Comment
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CommentToo much true crime is suffocating the documentary sector
Exec producer Neil Grant reveals his disillusionment at the glut of predictable films and his fears for the genre’s future
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CommentAnalysis: Channel 4 unveils big swings for 2026
Broadcast examines some of the shows that Ian Katz says represent the PSB’s strongest slate in a decade
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CommentAfter a century of documentaries, we must prevent an exodus of talent
Grierson Trust MD Sylvia Bednarz says supporting freelancers and training the next generation must be priorities for the documentary genre
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CommentHow becoming a job share team made us more than the sum of our parts
Secret Genius’ senior games producers Sammy Summers and Tasha Colvin on how the productions benefit when two people work as a single unit
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CommentScience programming can be saved with bold, multi-platform storytelling
The Royal Institution Christmas lectures show how much love there still is for the genre, says Windfall’s David Dugan
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CommentShaping tomorrow: why Wales deserves its place on the global creative stage
Brilliant things are happening in Cymru, but it needs a coordinated strategy to continue fulfilling its creative potential
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CommentThe BBC Trump scandal is about more than one bad edit
There are deep structural problems which led the BBC to its current predicament, writes Hugo Ward
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CommentDorothy Byrne: The BBC’s biggest problem is its silence
The BBC has shot itself in the foot, not through inherent bias but by failing to take action when the crisis hit
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CommentIn an evolving media landscape, we must work together to amplify new voices
ITN Productions’ head of digital content Rubina Pabani on how the company is platforming new talent
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CommentRachel Corp: None of us can save public service journalism alone
Trusted journalism has never been more important and the industry must adapt and collaborate to save it, the ITN chief executive says
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CommentHow collaboration helped Bakers Dozen catfish internet stars
Barbara Emile on creating Don’t Get Catfished for Channel 4.0
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CommentWhere are all the funny women?
Despite a few high-profile successes, there are still depressingly few sitcoms written by women. Chelsea Kania asks why
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CommentHow TikTok helped Virgin Island become a viral hit
Channel 4’s Jonah Weston on a social campaign which outmanoeuvred prudish algorithms to draw in young viewers
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CommentInvite-only events leave too many filmmakers out in the cold
The proliferation of exclusionary broadcaster gatherings is killing festival networking and damaging the industry
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CommentWe must nurture the UK’s sport and entertainment output for global success
Whisper’s Sunil Patel urges the government to do more to secure the UK’s future as the global home of entertainment, sport, culture and collaboration
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CommentWe need to shout about women’s contribution to true crime
Women make up the majority of the genre’s viewers and the victims depicted on screen - but they’re also shaping the narrative
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CommentSpelling out what Trump’s tariffs could mean for TV
Jeremy Roberts, head of TV & film at London legal firm Sheridans, on the indirect consequences of US action
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CommentWhy Last One Laughing UK is more than just a (very) funny show
Zeppotron/Initial’s Amazon Prime Video production is great example of a pivot paying off, writes Chris Curtis
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CommentAdolescence is a shot in the arm for UK drama, not its death knell
The global appetite for British stories is vast, and can be captured by all parts of the industry
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CommentDon’t simply blame US streamers for UK drama health
As a COBA report shows UK-US scripted co-commissions are stable, executive director Adam Minns urges measured analysis over alarmist statements