Comment
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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
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CommentDanny Brocklehurst: Unique British comedy must not be allowed to disappear
Though our humour may not always travel, fresh and innovative stories about life in the UK remain vital
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CommentTrue crime needs honesty, not sensationalism
Criminology professor David Wilson looks at the upcoming trends in the true crime genre
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CommentThe future of intimacy coordination: beyond scripted TV
Dating Naked intimacy consultant Tommy Ross-Williams outlines their role on the MTV format and why it could be beneficial for the unscripted arena
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CommentThe decade-long friendship at the heart of Living Every Second: The Kris Hallenga Story
Neil Bonner on a relationship that began when he was a debut director and culminated in a new celebration of the breast cancer campaigner’s life
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CommentDanny Brocklehurst: There’s still a need for drama with a distinctly UK flavour
Shows with specifically British themes may lack global appeal, but it is vital that we keep making them
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CommentMaking the jump from headmistress to director
Waterloo Road’s Angela Griffin on how she realised her ambitions to direct after three decades in front of the camera
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CommentScale is smashing, but has it got out of hand in drama?
The scripted arms race has catapulted the genre into new territory – but the funding model is creaking, writes Chris Curtis
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CommentBritish and Irish co-pros just make sense
As neighbours we already have so much in common - and there’s never been a better time to collaborate, says Julianne Forde
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CommentContinuing drama is key to addressing TV’s class challenge
The talent working on soaps and long-running drama is right under the industry’s nose - and it is routinely ignored, writes Jon Sen