Eight on the Slate: What commissioners at Australia’s ABC and Ireland’s RTÉ want

Eight on the Slate is a new strand of monthly articles brought to you in partnership with Broadcast Intelligence that explore what commissioners from around the world are looking for and how producers can work with them.

From rights and windowing to key genres and programming priorities, we explore the must-haves for those holding the purse strings and how they are shifting their demands in a fast-moving landscape.

Teresa Smith, RTÉ, Ireland

The first profile is from Teresa Smith, commissioning editor of factual entertainment at Ireland’s RTÉ, who outlines her wish for shows that engage 18- to 44-year-olds and formats that offer offshoot opportunities.

What makes a show uniquely suitable for your broadcaster? 

Shows that are accessible to a mainstream audience, that have an authenticity through strong casting and storytelling. Audiences like seeing characteristics and situations that capture and reflect Irish culture, whilst at the same time having broader themes. Many of the original formats I’m seeing now are very ambitious and would appeal to domestic audiences whilst having international appeal. Of course, shows that will perform well cross platform are a priority for us, and this is always a consideration as part of the development process.

What genres do you commission? 

I am the commissioning editor of factual entertainment shows. These are ambitious, brand defining series, produced for their entertainment and escapism values. The Traitors Ireland, First Dates and Ireland’s Fittest Family are all part of my slate.

What are your top priorities for your upcoming slate? 

My priorities for commissioning are capturing the mainstream audience but especially engaging with 18- to 44-year-olds. Also crucial is maintaining linear but expanding digital and creating a pipeline for succession programming. Finally, developing formats that will have impact in the domestic market and are returnable, but also have the potential for interest internationally. 

Are there any trends you’re keen to capitalise on? 

What are the offshoot opportunities for formats, can they have an accompanying show or podcast like Traitors Uncloaked?  Where is the potential for elevation? Also what inspires ideation, keeping an eye on social content. Is there an idea there that can be scaled up, like “Lets Play Ball” which started life on YouTube? Can a new twist be put on familiar themes? For example, Nobody’s Fool is like a hybrid of a quiz and reality show.

What do you NOT want to be pitched? 

As a commissioner you never know what is going to land on your desk, so why would you limit that potential? What I encourage is top line pitches first, so if it’s something I’m not interested in, it’s a quick no, without anyone’s time being wasted.

What would surprise people about your slate? 

My slate is varied and deals with the mind (the game strategy of The Traitors), body (the physical challenge of Ireland’s Fittest Family), heart (the romance of First Dates). Factual entertainment covers a broad remit.

What are the key components you consider for international co-productions (editorially and/or in terms of finance models and rights)?

The main aim is to safeguard the producer’s IP and get the fairest deal possible for them and for us as the broadcaster. Protecting the authenticity of the formats is another consideration, and of course, first and foremost, it must work for domestic audiences before we think of the international appeal.

How, and at what point in the development process, should producers pitch to you? 

I like to receive top line pitches early, so that producers don’t waste their time developing an idea where we may have something similar already in development, may not be a priority for us at that time or may not fit into the brief. A quick no is always best. Our factual entertainment commissioning portal is here. Registration is necessary to submit ideas and you can register here.

For contact details and more information, visit Smith’s profile on Broadcast Intelligence.

Jennifer Collins, ABC Australia

In this profile, Jennifer Collins, director of screen at the ABC, reveals her need for ambitious series and international coproductions at the Australian media stalwart, which commissions more than 500 hours of first-run originals annually.

What makes a show uniquely suitable for your broadcaster?

We’re always interested in quality programmes that are bold, surprising, memorable and impactful. The kind of shows people talk about long after they’ve watched it. In a crowded marketplace, we want premium programmes that stand out, are ambitious, trigger conversation and are unmissable.

What genres do you commission?

We commission scripted drama and comedy, arts, factual and documentaries, children’s and family, entertainment and Indigenous content.

What are your top priorities for your upcoming slate?

Our streaming platform ABC iview is at the heart of our strategy, and our focus is on premium content and original formats. Top priorities include scripted and premium factual. 

Are there any trends you’re keen to capitalise on? 

Premium scripted and factual continue to grow in popularity with our audience. Whether scripted or unscripted, shows with heart and humour continue to deliver.

What do you NOT want to be pitched?

Rebooted formats or derivative ideas. Our focus is on originality, stories, voices and original formats that offer something fresh and distinctive.

What would surprise people about your slate?

People might be surprised by just how much Australian content the ABC delivers. The ABC is the country’s largest commissioner of local programming, with more than 500 hours of first-run original content each year. We’re proud to be the home of Australia’s no.1 free-to-air drama, comedy, documentary, and children’s programmess. 

What are the key components you consider for international co-productions?

We work on international co-productions across all genres but most often in scripted, children’s, factual and documentaries. We look for strong creative partners who are aligned in ambition. Pitches must have either strong Australian angles, talent or locations.

How, and at what point in the development process, should producers pitch to you?

The ABC welcomes pitches from external producers and independent production companies. We like producers to come to us early with their ideas. If you’re passionate about a subject area, talk to us early. You can find the pitching portal here: Pitch - TV Independent Production

For contact details and more information visit Linton’s profile on Broadcast Intelligence.