Features

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 anf 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”

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

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

Gallery: Grierson Awards

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

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

Sara Putt: While we celebrate our industry’s excellence, let’s remember tomorrow’s talent

We must level the playing field if we want the best creatives, says the deputy chair of BAFTA and chair of the BAFTA TV Committee

The creative use of generative AI in post-production

Graham McGuinness at Jigsaw24 Media explains how AI is already helping post-production with creating technical grades and post-producing scripted content

Therapy: Tough Talking, BBC3

Northern Child creative director Andrew Eastel on balancing duty of care with opening up the world of therapy

Gallery: Ten Pound Poms, BBC1

Selection of images from Eleven drama set in 1956 following the Brits who are charged just £10 to head to Australia

Behind the scenes on Kids, Channel 4

Producer-director Paddy Wivell explains how the power of obs docs help contributors tell previously unheard stories

BBC’s biggest week: Kate Phillips and Martin Green on Eurovision

Unscripted director and Eurovision chief on producing a momentous musical spectacle a week after the Conoration

Content Summit: What's the game plan with social media?

Three leading sports content makers on how they produce engaging films for social media platforms and the best way to hook the target audience

Nick Swimer: The Media Bill could lay the foundations for regional indie growth

The opportunities this legislation presents for out-of-London production are in danger of being overlooked

The rise of France as a VFX hub

Tony White explains why France could soon lay claim to being the next big home for visual effects

End Credits: Rob Butterfield

The head of Ricochet, Glasgow, on Cowboy Builders and finding a sex dungeon

The regional SVoDS taking on the big guns of streaming

In a David vs Goliath scenario, regional streamers are going toe to toe with the giants of the industry and holding their own

Kidnapped – The Angel Lynn Story: The ethics of filming a story of abuse

Wonderhood Studios navigated a complex consent issue to bring the tragic story of a victim of coercive control to screen

N&R indies call for greater commissioning autonomy

While broadcasters’ nations and regions push is praised, decision-making is still seen as too Londoncentric

Scott Bryan: Even in the streaming age, there’s plenty of life in live

The industry and the audience would both be worse off if the rise of streaming makes live shows a thing of the past

Analysis: Grabbing a slice of online original content

With online platforms stepping back from ordering original content, what are the opportunities for indies working in the space?

Mike Darcey: BBC is betting goodwill holds key to licence fee debate

Viewers struggling with the cost of living may decide not to pay the licence fee despite using a plethora of free services

Broadcast Indie Summit: Indies raise concerns over mid-market squeeze

Fears over dwindling appetite for mid-priced shows as broadcasters focus more on cut-through or low-price content

Broadcast Indie Summit: Amazon reveals all

The SVoD giant’s full UK team offer insight into its commissioning strategy

Leo Pearlman: The industry overlooks the north east at its peril

The TV sector stands to reap significant benefits if it follows Fulwell 73’s lead and invests in this incredible region

Catherine Reitman: Workin’ hard

As Workin’ Moms kicks off its final series, its creator reflects on how a primarily female team helped capture motherhood in all its messy details

First look: The Gallows Pole, BBC2

Shane Meadows’ series, produced by Element in association with Big Arty, is based on Benjamin Myers’ book

The Mysterious Mr Lagerfeld, BBC2

Director Michael Waldman on the quirks of capturing the lavish life of one of fashion’s most eccentric stars

Christopher Yip: TV must trust people of colour to tell their own stories

The industry needs to embrace the wealth of talent that exists if it wants to make honest, authentic shows

Chloe Sarosh: Why we need new voices in natural history

Wildstar Films’ executive producer explains why increasing diversity in wildlife films is crucial

The US writers’ strike: What will it mean for the UK industry?

British peers show solidarity with fight for fair pay

Tweaks to distribution models point to more flexible future

Format deals are back with a bang thanks to the fresh thinking and bold partnership behind The Traitors

How an ageing professor inspired James Reed’s latest Netflix epic

Oscar winner embraced the drama of handheld cameras to keep up with battling chimps

Dr Xand’s Con Or Cure, BBC1

Executive producer Brendan Hughes explains the challenge of shooting 10 shows in four days

The Missing Heiress: Betrayals In The Riviera

‘The originality of the series is the Shakespearian element of betrayal and tragedy’

Scared of the Dark: shining a light on the social experiment

Creators of Channel 4 series on creating a reality show in total darkness

Factual leads the charge in Cannes

“Unscripted programming is the driving force as documentary accounts for half our Hot Picks”

Silence, language barriers and crime syndicates: the making of The Good Mothers

First director Julian Jarrold explains the challenges of filming a drama about the mafia in their own back yard

Deborah James: Bowelbabe In Her Own Words, BBC2

Director Sara Hardy explains the challenges of creating an archive documentary using very 21st Century material

The Man Who Played With Fire

‘It’s visually impressive, narratively captivating and will have viewers hooked’

The Last Secrets Of Humankind

‘It’s a high-quality production where you can see the budget on screen’

Factual

True crime, docu-drama and follow docs are the order of the day in a bumper unscripted line-up

Formats

Competition titles continue to dominate as buyers look for multi-layered storytelling

Old Enough

‘It is fascinating to see how children are capable of thinking and acting on their own’

The Chameleon: The Killing Of Ronald Platt

‘Stranger than fiction is more than just true crime and this film embodies that’

The Piano

‘We’re living in dark times. Beautiful, uplifting stories are much needed’

Hot Wheels: Ultimate Challenge

‘This is a shiny floor general entertainment show that is universally relatable’

The Real Fatal Attraction

‘It is counterintuitive of the genre because true-crime victims are usually female’

Bend it Like Bollywood

‘You feel like you can’t walk away from the screen in case you miss a critical piece of information’

Nazanin

‘You feel like you can’t walk away from the screen in case you miss a critical piece of information’

The Pez Outlaw

‘Steve broke the law, but he was also an underdog and you can’t help rooting for him’

Orphan Black: Echoes

‘Many buyers are familiar with this universe and are looking forward to re-engaging with it’

Competition in the streaming business is growing FAST

Revenues from free-ad supported TV channels are predicted to triple by 2027 and the battle is on to win the biggest share, says Kate Bulkley

Staying on top in distribution

Five European distributors explain how they’re adapting their business models to remain competitive in a challenging market

Ob-docs put true crime in the shade

Analysis of Broadcast’s 100+ Hot Picks submissions reveals nearly 75% are unscripted, with just a single UK drama making the final list

Lyra, Channel 4

Director Alison Millar explains the heart-wrenching task of allowing her friend, the murdered journalist Lyra McKee, to tell her own story

Fifteen-Love

‘It’s a love letter to what sport can and should be, but it’s also an unflinching look at it’

Ronja, The Robber’s Daughter

‘The story may play out in medieval Scandinavia but everyone can relate to it’

Scripted

Character-driven series span fantasy, sci-fi, crime and families in this international-driven selection

In Limbo

‘In Limbo is a smart, funny, relatable series with a powerful message at its core’

A Body That Works

‘It is a very emotional watch. Audiences will find themselves laughing and crying’

It’s time for an overhaul of TV ratings

Pierre De Lannoy, EMEA Strategy Director at MiQ on how TV ratings need to keep up with changing viewing habits

Will Hanrahan: look to journalists when setting true crime standards

Established journalistic good practice balances ethical conundrums with exposing wrongdoing – so let’s not reinvent the wheel

Made Up In Belfast, BBC3

Emma-Rosa Dias, managing director for Afro-Mic Productions, explains how BBC NI’s new glossy reality show came to be

Brink Of Disaster

‘There has always been a fascination with this genre and it hasn’t diminished’

Relocating Six Four to Scotland

How ITVX’s latest thriller reimagines Hideo Yokoyama’s Japanese bestseller in Glasgow

What can Wrexham’s Hollywood takeover teach other sports brands?

Chris Whitson, global head of strategy at creative agency Iris, explains how other rights holders could follow in Wrexham’s footsteps

End Credits: Carlo Dusi

The Endor Productions managing director on crying at Happy Valley and learning from Ridley Scott

Job uncertainty threatens progress made on diversity

Great strides have been made in attracting people from diverse backgrounds – but now we need to keep them, says Lorraine Heggessey

Julia Lopez: Let’s make sure the UK keeps making brilliant kids’ TV

The DCMS minister explains how the government plans to ensure children can continue to access inspiring, life-enriching British-made content

What producers look for in a post house

Two leading producers discuss what they want from a post facility, from talent and technology to the quality of biscuits

Broadcasters target novel IP

Netflix’s Alice Dill and Audible’s Lydia Shamah reveal what they look for when commissioning book adaptations

Diversity roundtable: We’re in it together

Amazon, Banijay and Fremantle diversity heads say more collaboration between broadcasters & indies is essential for true progress on inclusion

Chasing the Rains, Sky Nature

Producer Faith Musembi on getting close to animal families during a severe drought

HiddenLight: Shining a light on trailblazing women

Chelsea and Hillary Clinton’s indie aims to create change by bringing remarkable stories of female pioneers to screen

Highland Cops, BBC Scotland/BBC2

Series producer Andrew Abbott explains how his team captured the realities of policing across vast swathes of northern Scotland

Interview: Studio Lambert discuss the triumphant Traitors and the Squid Game controversy

Chief executive Stephen Lambert and creative director Tim Harcourt discuss scale, ambitions, the secrets behind Traitors and the Squid Game: The Challenge controversy

In Conversation: Jack Thorne and Lisa McGee

The Derry Girls and Then Barbara Met Alan scribes discuss the creative processes behind their shows and the future of British TV writing

Indie Survey 2023: funding and inflation top list of indie concerns

As inflation bites and belts tighten due to the rise in the cost of living, the UK production sector is feeling the squeeze

Talent crunch poses questions we desperately need to answer

The logjam has finally eased off – so now is the time to get stuck into practical solutions

PSBs win praise in tough times

After a difficult year for both broadcasters, the BBC is voted the strongest broadcaster and Channel 4 is named the best to work with

ITV: ITVX yet to impact spending patterns

Broadcaster has earmarked an additional £160m a year of spending on the platform for drama and comedy

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