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Dan Li: Red Eye’s representation of South East Asians is long overdue
SE Asian actors are too often confined to minor, stereotyped roles - but mercifully things are starting to change
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Lucy Pilkington: Co-pros aren’t scary - think of them as dating
Co-production can be a quick fling or a long-term thing - but the right partnership can be a win for everyone involved
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Drama co-pros feel the pinch, leaving projects in limbo
Even the best-funded genre is under pressure as market conditions prompt a rethink
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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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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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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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Capital gains: The UK welcomes the world
The London TV Screenings has cemented its place in the industry’s calendar
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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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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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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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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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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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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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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
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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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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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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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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