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Sky: Entertainment and factual rule the roost

Biggest supplier was Avalon which provided 33 hours comprising comedy and true crime

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BBC: Whisper breaks into top three

The Uefa Women’s Euros helps propel the indie into second place

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Indies reap rewards of N&R push

The impact of broadcasters’ efforts to increase nations and regions production shows in rising revenues, but recruitment problems remain a concern

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UKTV: Originals bring in fresh suppliers

Air TV, Zeppotron, King of Sunshine and Rare TV were among the indies to have benefitted from orders

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Top 30 True Indies

Avalon tops table ahead of Sister

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Channel 4: Hits and misses as C4 prepares for new phase

2022 saw the launch of the Roughcut comedy Big Boys and Fable Pictures’ Hullraisers

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Discovery+ commissions ease fears over merger

Streamer praised for its “clear directives, joined-up thinking between editorial and commercial, and speedy responses”

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Consolidators bounce back

As All3Media once again leads the pack, indie owners and consolidators look to be firmly back on track, with revenues up 41% year on year

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Netflix stays on top as UK hours increase

Streamer raised UK-produced content to 129 hours

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Indie Survey Table 2023

Click to view the top performing companies

Lycett

Joe Lycett: a rebel with a cause

The comedian and consumer affairs champion discusses breaking free from formats, the pull of live TV and going viral

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The key to not ruining a good series: knowing when to stop

It’s tempting to continue season after season with a hit series, but that’s when you put its legacy at risk, says Danny Brocklehurst

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Breathing exercises can’t fix production’s mental heath crisis

Instead of mindfulness tips, production companies and broadcasters should be offering up the cash to make workloads manageable, an anonymous freelancer says

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Robin Elias: We forget the sacrifices of frontline news teams at our peril

20 years on from the start of the Iraq war, the International News Safety Institute chair reflects on colleagues he’s lost and the value of their work

Lupin

Netflix in Europe: the inside story of the streamer’s rise, growing pains and next steps

Tim Dams discovers how the streamer is tackling a competitive market

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Gallery: Ted Lasso, Apple TV+

Selection of images from the third series of Doozer Productions’ football comedy

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Joanna Carr: In an increasingly turbulent world, we need brilliant current affairs

Powerful reporting that delves behind the headlines has never been more necessary - fortunately, TV journalists are delivering

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Vine FX: Why we moved out of Soho

Michael Illingworth of Vine FX explains his company’s journey out of Soho to Cambridge while establishing a global workforce

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Fred’s Last Resort, E4

David Harrison, executive and joint creative director, Betty TV, on why his reality show relied on finding exactly the right hotel

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First look: The Killing Kind, Paramount+

Eleventh Hour Films six-parter stars Emma Appleton and Colin Morgan

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Charlene Chika Osuagwu: ‘Paula’ shows how much still needs to change

The producer of Curious Films’ Paula Yates doc reflects on the questions the film raises over the treatment of women in the public eye

New Broadcasting House

Why do BBC’s editorial guidelines still carry foreword by Tony Hall?

Staff are raising the question because the guidance is fronted by DG who left almost three years ago, writes Tara Conlan

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CITV closure not surprising but ITV’s attitude to children’s TV is “unfathomable”

Children’s Media Foundation director Greg Childs says ITV’s approach is a “big mistake”

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Q&A: Becoming Frida Kahlo, BBC2

Creatives behind Rogan Scotland’s doc series discuss how they got to know the iconic artist in order to tell her story through her eyes

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Gallery: Outlast, Netflix

In the extreme Alaskan wild, 16 survivalists compete for a chance to win a massive cash prize

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Neil Duncanson: How Create Central is turning Birmingham into a global media player

The opening of the Bond creative hub is a key step in reinvigorating the West Midlands’ TV industry and inspiring the next generation of local talent

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How four leading Bafta figures are blazing a trail while juggling parenting, the pay gap and systemic biases

Sara Putt, Anna Higgs, and Tara Saunders, join Ade Rawcliffe to share stories on handling salary negotiations and forging work-life balances

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Arctic From Above, Sky Nature

Director Olly Bootle explains why the Arctic is best explored from the air

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RTS Journalism Awards’ ‘smattering of colour’ fails to mask uncomfortable truth

The journalism that is most valued by the industry and shapes national British debates remains overwhelmingly white, writes Marcus Ryder

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Murder in the Pacific, BBC2

Director Chloe Campbell explains how she directed a documentary about the bombing of the Greenpeace ship Rainbow Warrior

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Anorexic, Channel 5

Rachel Harvie, executive producer explains why allowing contributors to take the lead can create a more intimate and illuminating film

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Creative Review: New worlds and deep fakes

From lighting up the land of the dead to creating the London of the future and turning actors into celebrity doppelgangers

PSB

What the BBC can learn from its global peers

Facing threats from streamers on one side and politicians on the other, the corporation is in the same boat as many other public service broadcasters

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Formats fight it out at London TV Screenings 2023

With multiple competition formats battling it out, Broadcast highlights the trends and shows shaping this year’s event

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Tempting Fortune: Adventure with a tempting twist

Voltage TV format, sold by Cineflix Rights, sends contestants on a trek across South Africa to win £300k – if they can keep their desires in check

Lara vs Escobar

True crime’s most wanted

Eye-catching titles from All3MI, Banijay Rights and Blue Ant International are among raft of true-crime shows up for grabs at the London TV Screenings

Ruth Berry

Interview: Ruth Berry on uniting ITV Studios’ distribution businesses

Merger creates a 90,000-hour catalogue with more than 250 formats

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Analysis: Northern Ireland indies battle to be noticed

NI producers say they feel left out by the PSBs, struggle to establish relationships with commissioners and lack returnable formats

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Interview: Russell T Davies and Nicola Shindler

The Nolly writer and Quay Street boss on their new ITVX drama and 30 years of working together

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Realscreen reveals intense competition

Reboots, true crime, cookery and dating shows were the talk in Austin, as entertainment, factual, and fact-ent come to the fore

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Producers put talent first for short-form digital content

Showcasing compelling people and their passions is seen as best route to success on digital platforms

NIcky Huggett

End Credits: Nicky Huggett

The HiddenLight Productions head of development on inspiring women, Craig David and fish and chips

Fatima Salaria

Fatima Salaria: We would all benefit from taking time out to recharge

Burnout is a very real problem in this industry and those in need of a break deserve support

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Ama’s Story, Sky Kids

Creative director Jesse Cleverly explains how Wildseed Studios helped new talent find their voice on screen

Happy Valley

To box set or not? Industry grapples with release dilemma

A more balanced approach appears to be emerging as broadcasters experiment with different strategies

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Go Hard or Go Home, BBC3

Executive producer Michael Fraser explains how the tropical island-set fitness format came to be

KSI Ladbible

Ladstudios: Turning an hour of production into millions of views

Creative director Ben Powell-Jones lifts the lid on how Ladbible maximises its content for digital platforms

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First look: Wolf, BBC1

Hartswood thriller is based on the Jack Caffery novels

Neil Grant

Neil Grant: Where is the next generation of fearless current affairs reporters?

New recruits’ lack of fire and broadcasters’ failure to support them means there will be no one to take the baton when today’s veterans retire

Victor Lewis Smith

Victor Lewis-Smith’s final act of TV rebellion

In Fix or Fail, the acerbic broadcaster takes aim at fluffy business reality shows - and shaped my own philosophy, says collaborator Ryan Howsam

The BRIT Awards 2019 with Mastercard - Best Music Programme

How collaboration is beaming the UK’s biggest cultural moments across the globe

YouTube UK and Ireland managing director says partnerships between live events, traditional TV and online platforms represent the future

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Dinosaur with Stephen Fry, Channel 5

Tayte Simpson, executive producer on how the team had just six months to send the presenter back in time

Broadcast Awards gallery (57)

Broadcast Awards 2023 in pictures

Familiar faces gathered for the 28th Broadcast Awards, hosted by Sue Perkins

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Celebrating the best of British TV

‘What they share is the alchemy that takes place when clever, creative ideas combine with amazing production and top-tier on-screen talent’

Broadcast Awards index

Broadcast Awards 2023 - the judges

Methodology and list of judges

Strictly 2022 win

Channel of the Year: BBC1

‘BBC1 did its primary job last year to perfection: uniting, entertaining and inspiring a nation’

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Best independent production company: Sister

‘Sister’s slate traverses mainstream hits and quirky pieces, with shows that manage to capture the zeitgeist and make viewers laugh and cry’

Scamland

Emerging indie of the year: Forest

‘Mobeen Azhar and Jez Lee have proved fearless in their commitment to digging below the surface of communities to uncover bigger truths’

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Best post-production house: Halo

‘Judges praised Halo’s creative, solution-focused approach to clients but, most importantly its culture’

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Special recognition: Huw Edwards

‘He has been an informative, authoritative and deeply reassuring presence during many of the key moments of nation’s recent history’

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Best sports programme: Women’s Euro 2022

‘This sporting event of the millennium so far, expertly covered and conveyed with a truly engaging and inspiring naturalness and enthusiasm’

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Best drama series or serial: This Is Going To Hurt

‘The series seamlessly combines sharp wit, harrowing realism, perfectly formed characters and award-worthy acting’

An Audience with Adele

Best music programme: An Audience With Adele

‘An Audience With Adele delivers both impressive scale and a real connection with the audience’

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Best documentary programme: The Real Mo Farah

‘An important, powerful and moving film. It is a revelatory piece of television with incredible twists and turns’

Best Children Programme - Robin Robin

Best children’s programme: Robin Robin

‘With a first-class script, this is the perfect Christmas treat and a welcome investment in felt stop animation’

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Best daytime programme: Moneybags

‘Moneybags stands out due to its sheer originality, ingenuity, casting, cunning format twists and effervescent host’

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Best popular factual programme: Olivia Attwood: Getting Filthy Rich

‘It feels like it is genuinely talking to a young audience. Olivia is a great talent who has some real moments of revelation’

DRYCH

Best multichannel programme: DRYCH: Fi, Rhyw ac Anabledd

‘It is a raw, positive and life-affirming film, and Rhys’s attitude to life is really moving. This is a brave and original commission for S4C’

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Best entertainment programme: The 1% Club

‘The 1% Club is a brilliantly executed family entertainment show that became a genuine hit’

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Best news/current affairs programme: The Whistleblowers Inside the UN

‘The film is full of fresh perspectives and new information. Huge kudos to the production team’

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Best soap/continuing drama: Emmerdale

‘The script deftly moves between hilarity and heartbreak to deliver a true-to-life story that resonated deeply with viewers’

Then Barbara Met Alan

Best single drama programme: Then Barbara Met Alan

‘A vibrant, entertaining and important show, bolstered by outstanding performances’

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Best specialist factual programme: Worlds Collide: The Manchester Bombing

‘The film’s strength is the unstuffy, non-patronising, intelligent storytelling it brings to a young audience’

Best Pre-School Programme - Lovely Little Farm

Best pre school programme: Lovely Little Farm

‘The judges were impressed with this sustainable, diverse production & its use of gentle storytelling to invoke joy & wonder’

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Best original programme: Mood

‘An edgy, entertaining, risky and reckless story. Both form and content feel very fresh and different’

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Best documentary series: Jimmy Savile: A British Horror Story

‘A powerful documentary that has used the archive in a chilling way to foreshadow and tell this horror story’

Derry Girls

Best comedy programme: Derry Girls

‘The show is comedy genius on every level, with loveable, funny characters you grow to love as friends’

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Best international programme sales: The 1% Club

‘The show launched on ITV1 in the UK in April 2022 to huge critical acclaim, an incredible response on social media and strong viewing figures’

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How Channel 4’s The Piano breaks the rules of competition shows

Richard McKerrow reveals how the twist at the heart of his latest show turned the genre on its head

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Bringing TV soap royalty to life

Nolly director Peter Hoar on harnessing nostalgia and finding inspiration from Netflix’s The Crown

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Analysis: What to do when talent goes rogue

Broadcasters have a moral duty around the behaviour of their stars, but navigating how to manage those who step out of line is a tricky business

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PSBs buck trend as streamers lead decline in commissions

Broadcast Intelligence’s Programme Index logged 1,748 commissions in 2022, down 9% on the previous year

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The big tech trends of the year

Leading industry figures reveal the technology that is exciting them most

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End Credits: Sarah Sapper

The Cornelia Street Productions managing director on jam-making, Blue Peter and cheesy scones

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Analysis: The battle for younger viewers

Plans to end CBBC’s linear presence reflect changing viewing habits. But what do those making shows for children & young adults make of the move

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Gallery: Broadcast Best Places to Work event

Winners in this year’s annual list attended a special event in London last week

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Kate Bulkley: Broadcasters and streamers play it safe in tough times

Reboots, safe bets and programme extensions are the order of the day as global production spending growth slows

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Sustainability comes to the fore in production

The amount of waste created making TV shows remains a concern but indies, broadcasters & suppliers are finding new ways to tackle the problem

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How His Dark Materials is opening up new worlds

Bad Wolf has spent the past six years working on its adaptation for BBC1, but the show’s impact on the TV industry will last much longer

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It’s too soon to mourn the death of the premium doc

The boom may have slowed down, but there is still life in the genre as streamers continue to want the best ideas, says Roy Ackerman

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Indies cautious over fresh proposals for C4

While the U-turn on privatisation has been widely cheered, producers are split over new proposals and what they could mean for the industry

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C4 saga is far from over as industry rings the changes

U-turn on privatisation comes during a period of flux for broadcasters and indies alike, writes Chris Curtis

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Putin vs the West, BBC2

Tim Stirzaker explains how a planned documentary about Russia foreign policy suddenly became more timely - and more challenging

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Best firms make staff feel valued

‘The top workplaces are offering more tangible support as the cost-of-living crisis unfolds’

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Best Places to Work: Peak Performers

We reveal and identify the corporate ethos and principles in five key disciplines that have helped turn these businesses into brilliant employers

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A helping hand in tough times

BPTW employers are both supporting their staff financially during the cost-of-living crisis and looking after their mental health

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The benefits of taking a break

This year’s Best Places to Work believe in helping their staff achieve a better work-life balance

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​No-one must be left behind in the streaming revolution

The fabric of our industry is at risk if we don’t protect universality, warns Jonathan Thompson, as DUK unveils a rebrand

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Why the best places to work have something to shout about

Responses show employees prioritising good communication, as well as recognition for a job well done and a flexible approach to work

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Opening the doors: Top initiatives to improve diversity

This year’s BPTW are committed to improving inclusion through recruitment & training, and making the industry more accessible

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CPL Productions

‘All senior managers are coached to ‘model’ good habits’

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Offspring Films

‘We want people to feel valued, to know there is no such thing as a daft question or suggestion’

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Lightbox

‘We work hard to try to ensure our teams and staff have a good work/life balance’

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Boom Cymru TV

‘We take time to thank teams for the smallest thing, but particularly for their hard work at the end of productions’

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Air TV

‘Building and maintaining a strong team is at the heart of how we operate’

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Objective Media Group

‘We want freelancers to feel part of the team - they are treated the same as our core staff’

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Blast! Films

‘We want everyone to feel they can do their best work, with proper support, guidance, nurturing and constructive feedback’

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Voltage TV

‘We recognise the huge importance of making time for family and friends’

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Stellify Media

‘We hope we have created a workplace in which everyone feels able to share anything – but we don’t take that for granted’

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Remarkable Television

‘Social events are organised as often as possible’

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Kudos

‘We try to create a culture that applauds and acknowledges individual successes’

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Initial

‘We believe kindness and collaboration breed productivity, that good business starts with being good to each other’

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Flicker Productions

‘You can bring your dog, pick up your kids and still progress in your career’

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Strawberry Blond TV

‘All of the perks, schemes and initiatives have come from our staff’

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The Whisper Group

‘Managers are trained to manage well and look for signs of people being overworked’

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‘We invest heavily in staff development and have a strong reputation for nurturing talent’

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‘There is no hierarchy – anyone can talk to anyone’

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Raise The Roof

‘We are passionately committed to developing people, and internships, initiatives and mentoring are a central part of our strategy to achieve this’

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Bad Wolf

‘Through Screen Alliance Wales, we engage with people from all backgrounds to encourage them to consider a role in high-end TV’

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RDF West

‘We are very open and good at sharing in each other’s little wins and successes’

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Dragonfly

‘We have weekly Thursday night drinks, and offer annual bonuses when we are doing well’

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Sixteen South

‘Over the past 15 years, we’ve crafted and recrafted our manifesto, which is posted on our website. It is our North Star’

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Rapid Pictures & Radiant Post Production

‘Very few people work five days a week on site, which seems to be the best option for our employees’

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Workerbee TV

‘We believe in rewarding hard work and promoting an atmosphere of teamwork’

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Potato

‘We believe we must stop, recognise and celebrate success at every opportunity’

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The Garden Productions

‘It’s important for us to be ‘best in class’ when it comes to looking after people’

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Firecrest Films

‘We invest heavily in staff development and have a strong reputation for nurturing talent’

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Dancing Ledge Productions

‘Our team outings include trips to concerts, plays and football games’

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Wildstar Films

‘At the time of the Fremantle deal, every employee was awarded a bonus in recognition of the role they played’

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Blue Zoo

‘We care about our teams and appreciate that individuals have a specific set of requirements based on their own circumstances and needs’

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MultiStory Media

‘We make innovative programmes that capture the heart of the nation and reflect the audiences that watch them’

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Studio Ramsay Global

‘Many members of the Studio Ramsay family have risen through the ranks – we are always keen to promote key players and reward their success’

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‘Our inclusive approach encourages a skills and resource-sharing relationship’

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Outline Productions

‘We aim to be a generous workplace and set up a yearly Christmas charity collection for local homeless charities’

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‘We aim to create an enjoyable atmosphere where nothing is taken more seriously than it needs to be’

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‘We constantly evaluate salaries so we can be pre-emptive in paying people what they deserve’

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Mindhouse Productions

‘The duty of care we offer to contributors in terms of psychological support has been extended to all those working on the programmes’

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Shine TV

‘We have policies to protect everyone, from H&S to grievance procedures and disciplinary protocols’

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Rare TV

‘Pay is important, but a culture of inclusion and recognition of everyone’s contribution also counts for a lot’

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Lifted Entertainment

‘We create a culture of learning and offer shadowing opportunities’

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Absolute Post

‘It’s important to us that staff feel the senior leadership team is approachable’

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Blink Films

‘We want to create a creative, generous, supportive workspace for all our staff’

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Finecast

‘It’s in our DNA to support one another’

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All3Media International

‘We strive to inspire, guide and nurture all individuals, and to reflect our values’

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Lockwood & Co., Netflix

Casting director Kharmel Cochrane on the quest to find the right young stars for the adaptation of a much-loved novel

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TV must put its money where its mouth is on diversity

Reluctance to listen to or pay black creatives reveals the darker side of shallow diversity intiatives, says Gabriella Lafor

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Analysts: Reed Hastings exit marks the end of an era at Netflix

SVoD is adjusting to the post-peak streaming market, according to GlobalData analysts

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Richard Wallis: The voice of the production manager must be heard

The current talent shortage in production management is emblematic of a bigger challenge - and it’s time to find out more

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The Warship: Tour of Duty, BBC2

Director and producer Chris Terrill on the unique experience of filming on HMS Queen Elizabeth, the Navy’s biggest warship

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Gallery: Writers’ Guild of Great Britain Awards

Selection of images from this year’s WGGB ceremony, held in London on Monday

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First look: The Gold, BBC1

Tannadice Pictures thriller explores the 1983 Brink’s-Mat robbery

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Gallery: Michelle Donelan visits C4 in Leeds

Culture secretary toured Majestic building and met the team behind 4Skills

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The Territory, Disney +

Producer Lizzie Gillett on the bespoke finance strategy and collaborative approach to the award-winning documentary about land theft in the Amazon

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​Why technical support is heading for a perfect storm

Ian Somerville at Jigsaw24 Media explains why dedicated specialist tech support is more essential than ever before

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Gallery: Maternal, ITV1

Selection of images from the ITV Studios hospital drama which launches Monday 16 January

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Keely Winstone: Time for an alternative to factual drama

The Stonehouse doc maker asks whether the way we label retellings of history could actually be the problem

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Michelle Donelan: why I won’t sell C4

Exclusive: culture secretary reveals rationale for calling off previous regime’s privatisation plan

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C4 is safe – but now faces in-house dilemma

Broadcaster will now enter a new era, irrespective of avoiding privatisation

Advanced TV

Gearing up for a world without traditional broadcast TV

Pierre de Lannoy at MiQ discusses how the industry can adapt to an internet-only TV environment

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Quiz of the year

Test yourself in our TV quiz of 2022

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Top 10 behind the scenes of 2022

Including Tom Daley: Illegal To Be Me, Lovestruck High, Tell Me Everything and The Responder

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Top 10 comment articles of 2022

Including Ian Katz, Marcus Ryder, Jules Hussey and Steven D Wright

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Dance Monsters, Netflix

Sarah Tyekiff, head of unscripted and executive producer, explains how a talent show featuring dancers digitally disguised as monsters came to be

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Top 10 interviews of 2022

Including Anne Mensah, Kevin Lygo and Jane Featherstone

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The BBC show that shaped me

To celebrate the corporation’s centenary, key industry figures reveal the shows that have had a lasting impact on their lives and careers

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End Credits: Diane Dunbar

Tern Television’s head of production on office dogs, emojis and Life on Mars

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Mike Darcey: Bob Iger has his work cut out to bring back Disney magic

The problems the former chief executive has been brought back to fix are the result of his own strategic calls

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Year in Review: Three prime ministers and a funeral

From Paddington at the palace to C4’s My Massive Cock, we look back at the most sensational and unmissable moments in TV in 2022

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Broadcast’s shows of the year

Members of the team pick their favourite programmes of 2022 and predict what will cut through next year

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Vardy v Rooney: A Courtroom Drama, Channel 4

Executive producer Tom Popay on distilling the court case that gripped the nation into two episodes of TV

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Deep Fake Neighbour Wars: Faking it for laughs

Tiger Aspect’s Deep Fake Neighbour Wars uses state-of-the-art technology to show ‘celebrities’ feuding with each other over the garden fence

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Top 20 news stories of 2022

Click for a round-up of the year’s most significant events

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Using Dolby Atmos to distribute production music

Garry Judd at Artful Production Music explains why libraries should look to offer Dolby Atmos music mixes

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Broadcast Sport Tech Innovation Forum: City Studios sets the standard for in-house content

A panel of execs from Manchester City FC’s new studio set-up discuss how it has transformed the way the club creates content

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Studios rush to expand as demand soars

New facilities are being built around the country and existing sites are expanding, but concerns remain over soaring energy costs and a lack of crew

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Roundtable: Doc-makers stand up for right to take risks

Four winners of this year’s Grierson Awards share their concerns about the documentary space

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Andy Harries on Left Bank’s third act

With a raft of commissions for both terrestrial channels and streamers already in the works, the drama indie is well prepared for life after The Crown

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Podcast: how far has the TV industry come since #MeToo?

Times Up UK chair Heather Rabbatts discusses the progress made and setting up the Independent Standards Authority

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Scott Bryan: Rebranding channels can create confusion rather than clarity

Updating long-established channel and platform names for the streaming age doesn’t always pay off

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The Snowman: the film that changed Christmas, C4

Producer/director Robert Neill on exploring the legacy of a short but magical film

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No one wins if the balance of reboots tips too far out of kilter

It makes sense for broadcasters to play it safe, but reboots are limited and offer no guarantees

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​Paul Sumpter: Creating the new sound of ITV and ITVX

The creative director of the sound house behind the musical aspects of ITVX explains how it came about

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Spike Milligan: The Unseen Archive, Sky Arts

Director Seb Barfield on capturing the chaos and comedy of Spike Milligan in an archival documentary

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My Dead Body, Channel 4

Director Sophie Robinson on the challenges of honouring life and dignity in a film about dissection

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First look: Better, BBC1

Sister thriller explores the complex bonds of loyalty and family

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How deaf, disabled and neurodivergent people are claiming their place in Bafta

Hester Phillips explores how Bafta has shifted its approach to tackling ableism and accessibility in the industry

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COMMENT: A smarter way to work with metadata

Sunil Mudholkar, vice president of product management at EditShare on the value of handling metadata more efficiently

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Broadcasters overlook the Midlands at their peril

The Midlands region accounts for more than a quarter of BBC licence fee income - it’s time some of that was reinvested, Will Hanrahan says

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Live at the Moth Club, Dave & UKTV Play

Director Rupert Majendie on bringing live ensemble comedy to UK television screens

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End Credits: Steve Monger

The Roughcut TV producer on his love of foreign crisps, boxing and Ian Wright

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BBC Christmas 2022 highlights

A Ghost Story for Christmas: Count Magnus and Big Zuu’s Christmas Eats are among the festive highlights

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Podcast: Ben Willbond and Laurence Rickard

Comic duo behind Horrible Histories, Ghosts and Yonderland discuss their feature-length alien invasion comedy We Are Not Alone

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Sign2Win is quietly revolutionary television

The gameshow featuring Deaf contestants, host and crew has challenged the industry to produce more gripping, inclusive TV

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Kanaval, BBC4

Producer Natasha Dack Ojumu on the long journey to the Jacmel carnival

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Broadcasters target young with rise in digital content

Short-form commissions and social media talent key to battle for younger audiences

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How AI can automate multi-language dubbing

Jesse Shemen, co-founder and CEO of Papercup explains how AI can help your content reach big global audiences on FAST platforms

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First look: Waterloo Road, BBC1

Rope Ladder Fiction and Wall to Wall North school drama returns in January

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Llinos Griffin-Williams on the quiet revolution at S4C

With a focus on co-productions and younger audiences, the chief content officer is leading a transformation of the Welsh-language channel

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Broadcast Sport Leaders’ Forum: The future of sports broadcasting

C4’s Pete Andrews, BBC Sport’s Ben Gallop and Sky Sports’ Yath Gangakumaran discuss partnerships, platforms and the impact of new players

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First look: Vardy v Rooney: A Courtroom Drama, C4

Chalkboard’s docu-drama following the high-profile court case will air next month

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Stripped shows and indie deals prove factual firepower

The genre is showing its strength with a raft of indie acquisitions and some bold and punchy scheduling

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C4 at 40: What does the future hold?

Stewart Purvis, David Abraham, Jan Younghusband and Stephen Lambert reflect on a successful past and the bumpy road ahead

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Written in The Stars, Discovery+

Creative director Rosie Bray on whether relationships (and TV shows) can ever be left up to fate

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Dean Possenniskie: A+E will grow through programming not M&A

A+E Networks EMEA and UK chief says company is focused on factual brands through third parties rather than owning indies

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Abby Ajayi: The road to Riches

The creator of ITVX’s glossy new drama Riches explains why she had to move to America to get the chance to run her own show

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Who completed the Commissioner Survey?

More than a third of UK commissioners provide a vital insight into the thinking of the industry’s key decision-makers

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Confidence takes a hit as costs rise

‘The economic situation is having an impact on commissioners’ appetite for risk’

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Danny Brocklehurst: Think hard before bringing a real-life murder case to screen

Audiences love true crime, but film-makers need to consider its impact on the community involved, says Danny Brocklehurst

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Sector feels the squeeze

Commissioners name falling tariffs and spiralling production costs caused by the post-Covid talent crunch among their major concerns

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SVoDs’ grip on content loosens

The tug-of-war for the best ideas is still fierce – but traditional broadcasters sense that there are cracks in the appeal of the streaming giants

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Caution reigns as costs rise

Rising production costs are prompting a more risk-averse approach to commissioning

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Kate Bulkley: Economic uncertainty won’t put the brakes on M&A boom

Hunger for intellectual property will continue to drive acquisitions from strategic buyers in spite of rising debt costs, says Kate Bulkley

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Zoom boosts indie relations

Remote pitching is fostering greater collaboration between commissioners and indies

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Three-way tie at top of peer poll

Ben Frow, Anne Mensah and Shaminder Nahal share the honours

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Faraz Osman: What’s the alternative to Twitter?

Broadcasters and producers have few other ways to connect with audiences and get feedback on their shows, says Faraz Osman

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Three Mothers, Two Babies and a Scandal, Amazon Prime

Series director Alice McMahon-Major on telling a complicated, emotional story while evoking the early days of the internet

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Life rights – a ‘mostly true’ story

Adapting a real-life narrative often means navigating a complex range of legal issues, says Nick Swimer

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Risk-taking is required to find next gen hits

Telly’s not rubbish says Andrew Newman, but it wouldn’t hurt if it got a bolder

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Ghosts (US), BBC3

Joe Port explains how he and writing partner Joe Wiseman approached moving a show about British history across the Atlantic

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Tech updates offer a photo-real future for virtual production

Rob Chandler of Morden Wolf explains why Unreal Engine 5 and nVidia’s 4000 series graphic card will revolutionise virtual production

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Limitless with Chris Hemsworth, Disney+

Arif Nurmohamed on how to make internal battles and healthy living advice visually gripping

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Gallery: Outsiders, Dave

Selection of images from the outdoor challenge series, produced by Renegade Pictures and The Mitchell & Webb Co

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Olga da Polga, CBeebies

Executive producer Jackie Savery explains how to bring out the comedic talents of guinea pig

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First look: Significant Other, ITVX

Quay Street Productions comedic-drama airs in 2023

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Gods of the Game: A Football Opera, Sky Arts

Executive producer Lisa Fairbank on bringing together the international worlds of football and opera on stage and screen

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Gallery: Grierson Awards

Selection of images from this year’s Grierson Trust Awards ceremony, held in London on Thursday

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Ancient Apocalypse, Netflix

Executive producer Bruce Kennedy on attempting to capture a seamless storyflow despite continual Covid challenges

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Podcast: Hugo Blick unpacks The English

Creative team behind BBC/Amazon epic western on ambition and emotional connection

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COMMENT: The value of hands-on training for creative roles

Rachel Nicholson at Backstage Academy highlights the importance of a skills-based education

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Gallery: The Crown, Netflix

Selection of images from the fifith season of Left Bank Pictures’ royal drama

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First look: Litvinenko, ITVX

David Tennant leads the cast in  ITV Studios, Tiger Aspect and Livedrop Media four-parter

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Mariupol: The People’s Story (Panorama), BBC1

Producer Hilary Andersson on the challenges of getting footage and eyewitness testimony out of a besieged city

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Creative Review: space, music icons and warring gangs

UK post houses’ best recent work, from creating a luxury space cruiser to filming global superstars and a rebellious composer

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BBC and C4 must fight for their future amid political turmoil

A grown-up debate is required – but will the circumstances allow for a nuanced and intelligent exchange?

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End Credits: Lana Salah

Rex’s creative director on synchrinised swimming, Michael Fabricant and tomato soup

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Gogglebocs Cymru, S4C

Executive producer Sioned Wyn on the challenges of bringing a beloved reality format to a Welsh language audience

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ITVX bids for youth audience with Tell Me Everything

Behind the scenes on Noho Film & Television’s coming-of-age drama, which balances comedy with mental health and social media

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Escaping the frozen middle: can TV develop clearer career pathways?

The lack of opportunities for people in mid-level roles to advance their careers is a problem across the industry

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UKTV looks to future with revamped channel offering

UKTV commissioners discuss their plans to bring in fresh faces, expand Dave’s audience and order original content for Drama and now free-to-air W

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Top marks to Strictly for putting inclusivity at its core

The BBC1 show is leading by example, but now the rest of the industry should follow suit, says Fatima Salaria

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In pictures: Northern Ireland Screen’s four-year strategy launch at Mipcom

Selection of images from the special lunch held at the Hotel Gray D’albion in Cannes on Monday (17 October)

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Talent shines bright in a record year

‘It is reassuring to know that for the stars of the future, talent and kindness are compatible attributes’

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Lorraine Heggessey: Documentary-makers are still pushing the boundaries

As the 50th Grierson Awards shows, the genre is in great shape, but fresh voices are needed if it is to continue to flourish, says Lorraine Heggessey

Dean Webster

Hot Shots 2022: Development

Dean Webster, Tom Price, Dorsa Nam, Harald Lummis, Jacqui Baker, Jack Browne, Alice Boorman, Hollie Abbott, Samuel R Palmer, Jack Dargov

Alex Fountain

Hot Shots 2022: Editors

Alex Fountain, Josh, Manley, Yasmin Amey

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Sam De Villiers

‘Her grasp of the clearance process is well beyond some of the most experienced series producers’

Cicelia Deane

Cicelia Deane

‘Cicelia is determined to drive opportunities for black talent, at whatever level, both on and off screen’

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Krizzah Policarpio

‘Krizzah is someone really going places and we just hope we can hang on to her coat tails’

Tir Dhondy

Tir Dhondy

‘From producing to presenting, she continues to go from strength to strength’

James Phillips

James Phillips

‘James is brilliant at finding new and surprising ways to improve ideas and formats’

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Hot Shots 2022: Production managers

Kitty Toon, Rebecca Hathway, Sam De Villiers, Krizzah Policarpio

Daisy Martey

Hot Shots 2022: Writers

Daisy Martey, Kaamil Shah, Amanda Duke, Amy Ng, Ameir Brown, Jamie Davis

Jack Retallack index

Jack Retallack

‘I was impressed with Jack’s strong natural eye and visual flair as a director’

Zara Powell index

Zara Powell

‘Zara is at the top of her game in every role and project. She is on a meteoric trajectory within the industry’

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Riva Japaul

‘Her enthusiasm, emotional intelligence and editorial instincts are a powerful combination’

Ameir Brown index

Ameir Brown

‘Everything you could ask for – interesting, interested, able to bring a seemingly limitless number of ideas to the table’

Jacqui Baker

Jacqui Baker

‘Jacqui is a future leader of our industry – watch this space’

Harald Lummis

Harald Lummis

‘Harald has a fresh voice that is desperately needed in this industry’

Josh Manley

Josh Manley

‘Unflappable, upbeat, creative and enthusiastic’

Dorsa Nam

Dorsa Nam

‘I was struck by Dorsa’s confidence and breadth of knowledge of uscripted television’

Jamie Davis

Jamie Davis

‘Jamie is smart, funny and wise, with a keen eye for production’

Rebecca Hathway

Rebecca Hathway

‘Rebecca will no doubt keep climbing the production management ranks until she hits the top’

Alice Boorman

Alice Boorman

‘Alice is an incredibly hard-working, genuine and confident team player, who can put her hand to any task’

Trent Williams-Jones

Trent Williams-Jones

‘Trent is a real talent. His taste, judgement, commitment to vision and overall nous is unchallenged’

Rebecca Hewett Farmer index

Rebecca Hewett-Farmer

‘She creates content that is funny and has a real eye for high production value’

Abigail Dankwa index

Abigail Dankwa

‘A creative visionary and a breath of fresh air’

Amanda Duke

Amanda Duke

‘Working with Amanda was extraordinary. Her nose for a story, and her tenacity to nurture it and see it through, was mindblowing”’

Amy Ng

Amy Ng

‘Amy’s voice sings out with her natural characters and refreshing worlds’

Rebecca Arnold

Rebecca Arnold

‘Her teams love working with her – she is clear, collaborative, caring and leads by example’

Alex Thomas index

Alex Thomas

‘He has that genuine curiosity and derring-do that you need to make compelling films – and he shoots beautifully’

Kaamil Shah index

Kaamil Shah

‘The humour, intelligence and new ground being broken in Kaamil’s work is kicking down doors for him’

Jack Dargov

Jack Dargov

‘In his short time with us, Jack has already elevated our work enormously. He’s bound for the greatest of things’

Kiran Moodley index

Hot Shots 2022: News and current affairs

Kiran Moodley, Tir Dhondy, James Phillips, Zahra Warsame

Tasha McLintock index

Tasha McLintock

‘Tasha has razor-sharp judgement, a proven track record of excellent storytelling and thrives around the edit’

Jack Browne

Jack Browne

‘His playfulness in framing character and narrative, and his sophisticated understanding of tone, are those of a mature screenwriter’

Evelyn Yilin Liu

Evelyn Yilin Liu

‘Evelyn is an energetic and resourceful new talent who makes the most of every opportunity that this industry throws up’

Zahra Warsame index

Zahra Warsame

‘Zahra is a tenacious journalist and a genuine role model’

Adam Bouabda

Adam Bouabda

‘No matter the challenges, he got up, smiled, networked and pushed onwards and upwards’

Khurrum M Sultan

Khurrum M Sultan

‘Khurrum’s passion, dedication and talent shine through in both his directing work and as a person’

Laura Robinson index

Laura Robinson

‘She has vision, flair and ideas, and knowledge and understanding of communities that many others don’t’

Samuel R Palmer

Samuel R Palmer

‘Sam has proved himself to be one of the best development brains in the business’

Faith Musembi

Hot Shots 2022: Producers

Faith Musembi, Riva Japaul, Molly Boughen, Zara Powell, Adam Bouabda, Tasha McLintock, Rebecca Hewett-Farmer, Rebecca Arnold, Trent Williams-Jones

Seb Thiel index

Hot Shots 2022: Directors

Sebastian Thiel, Laura Robinson, Evelyn Yilin Liu, Alex Thomas, Abigail Dankwa, Jack Retallack, Beya Kabelu, Khurrum M Sultan

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Hollie Abbott

‘To be such a bright and capable department head at her age is remarkable’

Janine Thomas

Janine Thomas

‘Janine’s editorial instincts for documentaries are second to none’

Yasmin Amey index

Yasmin Amey

‘She can handle anything with confidence and style’

Beya Kabelu index

Beya Kabelu

‘Beya is an intellectual – great at analysing story and brilliant with contributors’

Alice Ramsey

Hot Shots 2022: Commissioners

Alice Ramsey, Cicelia Deane, Janine Thomas

Tom Price

Tom Price

‘Tom works tirelessly, creating inspired pitch material and cutting the best desktop sizzles in the business’

Molly Boughen index

Molly Boughen

‘With skills in storyfinding, access, shooting and cutting taster tapes, she’s a core member of development’

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Opening the doors to young talent

Five rising TV stars on how they got their big break and why the industry should both help established online talent make the transition to TV

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Jules Hussey: why I quit producing

Ralph & Katie and Guilt producer sets out her reasons for focusing on fledgling indie Brazen

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Louis Theroux Interviews, BBC iPlayer

Executive producer Arron Fellows on creating a fresh approach to interviews, while capturing every moment

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Crew photo: Unapologetic

Channel 4’s topical debate show from Cardiff / SBTV returned for a second six-part run last night, produced by a diverse crew

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Derek Drennan: retaining the best production management talent

Retaining production staff is a growing challenge, and will require a shift in employer approach

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Gallery: BBC at 100

Highlights from the BBC’s first centenary of broadcasting

Marianne Jean-Baptiste (In Fabric, Boxing Day)

First look: The Following Events Are Based on a Pack of Lies, BBC1

Sister drama about two women and a conman airs next year

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The Hunt for the World’s End Killers, BBC1 Scotland

Executive producerMick McAvoy on making a true-crime doc two-parter about a gruesome doube murder

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Mipcom returns bigger and bolder

International editor John Elmes highlights which programmes are likely to make biggest splash in Cannes

Heartbreak High

Netflix hastens ad-supported plan to take on Disney+

GlobalData, the new owner of Broadcast / MBI, expects budget-conscious consumers to embrace Basic with Ads tier

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First look: Happy Valley, BBC1

Lookout Point drama returns for a third and final series

Martin Compston's Scottish Fling

Martin Compston’s Scottish Fling

‘Martin and Phil are rediscovering Scotland as they’ve never known it before, as is the viewer’

Wedding Valley

Wedding Valley

‘The series has emotional jeopardy and strong characters, as well as a degree of looking at the cost’

Drowning in Lies

Mipcom Hot Picks: Factual

True crime dominates this space, but science & history and royal docs have strong footing, while body positivity is back on the agenda

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The Real Mo Farah

‘An exceptional story that has never been told before and represents everything we hoped for as our launch into the marketplace’

Air Cocaine

Air Cocaine

‘The story is captivating, bold and unique’

Con Girl

Con Girl

‘There’s a whole wave of buyers saying: ‘We’ve heard that story before, give us a new story’. Con Girl is that story’

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Raising the Mary Rose: The Lost Tapes

‘The story has the potential to travel more widely and appeal to streamers’

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TS Eliot: Into The Waste Land, BBC2

Director Susanna White on unbuttoning the legacy of a notoriously private poet through film

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Prince Andrew: Banished

‘Banished delivers a premium, access-driven documentary, thoroughly researched and investigated’

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The Man Who Stole Einstein’s Brain

‘Whether in the UK, Canada, Japan or China, everybody knows something about Einstein’

Send Nudes Body SOS-1

Send Nudes: Body SOS

‘It’s studio-based, with a host, strong format beats and technology that is wholly replicable’

Drops of God 2

Drops Of God

‘Being locked up in our houses during the pandemic has allowed us to appreciate pleasures like wine’

Beacon 23

Beacon 23

‘Beacon 23 is a high-end production – like a feature film spread out across a series’

The Swarm

The Swarm

‘It is a high-value drama from a major producer based on well-known IP’

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Below

‘It takes on complex themes through a multi-layered character’

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The Last King Of The Cross

‘It’s a salacious, violent and gripping crime story that crosses borders and cultures’

The Rookie Feds

Mipcom Hot Picks: International Scripted

The tension of a modern warfare thriller, environmental dystopia and a poignant comedy drama centred on disability lead this year’s titles

Colin From Accounts

Colin From Accounts

‘It’s a sweet, fresh and undeniably funny show that has caught the zeitgeist’

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Dark Hearts

‘The topic will resonate due to the international awareness of and involvement in the war in Iraq’

Naked, Alone and Racing to Get Home

Mipcom Hot Picks: Formats

Competition & romance are en vogue, but the common thread among these shows is irreverence. TV should be fun & these shows embody this

Loaded In Paradise - UK candidates

Loaded In Paradise

‘We wanted something that had all the sunshine and aspiration of a great dating show, but wasn’t about dating’

Love For The Ages 3

Love For The Ages

‘It’s fun and frothy, with just the right amount of controversy to make it a hit’

Undressed, Endeavor Content

Undressed

‘It has classic makeover and transformation show elements, where you get the big reveal, but it also goes deeper’

BTS - Broke

Going for Broke: a tricky path from football to TV

Marvin Sordell on breaking the stigma of footballers being solely focused on the game & how life experiences can translate into fresh takes in TV

A Cut Above 2

A Cut Above

‘The series is pretty universal in the structure but still has a Canadian feel’

Barmageddon (2)

Barmaggedon

‘It’s light and the talent really helps it to cut through the competition’

The English F

The English

‘Everything feels huge and cinematic. It doesn’t feel like an everyday piece of television’

The Light in the Hall2

The Light In The Hall

‘It is a compelling, highly emotional, psychological drama that grows to be about much more than finding a body’

Maxine

Maxine

‘It’s a sensitive and impactful drama in which audiences can explore the reasons why she protected him and assess her level of culpability’

Stuck

Stuck

‘Viewing habits are so fragmented, buyers are always looking for something they can hang their marketing on & Dylan’s track record qualifies’

rogue heroes

Mipcom Hot Picks: UK scripted

Spanning 19th century Wild West to World War II, our UK scripted titles travel from the epic to the intimate

Black Ops

Black Ops

‘It is influenced by the classic cop comedy and the history of iconic cop double acts, but it’s not Bad Boys’

Wreck_Jack Rowan as Danny & Oscar Kennedy as Jamie

Wreck

‘We are in a period of high competition between streamers and local broadcasters, and one of the main lines of product driving that is young adult’

Spellbound - Cottonwood Media main image

The industry must protect its ability to collaborate across Europe

Director Alex Jacob argues European co-production is a brilliant experience - but Brexit is making it difficult

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Secret Superpowers with Tom Daley, Snapchat

Tom Hemsley, executive creative director at Little Dot Studios, explains the challenges and opportunities of creating a show for mobile

Matt Littleson as Limbo, Rian Gordon as young Jimmy, Tom Glynn-Carney as young Tully, Paul Gorman as Hogg and Mitchell Robinson as Tibbs

First look: Mayflies, BBC1

Synchronicity Films adaptation of Andrew O’Hagan’s novel

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Trawlermen: Hunting the Catch, BBC1

Executive producer Jamie Balment on casting and co-ordinating a show at the mercy of the elements

Francois Guyonnet index

End Credits: Françoise Guyonnet

Studiocanal’s executive managing director on painting and Paddington

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First look: I Hate Suzie Too, Sky Atlantic

Bad Wolf’s three part special airs in December

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Dal y Mellt, S4C

Producer Llyr Morus on why filming a Welsh language drama about a diamond heist wasn’t all plain sailing

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Vice TV targets Gen X with nostalgic storytelling

US cable network tackles familiar subjects with dark and edgier tone in pivot to older demographic

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Best Kept Secrets: hidden gems from around the world

Five executives from across the globe recommend the local shows that have caught their attention and deserve to be better known internationally

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Ryan Pirozzi & Lauren Anderson: Leading Amazon’s AVoD charge

Freevee head and content chief reveal their plans to build up the service’s slate of originals and bring in a younger audience

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Roundtable: Impact of the global drama explosion

Commissioning and production execs discuss the challenges of serving viewers while coping with rising costs and increased competition

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Reginald The Vampire: Comedy with bite

How the Syfy series is subverting the comedy horror genre by sinking its teeth into issues such as race, sexuality and body positivity

Roy Ackerman

Pitching shows in the US is a whole new ball game

I’ve had to quickly master new terminology and working practices in a country where the deal is king, says Roy Ackerman

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Red Bull Studios puts creative risk-taking at heart of strategy

From music and dance to future technology, RBS is on the hunt for high-end ideas with global reach

Open House

Concern over rising costs as growth returns

Production cost inflation and access to rights are the chief causes of anxiety for this year’s survey respondents

Love In The Flesh

Distributors Survey 2022: Distributors bounce back after Covid

Revenues up year on year as production gets back on track, but still below pre-pandemic levels

Queen Funeral 3

The Queen’s funeral was a TV production masterclass

As King Charles III takes his place on the throne, the global audience’s appetite for royal stories will only grow, says Nick Bullen

Kelly Day index

Kelly Day: Prime Video is in it for the long haul

Vice-president of international on why the streamer remains a core part of Amazon’s growth strategy

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Peer Poll: All3Media International wins five in a row

Friendly and personal approach puts It’s A Sin distributor top for fifth consecutive year, while Abacus makes survey debut

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John Landgraf on pushing hard to keep FX special

In an industry awash with content, the FX Networks chair is convinced that curated and well-crafted shows can stand out

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Mipcom returns in full force to an industry in a state of flux

The production boom continues apace, but industry is grappling with a raft of new challenges

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Fifth Season bids to be a borderless business

Graham Taylor & Chris Rice on their ambition to source projects from around the globe and leave the industry better than they found it

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Growth returns but sector feels economic pinch

“Fighting consolidation and competing for programming, a growth story is a good story and UK distributors have stepped up once again”

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Hollyoaks’ Big Autumn Stunt, Channel 4

Series producer Phil Dodds on creating ever more spectacular stunts while maintaing an emotional heart

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Our Boarding School, CBBC

Executive producer Richard Marson talks about building trust with subjects

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WWII: Secrets From Above, National Geographic

Series director Johnny Shipley explains the painstaking research and VFX work that went into this Second World War doc series

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Don’t Hug Me I’m Scared, Channel 4

Executive producer James Stevenson Bretton on turning six-minute YouTube videos into half-hour sitcom episodes

David Beckham Save Our Squad

First look: Save Our Squad with David Beckham, Disney+

Twenty Twenty and Studio 99 series launches 9 November

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Escape From Kabul Airport, BBC2

Director and producer Jamie Roberts on the inside story of the Taliban takeover of Afghanistan

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One Day in Ukraine, BBC1

Writer and director Volodymyr Tykhyy on the process of capturing a the realities of life on single day in Ukraine during the Russian invasion

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Michael Palin: Into Iraq, Channel 5

Directer Neil Ferguson on filming Michael Palin on a 1,000 mile journey across Iraq, one of the most dangerous countries in the world

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Marcus Ryder: Queen’s death has exposed UK media’s diversity problem

‘At important national moments such as these, it is vital that the whole country is represented in all its diversity’