Comment – Page 2
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Comment
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
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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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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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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
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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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Factual leads the charge in Cannes
“Unscripted programming is the driving force as documentary accounts for half our Hot Picks”
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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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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