Features
Sticking to the old systems won’t solve TV’s harassment problem
The burden on freelancers to call out bad behaviour is too great – so things need to change, writes Philippa Childs
End Credits: Karen Kelly
The Directors UK chair on Taylor Sheridan and swimming in the sea
Scott Bryan: Why is it so hard these days to find something to watch?
There’s an abundance of choice, but navigating endless platforms is tedious. What we need is Project Kangaroo 2.0
Self-funding shows: If you build it, will they come?
Blue Ant’s Ben Barrett on balancing the stress & success of financing shows
Kate Bulkley: C4’s YouTube strategy is a lesson in youth engagement
The broadcaster has shifted its mindset to harness the power of a company previously considered a rival
What next for Lineker and MOTD after the long goodbye?
Tim Jotischky, divisional managing director of reputation at The PHA Group, looks at how podcasting has changed Lineker’s career
Gallery: Broadcast Tech Innovation Awards 2024
The Awards gala dinner was held at The Brewery, London, on 28 November
From TV4 & SVT to Netflix: How a Swedish prodco went global
B-Reel Films’ Ulf Synnerholm on securing Netflix, TV4 & SVT commissions
Composed thinking: John Altman on music’s role in TV & film
Composer John Altman talks to Broadcast International about the power of music on screen ahead of his appearance at NEM Zagreb next month
UK drama: Tackling the cost conundrum
What needs to happen for prices to come down and the gap between greenlight and the start of production to close significantly?
Carnival Films: Aiming for global glory in drama
Gareth Neame and Nigel Marchant on creating Sky’s biggest ever original drama in The Day Of The Jackal, and their plans for global glory
Unpicking the formula of Israel’s scripted format success
Yes Studios managing director Sharon Levi on the potential of scripted formats and how her company has become so prolific
Broadcasters look to steady the ship
Having had to navigate choppy economic waters last year, 2024 has been about achieving stability
Job satisfaction still high in ‘fun, varied and creative’ role
Despite complaints over a lack of autonomy, the bulk of survey respondents are happy in their roles
Buyers play it safe as costs rise
Appetite for risk is slow to return, with the majority saying there has been no change since last year
Hints of optimism after a tough period
Commissioners in our survey see signs that the market is improving
Slowdown puts relations with indies under pressure
Commissioners complain that indies are saving their best ideas for streamers and fail to understand what they want
Why Netflix’s move for a YouTube format underlines industry evolution
Cowshed Collective co-chief George Cowin on what Netflix’s commission of The Sidemen’s Inside means to the wider landscape
Gallery: Christmas on the BBC
Click to view a selection of programme highlights unveiled by the BBC for the festive season
Joe Barton: how Black Doves came together was crazy
Writer talks whirlwind of Keira Knightley Netflix series and enigma of SVoD algorithms
Buyer’s Profile: Joseph Maxwell, head of unscripted, SBS (Australia)
Unscripted chief at Australia’s SBS wants risk-taking shows that provoke debate and push boundaries
Cracking the case of Sherlock's enduring longevity
Sherlock & Daughter creator Brendan Foley explores what continues to draw audiences – and commissioners – back to the enigmatic detective
First look: Gavin & Stacey, BBC1
Tidy and Fulwell73 comedy returns for a Christmas special
Emperor: The Rise & Fall of a Dynasty, Channel 5
Producer Bob Marsden reveals how October Films used AI and comic strips to bring the debauchery, violence and excess of ancient Rome back to life
The 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
Michael Jermey: journalism on TV is as strong as it’s ever been
ITV’s outgoing news chief reflects on almost four decades with the broadcaster
The Beast, Sky News
Sky correspondent Stuart Ramsay on dodging cartels and ‘jumping’ trains to follow migrants journeying to the US border
Gallery: Broadcast Sport Awards 2024
Familiar faces from across the industry gathered for the annual Broadcast Sport Awards, hosted by Maisie Adam and Suzi Ruffell
How Gogglebox inspired Bad Sisters series two
Sharon Horgan and head of drama Faye Dorn reveal their inspirations
Her Majesty The Queen: Behind Closed Doors, ITV1
Executive producer Kerene Barefield discusses working with the Queen and an all-female crew on ITV’s domestic abuse doc
Shoot to Kill: Terror on the Tube, Channel 4
Exec producer Dov Freedman reveals how Curious got the police officer who shot Jean Charles de Menezes to tell his story
Gallery: Grierson Awards
Selection of images from this year’s Grierson Trust Awards ceremony, held in London on Wednesday
Getting the most out of your archive
Panellists at TechFest discussed the deterioration of tape formats, at a time when legacy content is becoming an increasingly important revenue stream
Back From The Dead: Who Kidnapped Me? U&W
Series director and producer Susanna Herbert on bringing a true crime story that’s stranger than fiction to life
Jack Thorne: let's think twice about using ‘showrunner’
Writer urges industry to take Tim Davie’s concerns about the term ‘talent’ a step further
End Credits, Brad Danks
The OutTV chief executive on Canada, kayaking and bad jokes
BBC prioritises story over fan passion for music docs
Head of popular music TV Jonathan Rothery seeks ideas that appeal to a wider audience beyond core fans
James Durie: How a Leonard Cohen biopic became a case study in co-pro
For So Long, Marianne, Cineflix had to bring on board 16 different funding partners to get the project over the line
Goalhanger: the evolution of a podcast powerhouse
Tony Pastor & Jack Davenport on taking their successful podcast formula to the US, and bringing 13k people to the O2 for The Rest is Politics live
Gunpowder Siege: the untold story of the gunpowder plotters
Guy Fawkes takes a back seat in Lightbox’s first docudrama, which delivers a fresh take on history with a modest budget
Unpacking the IP problem: how creatives can protect their work
Litigator Joshua Schuermann examines the Live At The Moth Club suit, how it might spark industry precedent and ways to avoid one’s own IP cases
Diverse-led indies: the hunt for a British Shondaland
Broadcasters have made progress on diversity, particularly with cast and crew, but has this had any impact on who produces scripted programming?
AI at the coalface: the indie view
Three production companies on how they are using AI tools in their day-to-day work, and what the implications are for the future of the industry
Park the horror and hype and get hands on with AI
Artificial intelligence is a divisive subject, but in times of great change, it’s essential to keep an open mind, says Roy Ackerman
Alex Connock: The key AI battlegrounds that will transform the industry
From finding an audience to copyright, the arrival of AI throws up numerous issues that need to be addressed
Get ready for a ruckus about AI - the rules need to be settled soon
The industry’s big players need to collaborate on a framework to harness the potential of AI rather than let it run wild
Analysis: How the big firms are employing AI
Banijay, Avalon and ITVS execs explain how their teams are exploring the possibilities of Generative AI tools to aid efficiency & boost creativity
Prince William: We Can End Homelessness, ITV1
Series director Leo Burley on working with the prince and not wanting to make a ‘traditional royal documentary’
Analysis: Why Lisa Nandy’s RTS speech has sparked hopes for a political reset
Lisa Nandy’s call for news providers to be ‘truthful not neutral’ has raised hopes of more PSB support and government funding for the World Service
How to create the right conditions for creativity
Psychologist Janet Evans explains how to create the right environment for development
BHM: what ‘reclaiming narratives’ means for four creatives
Daniel Lawrence Taylor, Moses Ssebandeke, Thara Popoola & Shurwin Beckford on how this year’s Black History Month topic relates to their careers
First look: The Rig, Amazon Prime
Second series of the Wild Mercury thriller is set to premiere January 2025
Gallery: Northern Ireland Screen lunch
Exclusive lunch in partnership with Broadcast and Screen hosted at Mipcom
Trump: The Criminal Conspiracy Case, BBC2
Director Marian Mohamed on the inside story of how the former president allegedly tried to overturn the election result in 2020
Generation Z scribe tells how Covid coloured the comedy
Writer and director Ben Wheatley discusses soon-to-air Channel 4 zombie series
First look: Bookish, Alibi
Eagle Eye drama has been created by Mark Gatiss
Will You Marry Me?, E4
Button Down managing director Louis Bamber on how cover stories helped Lovestruck Brits stage lavish marriage proposals
Plimsoll eyes natural history ‘Trojan Horse’ to grow fact-ent slate
Andrea Jackson and Karen Plumb explain indie’s heartland can strengthen ’noisy and audacious ideas’
The Man Who Definitely Didn’t Steal Hollywood, BBC2
Writer, producer and director John Dower on how he took his cue from Hollywood to make a doc about a scandal that could be a movie itself
So Long, Marianne, ITVX
Benji Wilson discovers the challenges of filming on the Greek island of Hydra
Safety first in a new era for scripted
International editor John Elmes highlights the programmes likely to make the biggest splash in Cannes
Spiked: The Hunt For The Origin Of Covid-19
‘The global importance of the story should endear Spiked to international buyers’
Arming The Arctic
‘The fast-paced style keeps audiences engaged from the opening sequence to the credits’
Virgin Island
‘This isn’t a ‘dating in paradise’ reality show cast from Instagram and TikTok. These are real people’
Formats
I Was Actually There; Crossing Land, Sea and Air; The Anonymous
Gunpowder Siege
‘We all know the myth of the Gunpowder Plot, but this is about understanding some of the truth behind it’
Do You Want To Live Forever?
‘No way can you come away from Do You Want To Live Forever? without having learned something’
Plum
‘Plum uses a medical story to tell massive universal truths about human relationships’
UK Scripted
Lockerbie: A Search For Truth; Gunpowder Siege; Reunion; Sherlock & Daughter; Towards Zero
Earth Abides
‘As we face more frequent and severe environmental challenges, the message in this series is timely’
Sherlock & Daughter
‘With two generations working together, you can address two audiences that don’t usually watch the same show’
Crossing Land, Sea and Air
‘Crossing Land, Sea and Air is joyful and heartwarming content. It’s the perfect antidote to dark nights and dark news’
Reunion
‘It is a brilliant thriller that just so happens to feature hearing and non-hearing people’
Factual
Mozart: Rise of A Genius; Arming The Arctic; Do You Want To Live Forever?; Made In Korea; Mysteries Of…; Spiked; Virgin Island
The Kollective
‘Because of the nature of the story and how it is executed, it is capable of reaching really broad audiences’
Mysteries Of…
‘This series offers fresh perspectives and delves into lesser-known stories that bring these subjects to life in a new way’
The Anonymous
‘Straddling two realities, the contestants have to play the ultimate game of perception and deception’
Made In Korea: The K-Pop Experience
‘Buyers are looking for the next talent show, and this is fresh, unique and fits the bill nicely’
Towards Zero
‘Christie has always attracted all buyers, from streamers to linear players, and her iconic characters appeal to a broad audience’
International scripted
Safe Harbor; Earth Abides; Plum; The Kollective; Video Nasty
Video Nasty
‘It will appeal to people who remember this time and feel fresh for younger audiences’
How Pobol y Cwm reflects modern Wales
Dafydd Llewelyn discusses the Welsh language soap as it marks its 50th anniversary
Scripted gets serious to overtake factual
With fewer comedies and more straight dramas, the genre takes its place at the top of this year’s Hot Picks submissions
What do visualised podcasts mean for fiction?
To make audio fiction work financially, you have to understand its value & the challenges it poses, says Goldhawk Productions’ John Scott Dryden
First look: Tiddler, BBC1
Magic Light Pictures’ forthcoming Christmas animated adventure is the story of a little fish with a big imagination
Ally Castle: Ditch the disability doom and gloom
While we are not where we ultimately want to be, let’s not forget the advances made when it comes to disability
Sylvia Bednarz: There should always be a place for ob-docs in our industry
Grierson Trust managing director unpacks this year’s awards shortlist and impact of DocLabs
Family trust central to ‘raw’ and personal Nicola Bulley doc
James Rogan and Rachel Lob-Levyt talk through capturing individual experiences in BBC1’s The Search for Nicola Bulley
Outrageous: Rivalry and rebellion in the upper class
UKTV & BritBox International’s story of the Mitford sisters aims to transcend its mid-20th century setting to appeal to a modern, global audience
First look: Brian and Margaret, Channel 4
James Graham-penned drama is produced by Baby Cow
Navigating the ‘most complex’ duty of care for Al Fayed exposé
Director Erica Gornall unveils the expensive therapy process behind BBC2’s headline-grabbing doc
The 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
Danny 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
The Piano: Hitting all the right format notes
Already a big hit in the UK and Netherlands, distributor Fremantle is hoping for further success for the format in Spain, Germany and Denmark
Q&A: My company is struggling – what should I do?
Executive search and coaching company Quicksmith (and some friends) explain the best approach to running a business under pressure
Joan, ITV1
The creative team at Snowed In Productions reveals how it balanced budgets to make ITV1’s jewel thief drama sparkle
Alisa Bowen: Opening up new worlds for Disney+
Flexibility in terms of content mix, subscriber viewing habits and price points is key to Disney+’s streaming strategy, says the platform’s president
Elizabeth Taylor: Rebel Superstar, BBC2
Series director James House and series producer Jemma Chisnall on how Kim Kardashian helped make an infamous story feel new and fresh
End Credits: Barry Jossen
A+E Studios president on Indiana Jones, the Flintstones and a killer cheese board
PBS Masterpiece on the hunt for quality UK drama
US network keen to commission or partner on British series from skilled writers with top-tier talent attached
A battle to come through hard times
“Many report that there is now an expectation for distributors to plug big financing deficits, particularly for scripted programming”
Deficits grow as market softens
Distributors in our survey report being asked to increase funding to get programmes made, while also dealing with falling demand from buyers
The view from Europe
Four leading players from France and Germany discuss the state of the market and the strategies they’re adopting to tackle the challenges ahead
Distributors show resilience in tough times
Banijay Rights overhauls BBC Studios to top this year’s distributors table with strong growth despite difficult conditions for the industry
Making 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
On the presidential Frontline: how PBS addresses ‘multiple Americas’
Chief Raney Aronson-Rath unpacks the flagship doc strand’s programming strategy ahead of the Harris-Trump showdown
Small Town Big Riot, BBC3
Mobeen Azhar tells Manori Ravindran how BBC3’s race-riot doc reveals ‘racism repackaged for the internet age’
Scale 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
My Mum Your Dad series 2, ITV1
Executive producers Ami Jackson and Ros Coward on the challenges of moving the dating series forward from its debut run
Behind the Scenes: Nightsleeper, BBC1
Euston Films’ managing director Kate Harwood on why its runaway train thriller was an easy pitch but a hard production
Israel & Gaza: Into the Abyss, ITV1
Director Robin Barnwell explains the challenges of recording footage and getting it out of Gaza for a major ITV1 doc
First look: Death Valley (w/t), BBC2
Six-part new series from Paul Doolan
Behind the scenes on The Teacher II
Director Dominic Leclerc on how turning The Teacher into an anthology series with a broader canvas
The making of In My Own Words: Alison Lapper
Director Poppy Goodheart on the sensitive interviews at the heart of a doc about grief and love
ALT Jay: behind the scenes of Together TV’s disability doc
Director Stefan Pollak explains how the social change broadcaster’s short film fund helped him uncover a story of twin brothers and an inclusive gym
Gallery: Slow Horses, Apple TV+
Selection of images from the fourth series of espionage thriller. Produced by See-Saw Films
End Credits: Mirella Breda
The Lime Pictures unscripted chief on Bilie Jean King and missing out on a chance to dance with Bruce Forsyth
Sky cites ‘authentic talent’ as key criteria for Arts and Max
Commissioners say they are looking for talent with credibility and a genuine connection to the subject
British 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
When dealing with tricky personalities, a little psychology can be a very useful thing
In an industry we’re all passionate about, it can be hard not to take conflict personally - but psychologist Janet Evans suggests taking a step back
The Seal Whisperer, BBC1
Nathalie Grace, first time shooting producer/director, on capturing seals beneath the waves - and one man’s extraordinary passion for studying them
The problem with factual: How producers are balancing pressures and responsibilities
Broadcast asks indies about the challenges they are facing and what they are doing to improve working conditions for freelancers
What can indies do to survive and thrive in late 2024 and beyond?
Victoria Powell offers advice on how to get through the next difficult few months
Is it curtains for scripted comedy?
Comedians flocked to Edinburgh in their droves this month - but speakers at the TV Festival painted a bleak picture of scripted comedy’s future
Continuing 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
Edinburgh 2024: a tale of class and company closures
Economic challenges make the urge to open up the industry even more compelling – but much harder, writes Chris Curtis
Gallery: Edinburgh International Television Festival, day three
The best images from the penultimate day of this year’s event
Brian May: The Badgers, The Farmers and Me, BBC2
Athena Films co-founder Claudia Riccio on a film that defied the odds to get made
Gallery: Edinburgh International Television Festival, day two
The best images from the second day of this year’s event
Fatima Salaria: Why I wanted to be part of factual drama’s golden age
A move into new territory was daunting, but I’m relishing the chance to tell under-represented, real-life stories,
Patrick Holland: We must enable working class voices to succeed
Telly was at the core of my upbringing, and if we want to reach the widest possible audiences we have to be open to all
Who’s afraid of Artificial Intelligence?
Should the rise of AI be an industry concern? Broadcast’s survey of indies, broadcasters and post houses reveals the impact the technology is having
TV’s anti-Muslim bias has real-world implications
Hostility towards Muslims in broadcast media contributed to the riots and is driving journalists away, says Tamanna Rahman
Gallery: Edinburgh International Television Festival, day one
The best images from the first day of this year’s event
Revealed: fresh efforts to improve working life for freelancers
Broadcasters and trade bodies have reconvened to update the Freelance Charter and try to instigate real change
Ian Katz: C4’s future is bright as spend returns to pre-covid levels
Chief content officer says tough decisions had to be taken, but the broadcaster is now in a stronger position to support indies
Analysis: How the indie sector is being turned inside out
Lambert, Holland, Featherstone, Turton, Hincks and many more have their say
Scott Bryan: Broadcasters must be bolder with their digital ambitions
More original content on platforms such as YouTube and TikTok is the only way to attract younger audiences
Louis Theroux: Passing the mic to the next generation
Mindhouse founder on helping a new generation of film-makers such as Jamali Maddix and Layla Wright make their mark in the documentary world
Streaming is reshaping the indie sector, as it did viewing habits
The biggest SVoD shows now rival their traditional counterparts and the battle for tentpole titles is polarising production companies
How streamers are faring in the ratings battle
How does Fool Me Once compare with Red Eye? In association with Barb, Broadcast takes a look at the audiences for 2024’’s biggest streamer shows
Ade Adepitan: 'This is the beginning of a new Paralympic era'
The veteran Paralympic athlete and presenter tells Broadcast about 2024’s coverage, his production company and why we need more hope
Fraser Ayres: We must ask whether our industry contributed to the riots
Failure to normalise inclusion on and off screen has a real world impact - we cannot brush it under the rug again
Rachel Corp: Public service broadcasting is vital in these troubled times
ITN chief executive says misinformation-fuelled violence has highlighted the importance of trustworthy, accessible reporting
Alex Berger: France must embrace US showrunner model
Le Bureau, La Maison and The Agency creative talks bringing the hit French espionage series to London and pioneering a new era in transatlantic TV
First Look: Curfew
Vertigo Films thriller stars Sarah Parish, Mandip Gill, Mitchell Robertson and Alexandra Burke
Rowan Woods unpacks Edinburgh vision
Edinburgh TV Festival’s new creative director unpacks her vision for this year’s festival
Giving Love is Blind a ‘British flavour’
Exec producer Nazleen Karim and series editor David Cheesman on bringing the hit Netflix dating show to the UK
Behind the Scenes: Gladiators, Sky Nature
Series producer Alex Hemingway on unlocking the killer secrets and ingenious tactics of nature’s toughest fighters
Prash Naik: Doc makers need to get to grips with editorial ethics
Questions about moral responsibilities have ramped up following the death of a contributor to Retrograde
First look: Malice, Amazon
Expectation and Tailspin Films psychological thriller stars Jack Whitehall, David Duchovny and Carice van Houten
Celebrating 10 years of the RTS Bursary Scheme
Broadcast finds out how the Royal Television Society’s Bursary Scheme has kickstarted hundreds of careers over the past decade
Q&A: How do I survive redundancy?
In the first of a new series, Broadcast asks executive search and coaching company Quicksmith to offer advice on common industry challenges
Hollywood on trial: What can UK producers learn from the Alec Baldwin case?
Legal expert Mary Lawrence asks whether the case against Alec Baldwin was unique to filming in New Mexico or are there wider lessons to be learned?
Shark Attack 360, Nat Geo
VFX Producer Amber Woodcock on bringing VFX sharks to life
Analysis: How can S4C win back the Welsh indie sector’s trust?
As the embattled PSB’s new interim leadership rolls out its action plan, Broadcast asks whether that will be enough to get things back on track
What are the industry’s hopes for the new government?
As the new adminstration sets out its initial priorities, Broadcast asks producers and commissioners which TV issues should be among them
Gallery: Mr Bigstuff, Sky Comedy
Sky Studios and Water & Power Productions comedy starring Danny Dyer and Ryan Sampson
UKTV’s U&Dave moves into mainstream with Battle in the Box
Jamie Ormerod, Tom Corrigan and Mark Iddon on how U&Dave’s new challenge format is helping the channel think outside the box
Comment: Virtual Production is a game-changer for sports advertising
Jason Blanc, director at Diamond View, explains why virtual production is a great fit for capturing sports-related branded content
Formats in Australia: Why Gladiators and The Traitors flopped down under
After Aussie takes on two international hits fall flat, former ITV commissioner Asif Zubairy asks what’s next for the erstwhile format powerhouse?
Joyous support: How Shardlake shows what’s possible for disability access
The Disney+ drama put access, rather than disability, front and centre and reflects a slowly evolving industry
Beyond 2024: VFX looks to the future
The impact of last year’s strikes, the upcoming tax credits and the rise of AI were among the topics discussed on the VFX panel at MPTS 2024
Sky and UKTV raise their ambitions for comedy shows
Sky seeks shows with a premium feel and an authentic voice, while Dave is keen to explore narrative stories
Proven IP vs new ideas: the fight for the future of children’s animation
Eaglet’s Massimo Fenati challenges the kids sector to be bolder in its search for new hits
Broadcast Digital Awards 2024 in pictures
Familiar faces from across the industry gathered for the annual Broadcast Digital Awards, hosted by Ellie Taylor
Ibiza Narcos, Sky Documentaries
Series director Luke Korzun Martin talks breaking the fourth wall, trying to capture what it’s like being on drugs and trippy visuals
Kate Bulkley: Why it’s not simply a case of either linear or streaming
Success for broadcasters depends on effectively using linear as a means to support a digital-first strategy
Best Specialist Factual Programme: Forced Out: Their Fight For Pride
‘Intimate, incredible first-hand testimony’
Best Short Form Format: Teens On Cons
‘Great casting and fresh, layered take on a standard interview format that would be a joy to watch over a series’
Channel of the Year: BBC3
‘Hit a rich vein of form in key genres’
Best True Crime Programme: High: Surviving a Dubai Drugs Bust
‘This film made me laugh, but equally it’s a shocking story about a dangerous world. Loved this’
Channel of the Year (Non-PSB Group): Sky Sports Main Event
Demonstrated a mixture of traditional qualities and a thirst for innovation
Gamechanger Programme of the Year: Out Of Order
‘A great show that proves comedy and celebrating diversity go hand in hand’
Best Entertainment Channel: W
‘W knows what works – marquee talent plus real stories. Great access. Good talent strategy. Honest, real storytelling’
Best Sports or Live Event Coverage: The Ashes
‘Excellent production values, excellent commentary, great packages - made me love cricket again’
Best Comedy Programme: Things You Should Have Done
‘Laugh-out-loud and utterly bizarre in the best way possible’
Best Short Form Scripted: Murmur
‘An astonishingly beautiful piece’
Best Entertainment Programme: Rob & Romesh Vs…
‘A thoroughly entertaining journey with two mates whose camaraderie jumps off the screen for a laugh out loud hour’
Best Programme Acquisition: Beyond Utopia
‘A testament to the bravery of the film’s subjects’
Best Short Form Documentary Programme: When Harry Met … The Far Right Rally
‘A brilliant (brave) and engaging presenter’
Best Popular Factual Programme: The Great British Dig
‘An innovative, engaging series which brings history alive and shows us how close the past is. Brilliant casting and contributors’
Best Current Affairs Programme: Gaza 101: Emergency Response
‘This film will go down in history’
Best Digital Support for a Strand, Channel or Genre: Sky News digital team
‘Bringing the news to where the audience is, not the other way around’
Best Digital Support for a Programme: Hollyoaks
‘Bringing difficult subjects to the forefront in a social-first way’
Best Documentary Programme: Murder Trial: The Killing of Dr Brenda Page
‘Extraordinary piece of access. Gripping storytelling. Amazing characters’
Best Factual Channel: More 4
‘Escapist and informative television for a clearly defined audience’
Best Content Partnership or AFP: Bangers: Mad for Cars
‘Thought-provoking & educational with brilliant talent’
Multichannel Production Company of the Year: Firecrest Films
‘This company has quietly become a best-in-class supplier that has flourished despite tough market conditions’
Best Digital Children’s Content: Game on! For BBC Children in Need
‘Technically innovative and interesting while containing positive messaging for children’
Best Drama Programme: Slow Horses
‘There’s something classy in every aspect of this show. Performances, direction, cinematography, music’
Best Specialist Channel: History Hit TV
‘A fantastic addition to the History landscape, superserving the history audience with a clear concise offering which is clearly gathering momentum’
Paris 2024 will mark the next phase in sports media consumption
Streaming services need to prioritise user experience, innovative content delivery, and robust technological infrastructure, says Brightcove’s Paul Myers
Curious execs hope Netflix doc will ’shine a light’ on sperm banks
Dov Freedman and Jessie Versluys discuss key takeaways from The Man with 1,000 Kids
Karl Warner: Commissioning, The Third Way
If social has become the third priority for broadcasters after linear and on-demand, is it time to commission differently?
End Credits: Laura Jones
The Blink Films creatve director on Is It Cake? and Keanu Reeves
Studios make space for the community
Amid falling demand for space, UK studios are stepping up efforts to engage with their local communities
Faraz Osman: We need clear rules on the use of AI in programming
To avoid future scandals over fakery, broadcasters must set out exactly what is and isn’t acceptable with this new technology
How to make AI a force for good
Self-regulation from within the sector is key, says Papercup’s Jesse Shemen
Michael Mosley proved there’s talent out there – just make sure you’re open-minded
Michael Mosley is testament to the fact that you don’t have to follow traditional paths to find true stars
Hot Shots’ talent continues to shine
‘At a time of exceptionally tough market conditions, one thing is certain: the talent we need to continue making brilliant telly exists in spades’
Samuel Mundell
‘It was obvious from the start that Samuel was going to be astonishingly accomplished and a massive asset to our company’
Sarah Wilson
‘Sarah can be a role model for any journalist wanting to make an impact in TV’
Al-Hassan Kutubu-Kamara
‘Hassan’s humanity, empathy and curiosity have led him to uncover powerful unfolding stories’
Georgiana Davies
‘There’s no question in my mind that she has the ability and passion to become an outstanding film-maker of great sensitivity and purpose’
Kathryn Wilson
‘I knew Kathryn was special when I took her to meet some of our cast in January and they made her dance in a circle of 25 people to The Proclaimers’ 500 Miles and she didn’t even blink’
Laila Edwy
‘I’ve been blown away by Laila’s methodical approach and her ability to sift for editorial gold’
Joe Gardner
‘Joe takes the brief he is given and looks at ways to expand it and go beyond what is expected of him’
Ella Jackson
‘Ella has a bright future in whatever she does, but documentaries will be the richer for her part in them’
James Brennan
‘To meet James is to like him – he has a prodigious ability to win people over’
Benjamin Gerstein
‘We needed someone with a level of emotional intelligence and empathy’
Phoebe Dunmore
‘Her progress has been nothing short of meteoric’
Becky Ford
‘Becky is a can-do, hands-on person. She is not precious and cares deeply about the values she brings to her work’
Leah Newman
‘Leah is steely, dogged and a nerveless negotiator. She anticipates every possible setback or obstacle’
Martin Dougan
‘He brings programmes to life with his mix of enthusiasm, humour and being completely across his brief’
Shiva Talwar
‘Shiva revolutionised the way the development team operates, bringing a rigour and discipline to proceedings that was severely lacking’
Ayshah Tull
‘Ayshah is a driven, passionate and tenacious journalist, brimming with warmth, empathy and compassion’
Joshua Bawden
‘Joshua delivered the single greatest pitch deck I have seen in my career’
Rachel Parkes
‘Impeccable editorial judgement and an excellent commissioning nous’
Ewan Denny
‘With a great ear for dialogue and a strong instinct for how to use the edit as an instrument to add value to laughs, he’s a boost for any show he’s working on’
Jess Leech
‘Jess’s ability to calmly solve problems under pressure make her one of the very best I have worked with’
Emma Garvie
‘Emma’s ability to overcome logistical obstacles and uphold exceptional production standards in extreme environments makes her a true industry standout’
Isha Krishnan
‘Constantly pulling rabbits out of hats, Isha has established herself as a rising star in production management in just three years’
Hot Shots 2024: Production managers
‘I have no doubt that one day she will be one of the best production managers in the business’
Hot Shots 2024: News and current affairs
‘I would always want to have Louisa as a key producer on any important events’
Avril Evans
‘She is a director with a bright future’
Rebecca Boyce
‘Rebecca has an unrivalled ability to manage all stakeholders to deliver innovative and forward-thinking projects’
Lottie Haigh
‘She comes up with big, original ideas and has the creative energy, rigour and enthusiasm to see them through. It’s a thing of wonder to watch her pitch’
Connie Sneddon
‘Someone like this comes along rarely and we should nurture her talent’
Amy Sargeant
‘She has a personal warmth and openness that helps her win the trust of documentary subjects’
Hot Shots 2024: Directors & DoPs
‘Alex is a self-starter. He is constantly looking to improve his knowledge base and is open to ideas’
Hot Shots 2024: Talent managers
‘Millie is brave, strong, passionate and is always going the extra mile, listening to her clients’ needs and staying across the detail’
Aileen Flanagan
‘She makes sure our productions learn from each other as we move forward to a more sustainable future’
Hot Shots 2024: Development producers
‘Jenna is whip-smart and tenacious to a fault, a true all-rounder. Nothing fazes her’
Iqbal Khokhar
‘It’s obvious Iqbal will go on to have a very successful editing career’
Hannah Scott
‘Hannah’s rise through the ranks is testament to her incredible instincts as a creative executive’
Luke Gauci
‘He’s a brilliant creative with a great eye for a story, and the know-how to take an idea from an intriguing top line to a fully realised premium doc’
Geeta Wedderburn
‘The rate at which Geeta learns and develops her skills – taking naturally to secret filming, finding brilliant contributors and spotting stories that might be pitchable – is amazing’
Hot Shots 2024: Commissioners
‘Simon’s superpower lies in his seamless adaptability, enormous energy, and ability to move effortlessly between various genres and challenges’
Sharon King
‘Sharon embraced the complexity and detail of Doctor Who wholeheartedly, with an unwavering determination’
Catriona White
‘She is without a doubt a future leader in this space’
Hot Shots 2024: Post/craft
‘Phoebe rose to the challenge in exceptionally difficult circumstances and never let any challenges behind the camera show on screen’
Alexander Lawson
‘With a deft touch, Alex manages a diverse development slate, fostering relationships with emerging producers and securing numerous commissions’
Hot Shots 2024: Researchers & assistant producers
‘Leanne’s casting and background research are second to none – and it all comes from a hunger to succeed in TV’
Hot Shots 2024: Producers & PDs
‘Heather went on to become an indispensable member of the team across the series’
Sheila Nortley
‘Sheila has a palpable passion for storytelling – as an executive producer and writer, she delivers emotionally truthful and compelling stories’
Vivien Jones
‘She has excelled at every project she’s worked on’
Kat Buckle
‘It was clear from the beginning that Kat has a distinctive taste and agent style, with an ability to identify fresh and diverse talent’
Joelle Mae David
‘Joelle Mae is a great talent with a strong vision, who is perceptive, creative and passionate about her work’
Emy Adamson
‘The cliched thing to say is ‘she’ll be my boss one day’, but in Emy’s case, not only is that true, but she’ll be your boss too. She truly is a prodigiously talented individual’
Alesya Capelle
‘She fosters great relationships across the industry and, alongside her creative prowess, she possesses a real strategic insight’
Will Stanbridge
‘Will is a rare combination of thorough, insightful and empathetic. He’s someone people feel at ease with because he always puts people first’
Barrington Paul Robinson
‘He’s great at motivating people and leading a unit, with enthusiasm and a sense of things always being possible’
Cat Spooner
A champion of diversity on screen
Ambreen Razia
‘Ambreen’s an immense talent, with a knack for creating complex, funny characters who feel utterly grounded, while being unlike anything else we’ve seen on TV’
Brian Birigwa
‘Brian leaves no stone unturned and will always be on the lookout for the next unique writer or performer’
Yemi Oyefuwa
‘Yemi is a thoughtful writer – a passionate, authentic storyteller, brimming with wonderful ideas, who will interrogate the truth of characters and storylines’
Shannon Hamilton
‘Shannon jumps into everything with a can-do attitude. Her willingness to learn and adapt quickly makes a difference to the team’
Nelson Adeosun
‘Nelson earned the plaudits of his peers and management for his ideas, work ethic and ability to lead’
Emma Dennis-Edwards
‘Emma is passionately engaged in the world and really wants to write about stuff that matters’
Olaide Sadiq
‘Laide is one of the best producers I’ve ever worked with, but also with a director’s chops – she just makes things happen’
Jingan Young
‘Jingan’s work will surely pave the way for more East Asian-led stories in the UK’
Reece Finnegan
‘He has that unteachable quality of finding the kernel of a good story in someone’
Hot Shots 2024: Writers & script editors
‘Nathan’s voice runs the gamut from sweet to dirty, silly to wicked, all across impeccably plotted story’
Shehroze Khan
‘He has a strong visual sensibility, and highly developed editorial and storytelling skills’
Laura Miles
‘Laura’s dedication and work ethic make her the most wonderful person to have as part of a creative team’
Jamie Tahsin
‘One of the most talented young journalists I’ve come across in my career’
Marcus Ryder: The most important survey in film, TV and cinema needs your help
Representation of all kinds matters if we want to make change - so complete the Looking Glass Survey on industry mental health
Broadcasters must adjust their talent setting to snag online viewers
Online creators know what audiences want and are reaping the rewards - telly needs to attract this talent if it hopes to keep up
Glastonbury 2024: How the BBC brings the festival to life
BBC execs tell Broadcast how they make coverage of the world’s largest greenfield music festival bigger and better every year
Election 2024: How broadcasters are reaching new audiences online
More than any previous general election, this contest is being fought in the digital space - and broadcasters are seizing the opportunity
Rob Wade: Creativity, creativity, creativity
Fox chief exec wants scripted and unscripted worlds to get ‘a bit loose and creative’ and focus less on money
Talk of the ‘old boy’ problem is missing from our EDI conversations
The dominance of the privately-educated in TV means the industry is missing out, says one anonymous writer
First look: Suspect, Channel 4
Second series of the Eagle Eye Drama thriller, produced in association with Happy Duck Films and the Belgian Tax Shelter
Opinion: John Balson wanted the industry to know freelancers are not 'expendable'
The Talent Manager’s Sarah Lee calls for the industry to reset its freelancer relations
Peter Williams: how I secured the crowning moment of my career
The inside story of how TV journalist legend Peter Williams, finally retiring aged 90, achieved the unthinkable by interviewing The Queen
TV’s Biggest Lies
A law suit asserts that Baby Reindeer included “the biggest lie in TV history” - here are some of the other whoppers with a claim to that title
Energy and empathy: a personal tribute to Michael Mosley
BBC Studios head of science unit Andrew Cohen describes three decades of friendship with the outstanding producer-turned-presenter
How the rise of the showrunner role is changing British TV
Screen talks to several big-name TV writers about the rise of the ‘showrunner’ role on this side of the Atlantic
The Fall: Skydive Murder Plot, Channel 4
Series director Guy King on blending drama and documentary to tell the story of a chilling relationship which culminated in an attempted murder
First look: Sherwood, BBC1
Selection of images from the second series of James Graham’s six-part crime drama. Produced by House Productions
Camilla Lewis: When you hire female-led teams, the results speak for themselves
Women are often employed on docs tackling traditionally female subjects, but doing things differently can create powerful, exciting films on any topic
Six Schizophrenic Brothers, Discovery +
Producer director Lee Phillips on the delicate task of telling the story of an all-American family torn apart by mental illness
HBO to the Max - Casey Bloys on running Warner’s signature brands
The veteran programming exec talks curation and quality control, his desire for international co-pros and how he’s never turned on a PlayStation
True crime documentary commissioners put the story first
Execs from A+E Networks, WBD and Sky discuss their approaches to the genre and reveal what kind of stories work best for them
On Thin Ice: Putin Vs Greenpeace, BBC2
Producer Clare Beavis on telling the story of a 2013 Greenpeace protest against a Russian oil rig that went terrifyingly wrong
Creative Review: Cave dwellers and crash survivors
UK post houses’ best recent work, from recreating the world of the Neanderthals to a superhero comedy and a conflict-avoiding dad
End Credits: Daniela Neumann
The Spun Gold TV managing director on dog-walking, Oprah and Javier Bardem
Mike Darcey: If only there was a way to combine streamer watch lists
There is more choice than ever but the proliferation of platforms makes it hard to remember what you wanted to see
Steven Moffat on Douglas Is Cancelled and theatrical rejection
The Doctor Who and Sherlock scribe discusses the long route to getting his new ITV drama on screen and taking the Tardis out for another spin
Abi Morgan: New York state of mind
The Split writer on how her fascination with the Big Apple and classic US TV informs her new Netflix series Eric, and bringing back The Split
No joke: comedy in crisis
Top producers and broadcasters come together to discuss the current state of the genre and what can be done to ensure the laughs keep on coming
Why our comedy roundtable was a serious business
Re-establishing the genre’s place in the mainstream was a key topic of discussion at our decent debate sponsored by Pinewood TV Studios
Danny Sanz: The international production industry sees this election as an opportunity
From an international perpective, it would be great for TV to play a role in the return of Cool Britannia
Camden, Disney+
Lightbox’s SVP unscripted Suzanne Lavery on persuading a host of iconic musicians to talk about how they were shaped by this tiny part of London
Election reaction: what the next government could do for TV
In the wake of this week’s general election announcement seven TV execs give Broadcast their inital wishlist for a new government
Erased, National Geograhic
Executive producers Johanna Woolford Gibbon and Jamilla Dumbuya on a docudrama telling the stories of the people whitewashed out of history
Matt Risley: Ignore the possibilities of YouTube at your peril
Using the video platform requires new language and insightful reading of the data - but will pay dividends
Analysis: why no one knows how to talk about Israel and Gaza
The industry has tied itself in knots trying to discuss the war in the Middle East. Broadcast spoke to 17 individuals about their experiences
Small indies call for solutions to market turbulence
Victoria Powell outlines a number of measures that producers believe could sustain the sector during the slowdown
Philippa Childs: Why is sustainable progress on EDI so painfully slow?
It’s not enough to set targets - the departure of senior EDI figures in the UK suggests we need to commit to making real change
Henry Birkbeck: The government must follow through on Independent Film Tax Credit
Done properly, the IFTC, in concert with the AVEC and VGEC, has the potential to meaningfully move the dial for film and television
Mysteries of the Pyramids with Dara O’Briain, Channel 5
Series producer Ewen Thomson on what we do and don’t know about the pyramids, and the challenges of getting a closer look
‘Keeping people at the heart’: C5 News coverage of the infected blood report
Hour-long special to cover latest developments in a decades-old scandal – and how Mr Bates vs The Post Office could help the fight for justice
Andrew Fremlin-Key: What are the potential legal ramifications of Baby Reindeer?
Baby Reindeer was a great show, but is ringing serious alarm bells for lawyers
LA Screenings Hot Picks: The shows to watch out for
As the Hollywood event kicks off, Broadcast pinpoints the eyecatching series for global buyers as book adaptations dominate
Liz Tucker: Why are there still so few women on comedy panel shows?
Despite efforts to create gender balance, we’re still not there - and it’s not good enough to blame the unwelcoming atmosphere
Barrington Paul Robinson: We must open the doors to new talent
The Responder creative producer explains how early career support can make all the difference
Audiences front and centre at TV: The Bigger Picture
GlobalData Media IC analyst Costanza Barrai reviews this year’s DTG Summit
The kids are alright: The Gathering
Broadcast speaks to the creators of Channel 4’s new series on making a drama for adults and teens alike
Gallery: The Fortune Hotel, ITV1
Tuesday’s Child competition format presented by Stephen Mangan
Derek Wax: Thou shalt produce from the heart
The Wild Mercury chief on The Sixth Commandment, relatable drama and individual expression
First look: Rivals, Disney+
Happy Prince behind adaptation of Rivals, set in world of 1980s TV industry
Why the best sports docs aren’t really about sport
John McKenna, CEO of documentary producer Noah Media Group explains what ‘sport documentary’ really means at this point in time
The Fortune Hotel, ITV1
Series editor Ben Wilson explains the evolution of a double-crossing reality format from Cold War-style espionage to Carribean luxury
I Kissed a Girl, BBC3
Executive producer Dan Gray on assembling the perfect team to turn a groundbreaking format into the UK’s first dating show for gay women
Gallery: The Responder, BBC1
Martin Freeman and Adelayo Adedayo return in second series of Dancing Ledge Production’s thriller, written by Tony Schumacher
Adam Jacobs: Why it might be time for guerilla commissioning
The creative director of Quintus Studios on getting unscripted ideas greenlit in difficult times
Why the truth about climate change is a fiendish challenge for broadcasters
The deeply political nature of the issue must be confronted head on, writes Alf Lawrie
Crowning glory: Why royal docs are reigning at Sky History
Dan Korn and Hayley Reynolds reveal how exploring the monarchy’s past fits into the channel’s wider commissioning strategy
Neurodiversity: breaking down the barriers to inclusion
Industry figures discuss the challenges faced by neurodivergent people in the sector – and what can be done to help them succeed
Netflix UK orders cheating-focused reality series
Amanda Holden-fronted series hails from ITV Studios labels 12 Yard and Lifted
Pig tales: Jeremy Clarkson and Andy Wilman on Clarkson’s Farm
Ahead of series three, Broadcast heads to Diddly Squat Farm to see what makes it such fertile soil for a hit
Reece Shearsmith and Steve Pemberton: Closing the door on No. 9
Creators and stars of the black comedy anthology series on pulling down the shutters after nine series and wrestling with the best kind of send-off
Neil Thompson: GMB’s commitment to live TV is key to success
A decade of being topical and ‘in the moment’ has transformed our breakfast news bulletin into a global brand, says the Good Morning Britain editor
End Credits: Sam Beddoe
The It’s All Made Up Productions co-founder on Nashville, balloon arches and Ryan Reynolds
Fatima Salaria: When TV gets representation right, it can be inspirational
Programmes like This Town and Defiance show the power of great storytelling to challenge, provoke and inspire
Indie Summit 2024: Charlotte Moore on getting the BBC fit for the future
Content chief reveals why she is laser focused on iPlayer, explains the need to make cuts and promises to do more to support struggling indies
Indie Summit 2024: Harnessing the power of AI
Panel of experts discuss the latest innovations in the technology, and whether they pose a threat or an opportunity for the industry
Broadcast Intelligence: UKTV looks to evolve with call for ‘exciting, original’ shows
Helen Perry, Mark Iddon and Emile Nawagamuwa reveal plans to freshen up content offering on Dave, Alibi and W
Crime meets horror in Alibi’s The Red King
Director & exec producer of the Quay Street’s six-parter on embracing the constraints of a small budget and creating their own religious cult
Humble winners are a cause for optimism in tough times
The 1% Club and Baby Reindeer couldn’t be more different – but these relatively modest British shows are both smashing it
Double the Money: South Shore chief execs on a risky but timely new format
Andrew Mackenzie and Melanie Leach discuss the Sue Perkins-hosted cross between Race Across the World and Dragons’ Den
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
First look: Mr Loverman, BBC1
Eight-part new series based on Bernardine Evaristo’s hit novel of the same name
Danny Dyer: How to Be a Man, Channel 4
Executive producer Hugh Whitworth on how he tackled finding contributors to talk about the thorny issue of masculinity
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
Autism is not an on-screen entertainment fix
To mark Autism Awareness Month, Talisha ‘Tee Cee’ Johnson urges the industry to reflect different experiences of those on the spectrum
Pompeii: The New Dig, BBC 2
Exec producer Richard Bradley digs into an on-camera excavation which yielded surprising results
Camilla Arnold: Start bringing deaf talent into your team
To mark Deaf Awareness Week, the chief executive of the British Sign Language Broadcasting Trust outlines the organisation’s achievements
The Secrets of the Hells Angels, A&E
Executive producer Stuart Pender on the challenges of gaining the trust of the notoriously secretive biker group
Bangers & Cash: Air TV’s humble hit makes the case for the ob-doc
As Bangers & Cash hits its 100th episode, Yesterday channel director implores TV to leave space for the traditional ob-doc
First look: Insomnia, Paramount+
Left Bank Pictures and Build Your Own Films six-parter airs 23 May
How Ukraine: Enemy in the Woods aligns with commissioning at BBC Current Affairs
A combination of access and creative risk resulted in a doc that matched the wishes of commissioners Joanna Carr and Gian Quaglieni
The Assembly, BBC One
Michelle Singer, executive producer, explains what went into unlocking the potential brilliance of a neurodivergent chat show format
Sector shows resolve amid the downturn
‘The current downturn is the most acutely felt, but is helping producers and distributors laser-focus on their strengths’
Big Mood, Channel 4
Executive producer Lotte Beasley Mestriner on visually depicting the experience of bipolar disorder, while keeping things funny and on budget
International scripted surges in the wake of US strikes
Premium drama is set to feature heavily at Mip TV in expectation of a slowdown in the US content pipeline, but factual will still dominate
The World’s Biggest Cruise Ship
‘The programmne delivers on so many levels. Everyone will find something appealing in it’
The Steal
‘The Steal has broad appeal. The US election has worldwide relevance, so we expect this to do well globally’
Side Hustlers
‘This is about disability equality, but it’s actually about people and human stories’
UK Scripted
Playing Nice; Red Eye; Coma; Nightsleeper; Renegade Nell; The Cuckoo; The Jetty; Wolf Hall: The Mirror And The Light
Paris: A New Revolution
‘This is about disability equality, but it’s actually about people and human stories’
Unscripted
Including Meet The Neighbours; The World’s Biggest Cruise Ship; The Steal; My Family Mystery; Escaping Utopia; The Push; Side Hustlers
My Family Mystery
‘It’s a really contemporary way of doing history stories and will appeal to a broad audience’
Married To The Game
‘Married To The Game offers something for reality fans and football fans alike’
Harry & Meghan: The Rise and Fall
‘Love them or hate them, there is still a huge amount of intrigue around the couple’
Gold: A Journey With Idris Elba
‘The talent, access and scale of the story mark it out from other specialist factual docs of this nature’
Escaping Utopia
‘As a contemporary cult story, this is unlike anything I have ever seen’
International scripted
The Count Of Monte Cristo; Austin; Borderline; Conflict; Monsieur Spade; Paris Has Fallen; Rebus; Samber; So Long, Marianne; Spinal Destination
First look: Wolf Hall: The Mirror and the Light, BBC1
Six-part Playground and Company Pictures adaptation of the final novel in Hilary Mantel’s Wolf Hall trilogy
PBS seeks UK co-producers for science doc strand Nova
US broadcaster looking for ideas that take a deeper dive into mainstream science and tech stories
Thomas Dey: A front row seat for the biggest deals
ACF Investment Bank co-founder on the rise of private equity and a new period of consolidation for the industry
8 Top Tips to shift your podcast from audio to video
Michael Olatunji of Outset Studio offers eight tips to make the most of the possibilities of taking your podcast from audio to video
Marcus Ryder: Help FTVC to help the industry
The Film & TV Charity chief executive is calling for broadcasters and indies to step up support for their workers’ mental health
Scott Bryan: continuity announcers are television’s unsung heroes
The role could be at risk in the age of streaming, but their empathetic and skilful contributions would be sorely missed
David Dehaney: ‘We’re just beginning to grow up’
Proper Content has bucked the industry trend in the past year, with turnover doubling and is now setting his sights on returnable popular factual
Kate Bulkley: Big sporting events are key in ‘challenging’ ad market
Euro 2024 will provide a much-needed boost to ITV’s coffers during a difficult period for the commercial broadcaster
End Credits: Elen Rhys
The S4C head of entertainment and factual entertainment on wellies, Wales and meeting Nelson Mandela
What makes a successful podcast?
Vibrant Television, talkSport and Two Circles execs discussed how podcast producers can monetise their content and ensure it pops with listeners
Indie Summit 2024: Indies look to a better tomorrow
In the State of the Nation discussion, leading indie execs revealed what steps they’ve taken to navigate the downturn
Indie Survey 2024: Indies have their say on the sector’s big issues
From the commissioning slowdown to C4’s plans for in-house production, respondents offer thoughts on the state of UK independent production
Barbie Uncovered, Sky Documentaries
Executive producer Ross Wilson on diving into the true story behind the world’s most famous doll
Solving the mystery of the lost IRA film
The 90-minute film for the BBC delves into the mystery surrounding an American documentary on IRA activity in 1972, and why it was never aired
Why the industry is in danger of data overload
Martin Riley at 7FiveFive explains how to control costs and optimise workflows while keeping growing data requirements under control
How we marketed The Hundred
Contented executive creative director Paul Reid reveals the thought process behind the cricket competition
Drama co-pros feel the pinch, leaving projects in limbo
Even the best-funded genre is under pressure as market conditions prompt a rethink
Indie Survey Table 2024
Click to view the top performing companies
Top 30 True Indies
Sister tops table ahead of Avalon
Broadcasters in the firing line
Poor handling of the production slowdown, bad communication & a greenlight shortage are among the main complaints to this year’s survey
Warner Bros Discovery: New indie partners freshen up the table
Raw TV, Full Fat, Ricochet and CPL enter the top 10 of WBD suppliers
Indies point to toughest year in memory
With many indies describing 2023 as their toughest year ever, 2024 looks likely to be just as hard, though some see signs of recovery
BBC: Wall to Wall ends remarkable reign
The Waterloo Road producer was the broadcaster’s top supplier by spend, knocking Remarkable down to second place for the first time in three years
Studio Lambert wins as Netflix ups hours
“Netflix is the largest SVoD commissioner of UK indies, responsible for more than half of the total hours launched on the four major services in 2023”
N&R indies feel the pinch
The majority of N&R indies report turnover that’s either static or falling, and cite recruitment of senior roles as a continuing problem
ITV: ITVX boosts range but stalwarts still key
PSB has received praise from the indies surveyed this year for being open to new ideas
Strong debut for Disney duo
Disney+ and Nat Geo stand alone as the only broadcasters without any negative feedback
UKTV bucks the trend with multi-year orders
Drama is a key driver of growth, particularly for streaming platform UKTV Play
How can brands approach the summer of sport?
Paul Briggs, SVP Europe at Silverpush, looks at possible strategies for brands over a busy summer
Indies offer help to freelance workers
With work drying up in a tough period for the industry, 70% of indies have taken steps to support their freelance staff
Peer Poll: top 10 revealed
Which company does the production sector rate the highest?
Growth stalls in bumpy market
Owners & consolidators grew by 1.86% in 2023, way down on their 41% surge in last year’s Indie Survey, with All3M once again topping the table
A painful reshaping of the indie sector
‘A leaner British indie community may emerge in the coming years, one that is more robust for having ridden out such challenging conditions’
C4 epitomises industry woes
Indie relations soured during C4’s Indie Briefing Day, when it revealed it is primarily looking for ideas for 2025
The Real Serpent, Channel 4
David Howard, creative director of Monster Films, on the challenges of gaining access to a suspected serial killer
My Wife, My Abuser: The Secret Footage, Channel 5
Director David Ward explains the sensitivity need to help Richard Spencer open up about 20 years of abuse at the hands of his wife
ITN stays on top as C5 grows it share
Channel 5 is the only PSB to grow its share of UK audiences in 2023, according to Barb’s end-of-year consolidated data
Sky: Unscripted dominates hours but not spend
Top supplier Woodcut Media produced 30 hours of factual shows for the pay-TV giant
SPT’s Wayne Garvie on why a reset is coming
President of international production discusses the state of the industry, why there is too much doom and gloom, and life after The Crown
Derek Drennan: Is unscripted the forgotten child?
Last week’s budget had great news for HETV, but other areas of the industry are feeling a little neglected
The ethics of collaborating with documentary ‘story holders’
Genuinely working with contributors, rather than just filming them, is a powerful tool, writes Anna Keel
Queens, Disney+
Showrunner Chloe Sarosh on pulling together a female-led team to capture animal societies where females rule the roost
Why comedy shorts are more than just a development tool
In the wake of the launch of the C4 Playground scheme comedy producers & talent speak about the benefits of keeping things short and sweet
Nicola Shindler: ‘There is a lot of complacency post-#MeToo’
To mark International Women’s Day, execs at Quay Street Productions discuss #MeToo, positive on-set experiences and workplace flexibility
Directors UK chief: ‘It’s hard to see how directors can sustain a career’
Andy Harrower warns a steady stream of programmes cuts means the industry is haemorrhaging talent
The Titan Sub Disaster: Minute by Minute, C5
Series PD Daniel Smith on the challenges of shedding new light on the well-covered search for the Titan submarine
How athletes can bring authenticity to content
Jon Dyson, head of sport at Formidable, explains the value of authenticity
In conversation: Harnessing the power of real life drama
Directors of ITV’s Mr Bates Vs The Post Office and Breathtaking discuss their different approaches to making series based on real events
Exploring the growing appeal of Asia
Documentary agent Moray Coulter shares his experiences of a trip to Asia TV Forum
Sarudzayi Marufu: Producers must embrace private equity lifeline
It might not be a silver bullet, but it’s vital that the industry finds a way to diversify its funding
In conversation: Lauren Sequeira and Candice Carty-Williams on changing the script in UK drama
The Queenie and Domino Day writers on flying the flag for Black female creatives, fighting to tell their stories & overcoming ‘imposter syndrome’
End Credits: Tom Garton
Wonderhood Studios’ Tom Garton on subversive comedy and getting arrested in Kazakhstan
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
Kerene Barefield: It’s time for a new way of doing business
As the freelancer crisis continues, the industry needs to create new ways to keep the door open for those who are struggling
Things You Should Have Done, BBC3
Lucia Keskin shot to fame on YouTube parodying sitcoms - Robin Parker finds out how the 23-year-old came to be running one of her own
First look: The Responder, BBC1
Martin Freeman and Adelayo Adedayo return in second series of Dancing Ledge Production’s thriller, written by Tony Schumacher
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
Josh Must Win: The Primal Media format turning the dial on reality TV
In this new E4 series, celebrities secretly influence the competition by trying to help an ‘ordinary Joe’ contestant triumph over their ‘alpha’ rivals
Cân i Gymru (Song for Wales), S4C
Executive producer Emyr Afan on the increasing the profile of singing contest Cân i Gymru (Song for Wales) with a staging revamp
Distributors Index: BBC Studios on the hunt for content with global appeal
Execs Mark Linsey and Kate Ward discuss their aim of getting the best of British TV out to the world
NBCU pushes on with search for international entertainment
From BBC partnerships to filming abroad, the US broadcaster is prepared to travel for good TV
This Town: Steven Knight revisits the ska era
The Peaky Blinders creator discusses his latest BBC1 drama, set amid the emerging music scene of 1980s Birmingham
Buyers roundtable: Strategies for securing the best scripted content
Heads of acquisition from Sky, HBO Max, Starz and BBCS/UKTV reveal their priorities
Capital gains: The UK welcomes the world
The London TV Screenings has cemented its place in the industry’s calendar
London TV Screenings: Thrillers dominate as comedy declines
Laughs will be in short supply at this year’s London TV Screenings as distributors instead opt to push their premium scripted content
Is the motorsport docuseries market overcrowded?
Simon Hinchliffe, Prism Sport and Entertainment head of motorsport, looks at whether the cluttered landscape of behind-the-scenes motorsport series is it makes it hard for new entrants to succeed
What traditional broadcasters can take from Netflix’s sport strategy
Luke Boyle, chief growth officer at UIC Digital, gives his recommendations to the likes of the BBC & ITV
Bronagh Monahan: YouTube isn’t a threat - it’s an untapped resource
The video platform offers a pipeline for talent who can really shine on linear
The Push
‘The fact that this story has exclusive coverage of the courtroom is really compelling’
The Negotiators International
‘The new series comes at a time when hostage negotiation is a highly topical issue’
Mayhem! Secret Lives Of The Georgian Kings
‘This was a period with piracy, class division, global power and lots of sexual scandal’
Dead In The Water
‘It feels utterly accurate and authentic, allowing a real sense of place and time’
Spinal Destination
‘It’s a very warm and humane gang comedy with a group of friends unlike any other you’ve seen’
So Long, Marianne
‘It will appeal to a young audience that has no idea who Leonard Cohen is’
Monsieur Spade
‘Clive Owen has a real presence – he fills each scene with a real intensity’
Samber
‘The series is about the massive failure of society and the system to protect women’
Rebus
Rebus; Austin; Borderline; Conflict; Monsieur Spade; Paris Has Fallen; Samber; So Long Marianne; Spinal Destination
Paris Has Fallen
‘The movie franchise has a real added value that brings visibility to the series’
Conflict
‘The idea of civilisation coming under attact is something audiences can relate to’
Borderline
‘This is very premium, with great storytelling. It’s gritty and it’s got a political dimension’
Austin
‘It’s a story of acceptance that has diversity and family at its core. Multiple generations will enjoy it’
Wolf Hall: The Mirror And The Light
‘There’s a big footprint where the drama will travel, as period drama is a safe bet, particularly with this cast’
The Jetty
‘It’s a good crime thriller, but also opens up deeper questions about sexual consent and morality’
The Cuckoo
‘The Cuckoo is a suburban thriller, which always works well with global buyers’
Renegade Nell
‘Broadcasters need both the familiar and the surprising, and our slate delivers on that’
Red Eye
Red Eye; Coma; Nightsleeper; Renegade Nell; The Cuckoo; The Jetty; Wolf Hall: The Mirror And The Light
Coma
‘It feels local, but the situation is universal and that elevates it for global audiences’
Nightsleeper
‘Nightsleeper will have viewers across the globe on the edge of their seats’
First look: Small Town, Big Story, Sky Max
Playground Entertainment and FilmNation’s six-part series set in Drumbán, a fictional village in rural Ireland full of misfits
Take a deep breath and keep the faith through tough times
The short-term outlook may still be gloomy, but viewers haven’t lost their appetite for quality TV
Inseparable Sisters, BBC1
Producer and narrator Lucy Owen on making an intimate documentary exploring the story of conjoined twin sisters
Fewer, bigger, better: Kate Philips unpacks BBC mantra
Unscripted director reveals how audiences have steered ‘painful’ programme cuts, but insists there is still space for features and lifestyle shows
High: Surviving a Dubai Drugs Bust, BBC3
Director Alex Irvine Cox explains how he and his team stretched their budget to tell a dramatic story set in an exotic location
Why broadcasters need to get off the sidelines to grow women’s sport
Anna Reynolds, consultant and Yonder Consulting, believes broadcasters could miss the opportunity available with women’s sport
C4 looks to futureproof comedy with Playgrounds scheme
New fund will complement Blaps and provide a more experimental space for budding talent
Why I believe the entertainment industry mustn’t fear AI
Tim Levy, CEO of digital twin creator Twyn, gives his pitch as to why the media industry should embrace AI
First look: The Gathering, C4
World Productions thriller will explore modern parenthood and how parents impose agendas and issues on their children
Into the Congo with Ben Fogle, Channel 5
Series producer Frederick Martin on why careful planning and optimism are vital when filming extreme adventures
Deep Dive Australia, Sky Nature
Presenter Lizzie Daly on getting breathtakingly close to the wildlife of some of Australia’s most remote locations
Eight things we learned at Realscreen
From co-pros to murder shows and FAST channels to theme park rides, here’s Broadcast’s top takeaways from New Orleans
How the year is shaping up for VFX and post houses
Execs from post house Gorilla and VFX specialist BlueBolt discussed the state of the sector, flexible working and the growing use of AI
Broadcast Awards 2024 in pictures
Familiar faces gathered for the 29th Broadcast Awards, hosted by Sue Perkins
This Super Bowl, Gen Z are voting for spectacle over sport
Tom McGirr, executive director of strategy and creative at The Wild By Jungle, on how American sport is attracting younger viewers
Honoring the best of British TV
‘Big events, big shows and big brave programming bets have never felt so vital’
Special recognition: Martin Lewis
‘Never flustered, always forensic, always empathetic, Lewis has become a major figure in British TV’
Broadcast Awards 2024 - the judges
Methodology and list of judges
Best entertainment programme: The 1% Club
“It is the most brilliant format with the most effortless production on TV”
Timeline TV Moment of the Year: Succcession
“The reactions of all four Roy children were revealing and fabulously acted”
Best soap/continuing drama: Casualty
“A bold and innovative way to get a hardhitting message across in a soap”
Best independent production company: Studio Lambert
‘The Traitors became a truly elite format in doublequick time’
Channel of the Year: BBC1
‘Placing itself at the heart of the action, BBC1 continues to prove is might as a truly public service channel’
Emerging indie of the year: Curious Films
‘Curious Films made more hours of TV than ever before last year and grew its client base to include streamers and US networks’
Best post-production house: RunVT
“A truly great post house that is brave enough to grow during difficult times in the industry”
Best children’s programme: A Kind Of Spark
“This series showcases neurodiversity in an organic and engaging way, without it being the sole focus”
Best comedy programme: Black Ops
“The two central performers have real funny bones. Black Ops was totally addictive to watch”
Best current affairs programme: Russell Brand: In Plain Sight
“This was vital and remarkable journalism that changed the national dialogue”
Best daytime programme: Scam Interceptors
“A surprising and riveting show. This is public service broadcasting at its best”
Best documentary programme: Lyra
“A stunning tribute to a remarkable young woman whose story had only just begun”
Best documentary series: Once Upon A Time In Northern Ireland
“Brings the horrors of recent history to life more than any other doc series I can remember”
Best multichannel programme: I Kissed A Boy
“A true depiction of dating in the modern age. This format needed to happen”
Best music programme: Eurovision Song Contest 2023
“Eurovision 2023 was the perfect celebration of music and unity”
Best news programme: ITV News At Ten: The Lucy Letby Verdict
“Paul Brand’s exclusive interview with Dr Jayaram got closer to the story than any other coverage”
Best original programme: The Piano
“The Piano reinvented the talent show with an authenticity and realworld reference that was refreshing”
Best pre school programme: 123 Number Squad!
“Turns parts of the curriculum into an accessible and fun experience for its audience”
Best popular factual programme: Joe Lycett vs Beckham: Got Your Back At Xmas
“Joe cleverly crafts a brave viral moment to show what true LGBTQ+ support means”
Best single drama: I Am Ruth
“A subject that we are all familiar with was handled with great subtlety and care”
Best specialist factual programme: Inside Our Autistic Minds
“This programme has left an indelible mark and prompted a shift in my perspective”
Best sports programme: Monday Night Football
“The punditry is engaging and credible. This show is pushing football coverage to new heights”
International programmes sales: Dreaming Whilst Black
“Its critique of the screen industry’s approach to inclusivity resonated with viewers worldwide”
Rukhsana Mosam: RIP RDF
The 30-year-old indie was past its prime - but that prime was something rare and special, says Ten66 Television’s creative director
Best drama series: Happy Valley
“Beautiful, surprising, original and at all times staying true to what it is”
First look: Clarkson’s Farm, Amazon Prime
Third series of agricultural format from Expectation
End Credits: Julia Hardwell
Arrow Media’s head of talent on loving a tearjerker, Everton FC and Gary Lineker
Analysis: Commissioning falls across the board in 2023
Orders taking a significant tumble in 2023, co-pros in decline and the streamers cutting back according to Programme Index analysis
The right business model is key to company valuation
Some major media firms are up for sale but what they are worth depends on how you see the market developing
Gallery: Broadcast Best Places to Work event
Winners in this year’s annual list attended a special event in London last week
Roundtable: a new era of specialist factual
Leading commissioners from around the world reveal how they are moving the genre forward, dealing with budget cuts and embracing co-production
Will Hanrahan: Midlands indies welcome BBC’s return and fund support
FirstLook TV’s creative director on the importance of the Small Indie Fund
Sarah Lee: Signs of recovery in the TV jobs market, but industry must collaborate
This January has seen more jobs advertised than in any month since September 2023
Ian Rumsey: Collective effort is needed to weather the storm
The production industry can emerge from the slowdown in a good, if different, place
Roundtable: How to ease the freelancer crisis
Industry leaders discuss what can be done to help out-of-work freelancers – from government aid to greater industry collaboration
Broadcast predictions: What 2024 has in store for the industry
Broadcast’s editorial team look into their crystal balls to predict the changes, challenges and opportunities the industry faces in the year ahead
Analysis: How to measure a hit show
Content chiefs at the BBC, ITV, C4 and C5 reveal what they believe constitutes a hit on their channels
Best Places to Work 2024: category winners
The top-performing companies across four key disciplines
Virtual Post
‘We are a friendly bunch, working in a fun and supportive atmosphere’
Run VT
‘We have a genuine family feeling, with a really eclectic mix of cultures. We treat people as people, and respect work/life balance’
Red Bee Creative
‘Our commitment to working with diverse teams extends to freelancers and contractors’
Moov
‘MOOV is committed to being a net-zero business by 2030 and is working with Albert to calculate its carbon footprint’
Senior figures can be bullied too: a director speaks out
The devastating impact of bullying can be magnified by the pitfalls of informal referencing, writes an anonymous director
Molinaire TV & Film
‘The Molinare culture is driven by a love for the craft, and a genuine care for one another, while having fun’
Kinetic Pixel
‘At Christmas, we distribute a pot of money equally between employees to help with additional food and energy costs’
Best firms shine for staff in tough times
‘The 45 firms on our list have managed to keep morale high and workers feeling valued’
The Finish Line
‘We constantly evaluate salaries so we can be pre-emptive in paying people what they deserve’
Creating a happy office
Staff at the Best Places to Work are rewarded for their hard work with everything from food & drink to team quizzes & parties
Workerbee
‘We champion internships and actively seek out talent from all backgrounds as well as supporting access to training and development’
Woodcut Media
‘We actively promoted flexible working even before the pandemic. One exec told me I’d changed his life’
Living up to Gen Z standards
From wellbeing and recruitment to sustainability and career progression, BPTW firms are trying hard to meet the expectations of their younger staff
Wildstar Films
‘Wildstar has paid cost-of-living payments and offered free, on-site access to an external financial adviser’
The Whisper Group
‘We promote wellbeing by encouraging regular breaks, offline time and a work-life balance’
Voltage TV
‘Both the co-founders are of minority ethnic origin so we place great importance on diversity and inclusion’
Twofour Broadcast
‘Our staff go to schools/colleges/universities to give talks, and we offer work-experience placements’
Analysis: the shape of a WBD/Paramount supergroup
Merger could create new player in the race for scale
The Connected Set
‘There is a real feeling of community, through team-building, regular check-ins and supporting staff wellbeing’
Studio Ramsay Global
‘We ensure that everyone gets the most out of their time with us, and we try our hardest to offer longer-term contracts’
Silverback Films
‘We put our trainee and junior production co-ordinators on the overseas and foreign filming course’
Rare Television
‘We believe in taking collective responsibility, which is repaid in loyalty and everyone having a sense of ownership of our output’
Raise The Roof Productions
‘We give our permanent staff bespoke plans and one-to-one coaching, and recently increased their wages in response to the cost-of-living crisis’
Optomen Television
‘We have a relaxed and welcoming environment where everyone is treated as equal and with a high level of respect’
Mindhouse Productions
‘We are kind, we are fair and, when in doubt, we surround ourselves with dogs and cake’
Lifted Entertainment
‘We allow employees to participate in community service during business hours without losing pay or using holiday time’
Hello Halo Productions
‘Kindness and respect are hugely important in creating a positive culture, and are demonstrated from the top down’
Firecrest Films
‘The short-term freelance culture in TV is a significant discriminatory obstacle, so we often engage people on longer contracts’
Expectation Entertainment
‘We want our employees to feel empowered to discuss how we can improve as a business. We are collaborative in our approach’
Eleven Film
‘We are committed to creating an environment where people feel valued, inspired and confident to do their best work’
Drummer Television
‘Our office is fuelled by renewable energy and all staff walk or use public transport to come to work’
Fostering a culture of inclusion
The Best Places To Work are actively promoting diversity, equity and inclusion policies
Cwmni Da Cyf
‘We have set up an employee group that decides on different opportunities to support local community projects’
Curious Films
‘We actively seek to increase the number of people we work with who are from groups/communities that are underrepresented’
Candour Productions
‘We support inclusivity in its most genuine sense so our staff can flourish’
Buzz 16
‘We have regular social events to encourage team building and to celebrate milestones’
John McVay: The evolved Terms of Trade will help indies continue to thrive
The Terms of Trade had a revolutionary effect on the industry - and the changes in the Media Bill will safeguard their future
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
Big bets and clever commissions kick off the new year in style
Linear is far from dead – but there’s more to Gladiators and Mr Bates’ success than a slot in the schedule
Blue Zoo
‘We have transitioned to 100% renewable energy for our on-site and off-site server farms’
Bad Wolf
‘Our values and aims embrace carbon reduction goals, accessibility and inclusion, creative excellence and boundary pushing’
Arrow Media
‘We have a good track record of people moving up through production roles and we’re big on in-house training’
Air TV
‘Last year, Air TV was able to award a company-wide cost-of-living bonus to all staff. We have continued to support staff this year’
A Productions
‘We are committed to ensuring A Productions is a welcoming, enjoyable, diverse and inclusive place to work’
Yeti Television
‘We trust and empower people and don’t micromanage’
Wilderness with Simon Reeve, BBC2
Chris Mitchell, series producer and director, on filming in remote areas where nature still has the upper hand
Leading the way to better times
Good leadership is the main criteria for employees in this year’s survey
Hidden Light
‘We nurture new talent and promote training to ensure our team are confident in their role’
Andrew Dagnell: A new era for ITV News
ITV News editor on starting in the week of the Queen’s death, ushering in a streaming service and updating newsroom culture
The Garden
‘We’ve signed up to We Are Doc Women’s 50:50 female director pledge, & BEAM Network to address the low South Asian numbers’
Stellify Media
‘For a company on a small island, we see no limits, plan strategically, and always act with heart and integrity’
Dancing Ledge
‘We pay significant bonuses based on individual performance and company revenue’
Quay Street Productions
‘We match team members with passion projects and nurture trusting relationships between team members and writers’
Wild Child Animation
‘We set annual goals for recruitment, using Screen Scotland’s diversity goals, and assess our progress bi-annually’
Dragonfly Film & TV
‘We were able to offer all of our staff on less than £70,000 a cost-of-living payment’
Wonderhood Studios
‘We’ve publicly committed to We Are Doc Women’s 50:50 pledge, so half our directors are female’
Initial
‘Kindness and collaboration are at the heart of everything we do. If you treat staff with respect, profit and productivity will follow’
Open letter to Tim Davie: 10 ways to survive 2027
BBC expert John Mair lays out his thoughts for the director general as the BBC prepares for the future funding debate
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
Gallery: Gladiators, BBC1
Selection of images from the Hungry Bear Media reboot of the popular competitive series
First look: Ludwig, BBC1
Peep Show and Back star David Mitchell leads comedy produced by Big Talk Studios in association with That Mitchell and Webb Company
Mr Bates Vs The Post Office writer “flabbergasted” by public response
The impact of the series highlights the importance of continuing to make such dramas, ITV’s Polly Hill says
Andes Plane Crash, Channel 5
Director Oliver Price on dodging French kite skiers to recreate the remote Andes mountains
Silverback, BBC2
Executive producer Andrew Zikking on a wildlife documentary that went in an unexpected direction
Three big tech themes for post-production in 2024
Chris Bailey, head of innovation at Jigsaw24 Media, reveals what post-production houses should be prioritising in 2024
The Secret Life of the Safari Park, Channel 4
Executive producer Alex Sutherland on the challenges of filming animals who are free to roam on a budget that isn’t
Truelove, Channel 4
Executive producer Emily Harrison on keeping a high-octane premise grounded yet stylish
Bariau, S4C
Producer Alaw Llewelyn Roberts explains why she chose to build a prison from scratch
How to ditch legacy workflows and start afresh
Tim Burton at 7fivefive explains how cloud economic models can deliver a plethora of long-term benefits
Ellie Kahn: Such Brave Girls (Various Artists and A24 for BBC3)
“In a year of incredible TV, this one came late and out of left field”
Top 10 comment articles of 2023
Including Rebecca Thompson, Andy R Worboys, Scott Bryan and Ash Atalla
Paul Weatherley: Once Upon a Time in Northern Ireland (KEO Films & Walk on Air Films for BBC2)
“It shone a light on a very dark period where communities were ripped apart and it all seemed very normal. An essential watch”
Broadcast’s shows of the year
Members of the team pick their favourite programmes of 2023
David Singleton: Succession (Gary Sanchez Productions for HBO/Sky Atlantic)
“For my money, TV writing doesn’t get any better”
The Castaways, Paramount+
Exec producer Mike Benson on finding the perfect spot to crash a plane
John Elmes: Koala Man / Colin from Accounts
“Peppered throughout this annus horribilis were some moments of respite in the form of Australian scripted comedy”
Marian McHugh: Happy Valley, (Lookout Point & BBC Studios for BBC1)
“I have never seen a character quite like Catherine Cawood on TV”
Top 10 behind the scenes of 2023
Including The Piano, 007: Road to a Million, The Long Shadow and Go Hard or Go Home
Mog’s Christmas: Festive feline fun from Lupus Films
How 63 artists worked to produce 170,000 animated frames in a distinctive hand-drawn style
Top 10 interviews of 2023
Including Amelia Brown, Russell T Davies, Tanya Shaw, Joe Lycett and Esther Rantzen
Top 20 news stories of 2023
Click for a round-up of the year’s most significant events
Year in Review: scandal, strikes and royal ghosts
From a new monarch to a slew of celebrity scandals + the end of two of TV’s finest dramas, Broadcast looks back at the past 12 months
Maya Marie: The Bear (FX Productions for Disney+)
“We see the immense pleasure the characters get from producing such carefully curated dishes and we feel it too, without having to taste it”
Seetha Kumar: assessing eight years at ScreenSkills
Outgoing chief executive discusses the successes and challenges of navigating skills policy in our sector
Fleur Feeney: Juice (Various Artists for BBC3)
“I loved the surrealist style, the nods to classic comedy bits, and the slapstick, tactile, physical nature of the whole thing”
Why broadcast & streaming need standardised sustainability metrics
Johan Bolin, chief business officer of media & broadcast at Agile Content, calls for collaboration across the industry
Tom Williams: The Last Of Us, HBO & Sky Atlantic
“They made audiences forget they were actually watching an episode of an apocalyptic zombie series”
Alice Redman: Daisy Jones and the Six (Amazon Prime Video)
“The styling was particularly gorgeous and entirely to blame for me spending most of my paycheck at Free People the month it came out”
Heather Fallon: Dreaming Whilst Black, (Big Deal Films & A24 for BBC3)
“It’s a brutally accurate depiction and one that could so easily fall into despair but instead manages to find humour at every turn”
End Credits: Blair Mowat
The freelance composer on Doctor Who, buying a lightsaber and bringing back Blake’s Seven
Analysis: How PSBs are fighting back against the streamers
Broadcasters are putting their VoD platforms at the centre of commissioning decisions, making use of audience data & tapping into their archives
Virtual production in the spotlight
Experts on virtual production discuss the benefits of the technology, the essential kit needed to get the most out it, and the impact of the recent layoffs at Unreal Engine maker Epic Games
STV Studios’ David Mortimer: Greenbird, growth and great ambition
The STV managing director discusses the acquisition of Greenbird and his ambition to build the UK’s largest nations and regions group
Dan Korn: Keeping ahead of the pack in true crime documentary
Crime+Investigation’s vice-president of programming discusses the innovations helping content stand out in a crowded genre
Studios look to brighter days in 2024
After weathering a perfect storm of US strikes and a slowdown in commissioning, UK studios are cautiously optimistic about the coming year
The Crown: The royal saga that ruled the airwaves
Left Bank execs reflect on the landmark royal drama, while Netflix UK’s Anne Mensah reveals the potential successors to its throne
Philippa Childs: Now is the time to stand up for the BBC
If we allow the BBC to be undermined, our cultural landscape and democracy will be fundamentally weakened
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
Scott Bryan: The industry should follow these new year resolutions
Let’s do away with the pointless rebrandings, invasive personalised ads and meaningless figures and support our staff
Provocative language and antisemitic tropes don’t help the industry come together
Suggesting people are scared to speak out against Israel implies the old trope that Jews control the media, writes Fulwell 73’s Leo Pearlman
Keeping It Up: The Story of Viagra, BBC2
Director Stephen Bennett on rising to the challenge of telling the story of the little blue pill
BBC’s future up for grabs, even as good sense prevails with chair
Samir Shah breaks the mould, but faces plenty of challenges as licence fee review kicks off in earnest
Fear of backlash stifles open exchanges on Israel/Gaza
Fatima Salaria hands her column to an anonymous colleague to explore why discussing the Middle East is so challenging
Winning strategies for fan engagement
Top sports content makers reveal the thinking behind industry-leading campaigns that have engaged and entertained fans and athletes alike
The Famous Five, CBBC
Producer Sophie MacClancy on breaking showbiz rules and bringing classic stories to a modern audience
Hope Street: Providing opportunities for Northern Irish talent
Executives at Long Story TV reveal how the BBC1 drama has built a skills training platform & an outlet for local production talent to thrive
Mike Darcey: Netflix is the clear winner of the streaming wars
While the US streamer’s strategy is paying off, rivals are in a sorry state and need to reassess their business models
Amelia Brown: From runner to the top job at Fremantle
The Fremantle UK chief exec on taking on the top job after 20 years at Thames, mining its back catalogue and creating an inspiring workplace
Regenerating Doctor Who: The anniversary specials
As the beloved sci-fi franchise turns 60, it looks towards a new era – led by some familiar faces.
Big Zuu: Hitting the big time
The grime star and TV chef is bringing fresh flavour to the food-travel genre with 12 Dishes In 12 Hours for ITV1
Studios should take the lead on clean energy
Bottle Yard’s business operations manager and sustainability lead Katherine Nash on how community energy could spell new opportunities for studio solar installations
Channel 4 trio named unsung heroes
Channel 4 executives Clemency Green, Art Sejdu and Kiran Nataraja are recognised by their peers in this year’s survey for always going the extra mile
Concerns grow as slowdown hits hard
Rocketing costs, a downturn in the ad market and struggling streamers are all playing a part in reducing commissions
End Credits: Phil Mount
The Potato creative director on ’80s rock, ice baths and Rebel Wilson
Buyers have their say on slowdown
70 buyers from across the industry reveal their views on the current industry landscape and how they’re navigating the slowdown
Alisa Pomeroy tops peer poll
C4 head of documentaries dethrones two-time winner Ben Frow as peers vote her the commissioner they most admire
Streamers fall down the pecking order
Commissioners believe that well-resourced streamers are becoming less attractive to indies
Job satisfaction high among commissioners
Despite having to negotiate a slowdown and strained indie relationships, a resounding 93% of commissioners say they are happy in their role
Gallery: Slow Horses, Apple TV+
Selection of images from the third series of espionage thriller. Produced by See-Saw Films
Indies desperate for clarity as brutal year draws to a close
Uncertainty over Channel 4 commissioning patterns has been a factor for much of the year
Richard Wallis: A Sustainable Future for Skills report offers a welcome vision for developing talent
Georgia Brown’s taskforce offers us a way forward - it’s vital that we act on it
Gallery: Christmas on the BBC
Click to view a selection of programme highlights unveiled by the BBC for the festive season
Media giants look to the past to build models for the future
Advertising tiers, windowing and licensing are all making a comeback as studios return to old formulas for success
Analysis: The fractured relationship between indies and C4
Suppliers have criticised the broadcaster for its handling of the commissioning slowdown and what they see as poor communication
Alex Mahon sets out Channel 4’s perspective on the challenges of 2023
Chief executive addresses indies’ concerns and offers update on financial performance
David Holmes: The Boy Who Lived - how closeness gave the film breath
Creatives behind the HBO/Sky single discuss the personal bonds which made the doc possible and using it as a platform for industry exposure
First look: The Gentlemen, Netflix
Netflix, Moonage Pictures and Miramax TV production will air in 2024
Lucy Frazer: The Media Bill will unleash the full potential of our PSBs
Culture secretary praises broadcasters but says ‘success today is not a guarantee of success tomorrow’
Why our Glasgow indie now has desks in London and friends in Europe
Commissioners still want to talk in London - but Ofcom rule changes would help to shift that
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
Gallery: The Crown, Netflix
Selection of images from the sixth and final season of Left Bank Pictures’ royal drama
First look: Big Boys, C4
Roughcut TV comedy returns January 2024
The Basics: Everything you need to know about "shiny floor" studios
Paul McGavin, studio turnaround manager at dock10, explains why shiny floor shows are called just that
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
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
Connections, Curiosity Stream
Executive producer Iain Riddick on bringing back an iconic series with a modern twist
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
Gallery: Broadcast Sport Awards 2023
Familiar faces from across the industry gathered for the annual Broadcast Sport Awards, hosted by Dara Ó Briain
Mixmups, Channel 5
Creator, writer and exec producer Rebecca Atkinson explains how she mixed play and representation to create a magical new world for kids
Why women’s sport coverage needs to catch up with public interest
Duncan Maud, associate partner at OC&C Strategy Consultants explains why now is the time to invest in women’s sport
First look: Murder is Easy, BBC1
Agatha Christie novel is latest adaptation from Mammoth Screen
BBC kids’ commissioners reaffirm linear commitment
Bosses of CBBC and CBeebies aim to support the UK industry with a renewed focus on animation
End Credits: Chris Reindorp
The Rex development executive on Chris de Burgh, Cling Film and James Norton
Broadcast Tech Fest: challenges of digging into the past
Panellists on the Archive & Restoration Forum discuss the commissioning slowdown, tracking down the perfect piece of content and the use of AI
Lorraine Heggessey: Talent’s bad behaviour has been indulged for too long
The industry has to commit to stamping it out and creating an environment where people feel heard
Banged Up, Channel 4
Shine producers on recreating a realistic prison experience while ensuring a duty of care to reformed criminals
What makes a show risky? Top execs have their say
The BBC’s Clare Sillery, UKTV’s Mark Iddon, ITV’s Sue Murphy and C4’s Tim Hancock discuss the shows on which have taken risks
Britain’s Human Zoos, Channel 4
Exec producer and co-director Paul Berczeller on the challenge of uncovering a forgotten and painful history
One Life: The story of a remarkable hero
How Nicholas Winton’s wartime efforts and heroism inspired a SeeSaw Films/BBC Film feature starring Anthony Hopkins
That’s Life!: ‘A show ahead of its time’
From law-changing investigations to talking dogs, That’s Life! was a groundbreaking show that kickstarted the careers of some of TV’s biggest names
Esther Rantzen: in her own words
The veteran TV presenter on the funniest moments on That’s Life!, the story she’s proudest of and the state of consumer journalism today
First Look: Domino Day, BBC3
Dancing Ledge Productions drama about a coven of witches
Big Brother, Survivor and Deal or No Deal: a Remarkable run
How have Natalka Znak and Claire O’Donohoe resurrected a trio of monster formats – and what’s next?
Esther Rantzen: Fighting the good fight
Esther Rantzen talks to Broadcast about her time on That’s Life! and its lasting legacy
Licence to thrill: the inside story of 007 Road to a Million
How 72 Films’ globe-trotting adventure format for Amazon Prime Video makes the most of Bond
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
Black women in TV salute their sisters: Part two
Nicola Gregory, Sarah Asante and Samantha Stewart are among those celebrating their peers for this year’s female-focused Black History Month
Black women in TV salute their sisters: Part one
Angela Ferreira, Annika Allen and Lola Oliyide are among those celebrating their peers for this year’s female-focused Black History Month
C5 greenlights thriller from The Teacher creator
The Cuckoo (w/t) is a ‘tense and twisty’ drama created by Barunka O’Shaughnessy
Analysis: Is the industry doing enough to prevent sexual harassment?
Broadcast speaks to the author of a damning study of sexual misconduct in film and TV, and asks what can be done to tackle it
Race for scale amid tough times points to reshaped indie sector
The bigger players are competing for mega-budgets, while smaller producers get resourceful
Paul Epstein: We still need to be vigilant about AI in writers’ rooms
AI will bring opportunities to the industry, but it cannot replace human ingenuity
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
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
Ria Hebden: Let’s realise the true value of mentorship
The TV industry has some truly brilliant mentors - with greater commitment we could make their expertise available to everyone
The Continental: avoiding a John Wick ‘cash grab’
Exec producers Basil Iwanyk and Erica Lee explain their care in not “killing a franchise”
All smiles as comedy comes to the fore
While unscripted still dominates, international drama and comedy are well represented as the knock-on effects of the US writers strike continue
Dispatches’ Alistair Jackson sets out in-house unit’s stall
Investigations editor explains the team’s mission to support indies with their ambitious investigations
Comedy and local content out in force
International editor John Elmes highlights which programmes are likely to make biggest splash in Cannes
Obituary
‘There’s the overarching murder mystery, but suffused with a darkly comic element reminiscent of Killing Eve’
The Dark Emu Story
‘International audiences have always been fascinated with the Aboriginal experience in Australia’
The Arctic, 66.5 Degrees North
‘The production is very rich in entertainment, as well as having a powerful message’
The Nobody Zone: Interview with an Irish Serial Killer
‘This is a striking and immersive way of bringing this extraordinary story to life’
Factual and Formats
Ob-docs and true crime continue their factual streak with Strip and The Flight Attendant Murders leading
Haaland: Breaking Ground
‘Offers unfiltered access to the biggest name in football right now’
The Flight Attendant Murders
‘It’s a potentially jaw-dropping miscarriage of justice with lots of eyewitness contributors’
Banged Up
‘This is quite full on – the celebrities have to be tough to even agree to do this’
Snake Oil
‘This is a light and fun show that dials down the intensity and really focuses on the humour’
ReSolved
‘Combines conspiracy theory, true crime and the deep journalism for which Vice is well known’
Scrublands
‘There are lots of twists and a very unpredictable plot, which makes the series bingeable’
Of Money And Blood
‘It’s a gripping thriller featuring solid characters with strong back stories and intriguing personal journeys’
Estonia
‘We tell what we know for sure - through the eyes of survivors, relatives of the victims and the investigators’
International Scripted
Davey & Jonesie’s Locker heads up an eclectic array of global dramas and comedies including Bargain, Estonia, Strife and Obituary
Slip
‘This is a hilarious and unexpected love story. A dramedy that us heartfelt, sad, funny, poignant and captivating’
Strife
‘It is not a conventional comedy or drama - it’s a relationship dramedy with a lot of nuance’
Stuart Prebble: Don’t lose faith in the power of telly
It can be frustrating when shows don’t capture the public imagination but the moments when they do make it all worthwhile
The Continental: From the World of John Wick
‘The series offers the action and edginess of the box-office franchise, but with its own distinctive feel’
Trust No One
‘Delves into, espionage, action and danger. International audiences know and search out these elements’
Bargain
‘It’s an absolute rollercoaster from start to finish. A cat-and-mouse survival sequence’
UK Scripted
Boat Story leads a flotilla of UK scripted series, sailing alongside Domino Day, Truelove, Dead Hot, The Serial Killer’s Wife and Men Up
Truelove
‘We are excited because we know Truelove will be talked about by everyone who watches it’
The Serial Killer’s Wife
‘Not only does it have great scripts and a great pace, but it also has a fantastic ending’
Dead Hot
‘Dead Hot is irreverent and entertaining yet has the familiar pace, hooks and twists of a first-class thriller’
Domino Day
‘An exhilarating exploration of race, misogyny, sexuality and identity. It’s a fresh, exciting thriller for modern viewers’
Men Up
‘What stands out is Men Up’s ability to balance comedy and heartfelt elements’
The legal issues surrounding deepfakes & AI content
Oliver Lock, reputation management expert at law firm Farrer & Co., gives an overview of the risks and possibilities around AI-created or edited content
Charlotte Moore: Jimmy Savile drama demonstrates the BBC’s bravery
BBC content chief reflects on the challenges of showing past failures at a screening of The Reckoning
First look: This Town, BBC1
Kudos and Nebulastar are producing Steven Knight’s six-part drama
Inside the Big Brother House
The creatives behind the highly-anticipated revival on reimagining reality TV’s defining show
Roundtable: What makes a great literary adaptation?
Raffaella de Angelis, Hannah Griffiths and Hilary Strong discuss the role of the author, current trends and the power of IP
End Credits: Sharon Levy
The Endemol Shine North America chief executive on her passion for gift-wrapping, HBO’s Warrior and missing out on a circus career
Turning up the heat in dating shows
The creatives behind some of the latest formats on freshening up the genre and the key ingredients for a hit show
Best Kept Secrets: The world’s hidden programming gems
Four TV executives from across the globe shine a spotlight on the local shows that deserve more international attention
Endurance - Race to the Pole with Ben Fogle, Channel 5
Series PD and cameraman Alexis Girardet on how October Films’ Channel 5 series was imbued with authenticity and adventure
Innovation Takes Centre Stage at IBC
Andy Walker at Accenture provides his opinion on the main themes to emerge from IBC2023
Julie Pizzi: Game on for the next big franchise
The Bunim/Murray president on Buddy Games and why the time is right for a great new format to blow up on the global market
Josh Duhamel: Let the Buddy Games begin
The Hollywood star on swapping film for TV and how competing in challenges with high-school friends helped inspire his new CBS gameshow
Behind the Scenes: Zorro rides again
Amazon is reviving the ‘timeless Mexican superhero story’ with a new focus on strong female characters
Kate Bulkley: It’s all change as media firms rethink their business models
Broadcasters are reviewing how their programming is curated and packaged in a hyper-competitive market
Distributors make hay despite challenges ahead
Annual report shows revenues are at their highest level since before the pandemic amid tough times for the content business
Edinburgh announcements confirm commissioning dip
Snapshot from the 2023 festival reveals a decline in the number of shows being greenlit by broadcasters
A great year but challenges ahead
“Many report that there is now an expectation for distributors to plug big financing deficits, particularly for scripted programming”
All3Media holds on to top spot in Peer Poll
The Traitors outfit wins the backing of its peers for the sixth consecutive year, while Banijay achieves its highest ever position in second
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
Distributors express concern over gaps in funding
Companies say they’re being asked to invest increasingly large sums up front
How to translate data into a compelling visual story
Ash Potterton at Arrow Media on bringing the data component in stories to life in on-screen graphics
Culture is as important as process in weeding out behaviour
The sector must close the gap between the rhetoric of zero tolerance and the reality of working life for freelancers
The Long Shadow, ITV1
Executive producer Willow Grylls on telling the story of the often overlooked victims at the heart of an infamous string of murders
Otto Baxter: Not a F***ing Horror Story/Puppet Asylum, Sky Documentaries
Producer Daisy Allsop explains how the combination of a documentary and a short film helped a man with Down Syndrome tell his own story
Why Netflix should become a channel distributor for its streaming rivals
The end of the streaming wars is in sight, and streamers should grasp the opportunities that it presents
Supporting care-experienced children, BBC Teach
Exec producer Andy Glynne on how his team sensitively animated real-life testimony to help teachers support children who’ve been in the care system
Gallery: Sex Education, Netflix
Selection of images from the fourth and final series of the Eleven Film comedy drama
How Hardcash delivered the Russell Brand doc
Executive producer Esella Hawkey reveals the meticulous work that went into the C4 Dispatches programme
Caroline Norbury: The whack-a-mole approach to bad behaviour isn’t working
It’s time for the whole industry to step up to take collective action on harassment and bullying, the Creative UK chief executive says
First look: The Doll Factory, Paramount+
Buccaneer Media’s period drama series airs late autumn
Richard Wallis: The Russell Brand revelations are a call for reform
Wholesale cultural changes to tackle sexual impropriety, harassment and bullying must now become a priority
Securing free-to-air services in broadband homes is crucial
Everyone TV boss Jonathan Thompson explains why Freely is an important step in securing the future of the PSBs
Amazon brings Discovery+ premium to UK
Deal boosts Warner Bros Discovery sports and entertainment package on Prime Video Channels
Top Boy director sets her sights on ‘darker stories’
Myriam Raja talks to Broadcast about the series ending, collaboration with actors and similarities between Top Boy and The Wire
Gallery: Juice, BBC3
Selection of images from the Various Artists comedy series written by and starring Mawaan Rizwan
How Data Is Empowering Innovation
Skip Levens explains how building modern technology infrastructures will aid the growth of AR, VR and VFX
Adam Jacobs: Digital commissioning could offer freelancers hope in uncertain times
Traditional TV is struggling, but the digital content space is open for business - and it still needs freelancers
Our Sea Forest, BBC1
Producer director Sarah Cunliffe on braving the elements to film the underwater worlds off the UK coast
Nick Swimer: There are some silver linings for PSBs in the Ofcom Media Nations Report
People are still watching PSBs’ content - but a long-overdue update to the due prominence rules will help to secure their position
First look: Boat Story, BBC1
Two Brothers Pictures thriller starring Daisy Haggard, Paterson Joseph, and Joanna Scanlan
Reaping the rewards of mentoring writers
The Responder indie Dancing Ledge explains the benefits of putting time and energy into supporting new writing talent
Gallery: Top Boy 3, Netflix
Selection of images from Ronan Bennett’s East London drama. Produced by Cowboy Films, Easter Partisan and SpringHill Entertainment
Elizabeth Kilgarriff on the subconscious tension of Wilderness
The exec reveals how her new Prime Video thriller balances scale, emotion and unease
Julie Fernandez: We are making progress on accessibility, but there’s still work to do
Disability access co-ordinators are vital if the industry wants to make real, sustainable change
First look: The Way, BBC1
First production from Wales-based indie Red Seam, written by James Graham
End Credits: Ian Rumsey
ITN Productions’ managing director on his love of Liverpool, cricket and Jeremy Vine
Gallery: Edinburgh International Television Festival, day four
The best images from the final day of this year’s event
Scott Bryan: This year’s Edinburgh was fascinating, but not for the reasons you’d expect
Nobody seems to have the answers, Broadcast’s columnist concludes from a surprisingly downbeat TV Festival
Gallery: Edinburgh International Television Festival, day three
The best images from the third day of this year’s event
Fatima Salaria: Who are we to judge the choices that people make?
Whatever the reason for women stepping away from the industry, we need to do more to help them return to work
Gallery: Edinburgh International Television Festival, day two
The best images from the second day of this year’s event
Roundtable: Distributors make their case for building relationships with indies
Our panel bust some myths and highlight the important role they can play
Gallery: Edinburgh International Television Festival, day one
The best images from the first day of this year’s event
Declan Lawn and James Bluemel on Northern Ireland past and present
Blue Lights writer and Once Upon A Time In Northern Ireland director discuss the differences and similarities between their versions of the region
Alex Connock: AI isn’t going to replace the human touch any time soon
The technology has upsides and downsides, but human insight and sensibility cannot be easily replicated
Greenlight slowdown: ‘It feels pretty horrendous out there’
The TV ad market has crashed, the licence fee is frozen, inflation is rampant and streamers have slashed their spending. Five people offer an anonymous snapshot of their experiences
Murder Trial: The Disappearance of Renee and Andrew Macrae, BBC2
Taking cameras in to courtrooms is challengeing but an important step for open justice, says the creative director of Firecrest Films, Iain Scollay
Rosie Jones: “I’m not the disabled poster girl”
Rosie Jones on the tricky balance between humour and activism and why the cynic in her thinks she’s ‘just the right amount of disabled’ for TV
Commissioning slowdown: The commissioner
“I have friends who are highly experienced, who haven’t been able to pay their mortgages”
Fiona Campbell: TikTok influencers are key to attracting young viewers
BBC’s controller of youth audiences explains how its Creatorlab scheme will help social media talent make the transition to television
Ash Atalla: Bad behaviour isn’t justified – no matter who you are
It’s time the industry held ‘stars’ to account – and acknowledged that everyone involved in a production has ‘talent’
Is the sector nurturing the next generation of creative leaders?
Experience has been key to dealing with industry challenges, but should we be bedding in execs’ successors?
Commissioning slowdown: Freelancer #2
“The sad case is that talented freelancers are leaving the industry in droves”
Commissioning slowdown: Freelancer #1
“I had quite a few friends leave the industry in the 2008-9 recession – and this feels worse”
Commissioning slowdown: Indie boss #2
“Award winners who have CVs I would absolutely kill to have aren’t working”
Commissioning slowdown: Indie boss #1
“I do worry about the impact on freelancers. There are some great people who haven’t worked for a really long time”
The Man Who Stole The Scream, Sky Documentaries
Producer Clare Beavis on the chaotic ups and downs of getting access to Norway’s most notorious and audacious art thief
‘Dramatising trauma’: Ruth Wilson on her latest drama
Star and exec producer of BBC1’s The Woman in the Wall reveals why a blend of genres drew her towards a ‘vital’ story about Ireland’s dark past
From the archive: Michael Parkinson - King of chat
The legendary presenter sat down with then Broadcast editor Lisa Campbell in 2010 to discuss his storied career
Tops Guns: Inside the RAF, Channel 4
Exec producer Mark Tattersall reveals how unprecedented access to RAF Lossiemouth allowed him to take the audience into the cockpits of active fighter jets
Say Yes To The Dress with Tan France, Really
Executive producer Richard Osborne on creating the perfect setting to revive an old favourite for the modern bride
First look: The Long Shadow, ITV1
New Pictures drama airs in September
Gallery: Painkiller, Netflix
Six-part drama series exploring some of the origins and aftermath of the opioid crisis in America
First look: The Woman in the Wall, BBC1
Motive Pictures thriller examines the infamous Irish Magdalene Laundries
My Top Tips for using AI-based VFX tools
Social media influencer Brandon Baum, founder and CEO of StudioB, explains how he uses a range of AI tools in his VFX work
Alone, Channel 4
How do you make a contestant feel alone in the wilderness, while ensuring they can capture great footage? Rachel Bloomfield explains
End Credits: Emily Feller
Warp Films’ chief creative officer on scuba diving, netball and a large G&T
Ultimate Wedding Planner: A marriage of chaos and calm
BBCS exec Chi Ukairo explains how the production crew ‘faded into the background’ to capture the stressful world of planning nuptials
Overcoming the language barriers on global co-pros
Broadcasters working with international partners are looking to solutions such as versioning and subtitling
Open Door looks to expand remit
Founder David Mumeni on widening the charity’s scope to help disadvantaged groups enter the industry in behind-the scenes roles
Diamond Data 6th Cut: why have we not made better progress?
The results are in and frankly they could be better, says Mel Rodrigues
Roundtable: Holding the ladder for young talent
Four of last year’s Hot Shots on what the industry is doing right and what more could be done to support emerging talent
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
Accommodations for neurodiverse staff can benefit the whole industry
Runner Hassaan Mohammad reflects on how his experiences show that a little flexibility can go a long way
Mother Undercover, Disney +
Executive producer Thomas Viner on telling true crime stories of women turned detective to save or seek justice for their children
Scott Bryan: There’s nothing wrong with a relaxed take on copyright
Stopping viewers from sharing footage on social media risks losing the buzz created by great TV moments
Mike Darcey: The industry must not repeat the mistakes of newspapers
Broadcasters and streamers need to face up to the fact that the problems they face may be structural rather than cyclical
Acelya Kancelik
‘Acelya brings clarity of thinking to complex storylines, and her insights are fresh, unexpected and nuanced’
Hot Shots continue to raise the bar
‘This year’s cohort are not just brilliant at their jobs, they are also people who have made a difference’
Kaio Grizzelle
‘One of the sharpest and most impressive execs working across the digital landscape’
Hot Shots 2023: Development producers
Daniel Omnes, Freya Judd, Hannah Moulder, Ameenah Taher, Soph Webberley, Kariim Case, Lottie Naughton-Rumbo, Anya Wilson, Eleanor Wright, Nasreen Ahmed, Robert Hunter
Art Sejdiu
‘His range is standout but, most of all, his manner is joyful and inclusive’
Oliver Diamond
‘Olly’s understanding of the nuances of each platform allows him to formulate plans that are dramatic in their ambition’
Eleanor Wight
‘Eleanor is a truly gifted development producer. She has really strong ideas and knows how to turn them into reality’
Hannah Moulder
‘An outstanding ability to identify and nurture promising comedic voices’
Hot Shots 2023: Writers
Kim Tserkezie, Nessa Wrafter, Charlie Quinn, Anna Costello, Imogen Greenberg, Nessah Muthy
Nasreen Ahmed
‘Naz genuinely loves telly and goes the extra mile. She pushes for inclusivity and diversity and champions new writers’
Freya Judd
‘When the chips are down, Freya is someone you can rely on to be inventive and entrepreneurial in her approach to a script’
Charlie Quinn
‘He’s one of those people who’ll be running the industry in a few years, and I hope he gives me work’
Heather Winstanley
‘Heather is a tenacious and passionate talent manager. She has boundless energy and enthusiasm for her work’
Imogen Greenberg
‘Imogen intuitively grasps the mechanics of story and understands the emotions behind the characters’
Anya Wilson
‘Anya is uniquely placed to influence great change in the industry with powerful stories’
Laura Taylor
‘The most impressive young post-producer I have had the pleasure to manage in my 25 years in post-production’
Calum Leslie
‘He manages to get people on board and to open up in a way highly experienced film-makers struggle to do’
Nessa Wrafter
‘Nessa has a unique and exciting voice. Her writing is ambitious, truthful and hilarious, putting female stories front and centre’
Soph Webberley
‘Soph goes above and beyond in all areas of her role. Her propensity for talent-spotting and her unique, fresh taste will stand her in good stead’
Pandora Monnas
Pandora Monnas
Nessah Muthy
‘An exceptional talent whose writing has genuine heart, warmth and emotional depth’
Ira Putilova
‘A fantastic editor with flare and integrity, whose dedication to finding solutions is exemplary’
Lottie Naughton-Rumbo
‘Lottie is an incredibly dynamic, tenacious and exciting developer’
Nick Hitchcock
‘Nick has taken on board our ethos of being a client-facing agency and has brought with him an excellent awareness of up-and-coming talent’
Martyna Knitter
‘Impressive commitment, drive and ability to transform challenges into opportunities’
Tolu Ogunware
‘Tolu is smart, talented and an absolute pleasure to work with’
Eloise Millard
‘She will work tirelessly to get it right and is always thinking about the audience. This is what makes her exceptional’
Christopher CF Chow
‘Christopher’s work is always elegant, precise and economic – he edits only in pursuit of elevating the story’
Zoe King
‘Zoe has an endless well of positivity even in the face of the most bonkers productions’
Hot Shots 2023: Directors & DoPs
Ade Femzo, Aurora Fearnley, Sam Ewen, Martyna Knitter, Tolu Ogunware
Nathalie Swain-Diaz
‘Nat cares deeply about her work, is fascinated by story and strives to meet the highest editorial and trust standards’
Emma Rowe
‘I don’t think you could meet anyone more conscientious, hard-working and able than Emma’
Hot Shots 2023: Researchers & assistant producers
Sarah Masiyiwa, Nathalie Swain-Diaz, Calum Leslie, Dan Viner, Eloise Millard, Maria McCloskey, Katharine McCallum, Will Robbins, Dion Hesson
Hot Shots 2023: Talent managers
Milly Bell, Heather Winstanley, Nick Hitchcock, Ray Böhm, Seb Jewell
Kariim Case
‘Always one step ahead of the zeitgeist’
Hot Shots 2023: Production managers
Jade Miller-Robinson, Zoe King, Will Shellard, Emma Rowe, Jennifer Dempster
Hot Shots 2023: Commissioners
Jess O’Riordan, Oliver Diamond, Art Sejdiu, Kaio Grizzelle
Will Robbins
‘Will is super in tune with social media trends/TikTok, which has fed into the creative of shows and ideas’
Katharine McCallum
‘Katharine will one day be our boss. She embraces new roles and duties and always excels’
Maria McCloskey
‘Maria is too young to be this talented and experienced’
Dan Viner
‘Dan is keen to listen and learn and has a great work ethic. His research is always thorough’
Ellie Merz
‘She’s a passionate film-maker, full of ideas, but calm when challenges arise’
Alyona Synegina
‘With Alyona we got so much more. She pitched idea after idea and was a creative force’
Ray Böhm
‘The next-generation leader we need in this industry’
Robert Hunter
‘Robert is a skilled writer, producer, sales person, negotiator and creative, with strong leadership skills’
Ameenah Taher
‘With a real understanding of the next generation of audiences, she has proved to be a true asset to the future of our industry’
Aurora Fearnley
‘Aurora is a fierce campaigner for disability rights and she wasn’t afraid to speak truth to power’
Will Shellard
‘You can throw any challenge at Will and it’s completed with focus, determination and drive’
Hot Shots 2023: Producers & PDs
Steve Monger, Alyona Synegina, Louis Lee Ray, Ellie Merz, Chibuikem Oforka, Hassan Ghazi, Celia Jennison, Ruben Reuter, Georgina Lee, Pandora Monnas, Tafara Makopa
Hot Shots 2023: Post & craft
Sara Hassan, Laura Taylor, Will Hewitt, Acelya Kancelik, Christopher Chow, Ira Putilova
Anna Costello
‘Anna stands out as a real talent, not just because she is very funny, but because of how perceptive and considered she is’
Tafara Makopa
‘Nimbly redefined the modern-day indie, crafting a business model that navigates challenging budgets while allowing Wall to grow and innovate’
Georgina Lee
‘A blockbuster year’
Ruben Reuter
‘Ruben’s warmth and humour not only puts contributors at ease, but invites audiences to difficult stories in an accessible way’
Celia Jennison
‘One of Celia’s greatest strengths is how seriously she takes duty of care. Her integrity and moral compass are second to none’
Hassan Ghazi
‘Hassan has it all – he’s able to produce talent with great maturity, and has natural storytelling ability and impressive visual flair’
Chibuikem Oforka
‘He has a tireless work ethic and the determination to do right by the story’
Louis Lee Ray
‘His judgement is impeccable, he’s calm under pressure and good humoured in the face of adversity’
Seb Jewell
‘His likeable and warm personality allows him to build strong relationships with clients, commissioners and producers’
Will Hewitt
‘With Will’s ability to tell a visual story, plus his attention to detail, he will always be in demand as a creative collaborator’
Sam Ewen
‘A natural leader with a relentless flow of creative ideas’
Jennifer Dempster
‘Smart, creative and cool under pressure, I’ve no doubt she will rise to production manager level at lightning speed’
Dion Hesson
‘I am genuinely in awe at the passion, dedication and intellectual engagement he brings to everything he’s involved with’
The Sixth Commandment, BBC1
Writer and creator Sarah Phelps explains how she told the story of a real life murder without putting the perpetrator at the centre of the narrative
The Rosie Jones doc: Why I advised Channel 4 to go with that title
Channel 4 disability consultant Ally Castle explains the thinking behind the controversial name
Fifteen-Love: power games on Centre Court
Handling the themes of abuse and consent with sensitivity was key for the team behind the Amazon tennis drama
What’s in a name? Provocative titles in the spotlight
Broadcasters are attempting to balance the need to stand out with the possibility of upsetting contributors or the public, says Chris Curtis
Only eyewitness journalism can solve the case of Schrödinger’s War
The necessity of on-the-ground reporting has never been more apparent, argues Sky News chief Jonathan Levy
Fred and Pete’s Treasure Tales, CBeebies
Executive producer Jasper James on the joys of unearthing local talent in Cornwall for a fast paced kids factual show
Gallery: Broadcast Digital Awards 2023
Familiar faces from across the industry gathered for the annual Broadcast Digital Awards, hosted by Suzi Ruffell
Best Short Form Format: Nella Rose’s Flight Mode
‘Full of authenticity’
Channel of the Year: Dave
‘A brilliant jewel in the UKTV crown’
Multichannel Production Company of the Year: Yeti
‘An emerging Welsh powerhouse which proves that a smaller company can punch above its weight’
Best Specialist Channel: History Hit
‘Innovative, clear and distinctive’
Best Short Form Documentary: Kingpin Cribs: Drugs, Death And Pet Tigers
‘Eye-opening and terrifying, subversive and totally unexpected’
Best Specialist Factual Programme: Prehistoric Planet
‘An innovative approach to a very assured format’
Best Entertainment Programme: Don’t Hate The Playaz
‘An exhilarating watch, edged with a joyous sense of danger, in a format that is coming into its own’
Best True Crime Documentary: Libby, Are You Home Yet?
‘A stark portrait of grief that told a parent’s worst nightmare in a sensitive and moving way’
Gamechanger Programme of the Year: Bangers and Cash
‘Genuine warmth and authenticity’
Best Short Form Scripted: Red Flag
‘Absolutely hilarious and a very talented cast’
Best Digital Children’s Content: Newsround Special – Ukraine: The Children’s Story
‘A masterclass in storytelling with incredible access’
Best Entertainment Channel: Channel 4.0
‘A brilliant example of a broadcaster acknowledging it needs to meet its audience where they are, with great success’
Best Comedy Programme: Extraordinary
‘Everything about this show is extraordinary’
Best Factual Channel: More 4
‘A standout channel that knows its own audience and delivers exactly what they are looking for’
Best Digital Support for a Programme: Hollyoaks
‘The digital support has the potential to be a real force for good’
Best Drama Programme: I Hate Suzie Too
‘Masterfully unpack layers of the modern-day anxieties behind the curtain of media’
Best Programme Acquisition: The Dangerous Rise of Andrew Tate
‘An innovative approach to a very assured format’
Best Current Affairs Programme: Sexsomnia: Case Closed?
‘Beautiful documentary-making with the present tense narrative of the investigation’
Best Popular Factual Programme: Big Zuu’s Big Eats
‘An innovative approach to a very assured format’
Best Content Partnership or AFP: Game & Glory
‘Beautifully made. I knew about esports but I didn’t realise it was exactly like this!’
Best Sports or Live Event Coverage: The Hundred
‘Exciting, impressive coverage’
Best Digital Support for a Strand, Channel or Genre: Game On!
‘It was innovative and sets the bar on how you create a community away from your own platform’
Best Documentary Programme: The Footballer, His Wife and the Crash
‘An enthralling story in which nothing is quite as it seems’
Creating a state-of-the-art shark lab in CG
Arrow Media’s Nick Metcalfe goes behind-the-scenes during the making of When Sharks Attack 360
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
Studios set to navigate slowdown
Leading figures from the studios sector discuss the effect of stagnant economic conditions and the US writers’ strike
Shark Eat Shark, National Geographic
Big Wave Productions’ director of natural history Emma Ross on proving that sharks off the coast of South Africa are eating each other
Evacuation, Channel 4
How Wonderhood gained access to the human story of the soldiers who helped evacuate Kabul
Creative Review: Stormy seas and old masters
UK post houses’ best recent work, from creating CG oceans for No Escape to drawing inspiration from great artists for The Gallows Pole
Jon Snow: A Witness to History, Channel 4
Director Johnny Burke on the thrill of filming your hero - and the challenge of covering a 50-year career in 60 minutes
Why range is key for Passion Pictures
The documentary maker on choosing to pursue an eclectic mix of films rather than specialise
Kate Bulkley: Broadcasters need to be smart to hook Gen Z viewers
The challenge is not only to come up with relevant content, but to find new ways to ensure it reaches the target audience
NHU chief on the ‘moral responsibility’ to support overseas filmmakers
Jonny Keeling shares his long campaign for more in-country training
Analysis: How the sector is making use of AI
From automating time-consuming tasks to aiding creativity, use of the technology is spreading rapidly
Andy Waters: Pushing boundaries is vital – especially in tough times
Embracing tech such as virtual production can help navigate challenging periods in a sustainable way, says the Dock 10 head of studios
End Credits: Caroline Roseman
Initial’s creative director, development, on meeting Dynasty stars and her ‘drive-by-Minnelli’ moment
Seen on screen: LGBTQ+ stories come out of the closet
Three figures involved in shows with LGBTQ+ themes discuss the significance and creativity of the likes of I Kissed A Boy and Heartstopper
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
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
Emmys spotlight: The Crown costume designer Amy Roberts
Emmy award winner on dressing Imelda Staunton and Lesley Manville in autumnal fifth season
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
Emmys spotlight: Why Paddy Considine joined House Of The Dragon
‘I felt I had a point to prove’
Emmys spotlight: Jack Lowden on Slow Horses
Lead actor discusses the See Saw Films drama, moving into producing and his ‘funny career’
Nick Swimer: How the Media Bill could modernise due prominence
Moves to make ‘due prominence’ requirements fit for the digital age are long overdue, and much is still unclear
Puzzling, Channel 5
12 Yard Productions’ head of entertainment Paul McGettigan on the speedy turnaround of a new quiz format
Emmys spotlight: Emily Blunt on The English
Lead actor on Hugo Blick’s revenge western on executive producing and why the ‘best material is on television usually’
Katie Piper’s Jailhouse Mums, W
Series producer Kate South explains how her team unlocked the stories of Americas mothers behind bars
Catching up with Amazon Prime Video’s £10m talent initiative
Dan Grabiner and Donna Taberer on the streamer’s Prime Video Pathway one year in
Marcus Ryder: AI presents an existential threat to media diversity
Here’s how we can protect the precious progress with have made on diversity from the biases built into artificial intelligence
Emmys spotlight: Succession director Mark Mylod on taking credit and avoiding spoilers
‘There were so many key episodes in this season — I was greedy as ever to do them all’
Look See Wow!, Sky Kids
Executive producer Eline van der Velden explains how her team got hands on to make an ASMR-inspired immersive show for toddlers
Emmys spotlight: Bad Sisters cast on the challenges of balancing comedy and drama
Creator Sharon Horgan and fellow cast members discuss the importance of presenting an authentic portrayal of domestic abuse
Jean Mackenzie: ‘My sources could have been executed – I haven’t stopped thinking about it’
The BBC’s Korea correspondent talks to Broadcast about her BBC2 doc North Korea: The Insiders
Andy R. Worboys: Why I’m quitting as an editor
The industry’s refusal to take a chance on people is making docs look samey - and worse, it’s driving talent out
The complex journey to air Blackadder's pilot episode
Executive producer Tom Edwards explains the challenges of bringing the 40-year-old pilot of a beloved show to TV for the first time
Our Planet II, Netflix
How the landmark Silverback sequel reinvents itself, getting notes and harnessing the latest tech
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
First look: The Sixth Commandment, BBC1
Wild Mercury and True Vision thriller explores the death of Peter Farquhar
Frankie Dettori: An Ascot Legacy, Sky Sports Racing
Little Dot Sport creative producer Will O’Sullivan on how to make the most of limited time with a documentary star
Dan Walker: “You just don’t get many opportunities like this”
One year into the job, the 5 News lead anchor sits down with Broadcast to discuss building trust, impartiality, and having Ben Frow as a boss
John Cassy: It’s early days, but Apple’s virtual reality headset really could change everything
VR will bring in new ways of experiencing and telling stories – and the TV world must be prepared to evolve
Forced Out, Sky Documentaries
Producer Sophie Perrins explains how she and her LGBT+ crew told the story of those who were ejected from the Armed Forces because of their sexuality
The Writers Strike: Broadcast on the picket line
From Paramount to Netflix, Sony to CBS, an on-the-ground account from writers and WGA members about the cause for which they are fighting
The Future of sustainability in the broadcast sector
With World Environment Day encouraging action for the protection of the environment, Adrian Pennington talks to tech companies about their sustainability plans
My Husband the MMA Fighter, BBC1
Director Christine Johnston explains the challenges of directing and producing her first documentary film
Stephen Arnell: Never mind the optics, show me the money
It’s an arrogant mistake to award sizeable bonuses to C4’s top team shortly after cost-cutting measures left producers in the lurch
Monster In The Morgue: David Fuller, Sky Documentaries
Series director Andrew Parkin on the challenge of making a documentary about one of the biggest taboos
LA Screenings: is global licensing back?
With Amazon selling originals and Disney and Warner screening again, buyers and distributors assess whether the pre-streamer sales market has returned
A Paedophile in My Family: Surviving Dad, Channel 4
Producer-director Sophie Oliver on how she navigated complex duty of care needs to tell a difficult story
Gender Wars, Channel 4
Director Pamela Gordon explains how the much-contested documentary gained the trust of trans contributors
Meet Sky’s new cohort of commissioners
Broadcaster recruits seven creatives from different walks of life to help it deliver more authentic stories
Interview: Zinc Media’s Tanya Shaw shows her mettle
Indie group’s MD of television on turning what many perceived as a confusing array of indie labels into a cohesive & profitable business
Richard Sharp exit highlights flaws in system
The BBC chair’s resignation has raised concerns over the corporation’s governance and spotlighted the political nature of the recruitment process
Faraz Osman: Under-representation persists but there is cause for optimism
Younger generations are exploring their identity on their own terms and the way they support each other is inspiring
Ukrainian producers come out fighting
War has devastated Ukraine but a group of production companies have come together to kickstart the country’s TV industry
Fatima Salaria: Taking time out has given me a fresh perspective
The value of journalism and the challenges that women and people of colour face have been brought into focus, says Fatima Salaria
End Credits: Declan Lawn
The screenwriter/director and co-creator and writer of Blue Lights on Jack Charlton, hurling and a rough ride at Alton Towers
State of the Nation: The view from the post sector
The Post-Production: State of the Nation panel at MPTS brought together three execs from leading facilities to discuss the challenges they face
Training needs to adapt to TV’s specific needs
Seetha Kumar: Government-backed apprenticeships have given emerging talent a break, but they have exposed faultlines in the system
Schedules and familiar shows take us back to the future
Clear release patterns and even clearer programme concepts appear to be the order of the day
Rescue the relationship between public service content and young people
Reach audiences where they are, rather than where we think they should be, says Emma Scott
How pots of funding can help middle ground indies
Candour Productions director of development Hannah Demidowicz on the vital support available to indies
Gallery: Alexander Armstrong in Sri Lanka, C5
Selection of images from Burning Bright Productions’ travel format
Silverpoint: Imagining the impossible
Series producer Trevor Klein on bigger expectations and a bigger budget for series two
Comment: unpicking the slowdown with Talent Manager data
The volume of jobs being advertised is well down on pre-pandemic levels, says Sarah Lee
Ten Pound Poms, BBC1
Executive producers Danny Brocklehurst and Joel Wilson on making a drama series with ‘dirt under its fingernails’
Matt Willis: Fighting Addiction, BBC1
Grace Reynolds, executive producer, on telling a story which is both personal and wide-ranging
First look: Mary & George, Sky Atlantic
Hera Pictures’ seven-part series airs later this year
The growing influence of gaming VFX on the film and TV industry
Allan Poore at Unity explains how the lines between gaming and film technology are more blurred than ever
Eurovision Song Contest Postcards, BBC1
Series producer Tom Cook reveals how his team put together the Eurovision VTs showcasing the different countries involved
How we brought Eurovision to UK viewers
dock10 studio manager Adam Balcombe reveals the facility’s work as a production base for the BBC’s transmission