Broadcast Magazine - August 2023

AUGUST 2023 BROA D CAST NOW.CO.U K Everything you need to know about who you need to know

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AUGUST // CONTENTS 03 AUGUST 2023 // broadcastnow.co.uk COLUMNIST 25 Roundtable: building 08 a career in the industry Four of last year’s Broadcast Hot Shots discuss their experience of working in television – what |_;bm7†v|u‹bv];মm]ub]_|-m7 what more it could be doing to support emerging talent. Behind The Scenes 14 on Fifteen-Love Dealing with themes of consent and abuse of power, World ffuo7†1ঞomvĽ|;mmbv7u-l-=ou Amazon Prime Video had to _-ˆ;v;mvbঞˆb|‹-m77†|‹o=1-u; towards its mainly young cast at the forefront of producers’ minds. Profi le: how Open Door is widening its scope 19 Actor David Mumeni launched charity Open Door to help people from low-income homes get into drama school and is now expanding its remit to help those seeking behind-the-scenes roles too. 13 Mike Darcey 19 David Mumeni 14 Fifteen-Love PROFILE BEHIND THE SCENES COVER STORY Hot Shots: Broadcast’s annual round-up of the industry’s rising stars Hot Shots 2023 25 set the standard This individuals on this year’s list _-ˆ;-ѴѴl-7;-_†];7b@;u;m1;|o the indies, broadcasters and other ou]-mbv-ঞomv|_;‹Ľˆ;‰ouh;7=ou and are leading the way when it comes to diversity and inclusion. REGULARS Upfronts 06 The latest news and reviews from across the industry Columnist 13 Mike Darcey warns the industry to avoid the mistakes of newspapers Columnist 21 "1o‚u‹-m1-ѴѴv=ou-lou; relaxed approach to copyright Broadcast Intelligence 66 Broadcasters look to overcome the language barrier on global co-pros Ratings 67 All the latest data and analysis, including a trio of ITV dramas End Credits 82 Warp Films’ Emily Feller on her love of netball and diving in the Galapagos

EDITORIAL Editor-in-chief CHRIS CURTIS ƇƉƇҚƈƇƉƇҚƉƍ mvb]_|;7b|ou REBECCA COONEY ƇƉƇƊҚƎƇƇƈҚҚ m|;um-ঞom-Ѵ;7b|ouş7;r†|‹m;‰v;7b|ou JOHN ELMES ƇƉƇҚƈƇƉƇҚƊƊ vvo1b-|;;7b|ouķm;‰v DAVID SINGLETON ƇƉƇƋƌƋƇƍҙƎҙ ";mbouu;rou|;u ELLIE KAHN ƇƉƇҚƈƇƉƇҚƊƎ !;rou|;u HEATHER FALLON ƇƉƇҚƈƇƉƇҚҙƈ !;rou|;u MARIAN MCHUGH ƇƉƇƊƍƋƋƍƊƈҚ uo-71-v|m|;ѴѴb];m1;_;-7o=1om|;m| ALICE REDMAN ƇƉƇҚƈƇƉƇҚƈƉ uo-71-v|m|;ѴѴb];m1;u;v;-u1_;uFLEUR FEENEY ƇƉƇƋƌƋƇƍƍҙƉ uo-71-v|m|;ѴѴb];m1;u;v;-u1_;uTOM WILLIAMS ƇƉƇƋƌƊҙƌƊƍƍ $;1_moѴo]‹ş=-1bѴbঞ;v;7b|ou JAKE BICKERTON ƇƉƇҚƈƇƉƇҚƎƋ ffuo7†1ঞom;7b|ou DOMINIC NEEDHAM ƇƉƇҚƈƇƉƇҚƍƈ u|;7b|ou CHARLOTTE CRIPPS ƇƉƇҚƈƇƉƇҚƌƊ flmѴbm;1om|;m|l-m-];u PAUL WEATHERLEY ƇƉƇҚƈƇƉƇƎƋƎ uo†r-u|7bu;1|ouķ PETER GINGELL ƇƉƇҚƈƇƉƇҚƋƉ Puo7†1ঞoml-m-];uķI JON COOKE ƇƉƇҚƈƇƉƇҚƉƌ om|ub0†|ouv ROY ACKERMAN, ASH ATALLA, DANNY BROCKLEHURST, SCOTT BRYAN, KATE BULKLEY, MIKE DARCEY, LORRAINE HEGGESSEY, FARAZ OSMAN, STEPHEN PRICE, FATIMA SALARIA COMMERCIAL †vbm;vv7;ˆ;Ѵorl;m|7bu;1|ouķFRANCESCA VERDUSCO ƇƉƇƍƎƋƍƉƎƌƉ †vbm;vv7;ˆ;Ѵorl;m|l-m-];uķCALLUM BLACKWELL ƇƉƇƋƌƋƇƍƌƋƊ SUBSCRIPTIONS oll;u1b-Ѵ7bu;1|ouķI MATT WRIGHT ƇƉƇҚƈƇƉƇƎƊƋ 11o†m|l-m-];uķ JESSICA ATKINS ƇƉƇҚƈƇƉƇҚƋҙ MARKETING ;-7o=l-uh;ঞm]ķI JADE GLOVER ƇƉƇҚƈƇƉƇҚƊƉ ;-7o=;ˆ;m|vl-uh;ঞm]ķI&!!$!҃fl"ƇƉƇҚƈƇƉƇƎƌƎ -uh;ঞm];Š;1†ঞˆ;ķISABELLA BLOUNT ƇƉƇҚƈƇƉƇҚƊƈ BROADCAST AWARDS & EVENTS ;-7o=;ˆ;m|vķI CANDICE DUCKETT ƏƑƏѶƐƏƑƏѶƒƏ oll;u1b-Ѵl-m-];uķI SHANE MURPHY ƇƉƇҚƈƇƉƇƎƉҙ ˆ;m|vl-uh;ঞm]-vvbv|-m|ķI ALICE ROSE ƇƉƇҚƈƇƉƇƎƋƊ MEDIA PRODUCTION & TECHNOLOGY SHOW bu;1|ouķuo-71-v|$;1_ş"rou|uo†rķCHARLOTTE WHEELER ƇƍƍƇƉƊҚƈҚƇƎ "-Ѵ;v7bu;1|ouķI MARK CHAPMAN ƇƉƇҚƈƇƉƇҚƎҙ -uh;ঞm]l-m-];uķJULIA HEIGHTON ƇƉƇҚƈƉƋƊƋƈƈ EXECUTIVE TEAM -m-]bm]7bu;1|ouķ ALISON PITCHFORD ƇƉƇҚƈƇƉƇƎƈƉ _b;=;Š;1†ঞˆ;oL1;uķ CONOR DIGNAM ƇƉƇҚƈƇƉƇƎƈƇ !fl "$"ff!$fl  &""""$$ Ґґ "|-m7-u7o†v;ķƈƉŊƈƊvv;Š"|u;;|ķom7omķ)Ɖ!Ɗ $_;=oul†Ѵ-|o;l-bѴbm7bˆb7†-Ѵv|-@bvĹCuv|m-l;ĺv†um-l;Š0uo-71-v|mo‰ĺ1oĺ†h flu=oum-l;v‰b|_-[;u|_;bufo0ঞ|Ѵ;ĹCuv|m-l;ĺv†um-l;Šl0bĺѴom7om $_;r-r;u†v;7|orubm||_bvr†0Ѵb1-ঞom_-v0;;ml-7;=uol "ţ 1;uঞC;7=ou;v|u‹vo†u1;vķ-m7ruo7†1;7bm-11ou7-m1;‰b|_u;1o]mbv;7 ;mˆbuoml;m|-Ѵ-m7t†-Ѵb|‹l-m-];l;m|v|-m7-u7vĺ$_bvr-r;ubv=†ѴѴ‹u;1‹1Ѵ-0Ѵ;ĺ EST: 1959

R*tard?. The comedian has defended the title, explaining that the doc doesn’t attempt to speak for the disabled community as a whole, and that the ableist slur and discrimination against disabled people doesn’t get nearly enough mainstream attention. She told The I newspaper: “This is my film, my experience and my life. I needed to call it that because I feel we do not need a lovely, nice documentary, that no one will watch.” The flipside is that others will disagree and three contributors – Shelby Lynch, Kate Stanforth and Lucy Dawson – pulled out and will not feature in the doc, which TXs on 21 July, just as Broadcast goes to press. It has been suggested that they may have been unhappy with other elements of the production, but the primary focus of their complaint seems to be the slur in the title, and it is their prerogative to withdraw their contribution. Stanforth deemed it click-bait and Lynch said she was “heartbroken”. Their withdrawal is clearly a blow for the film, in terms of time, resource and editorial – but one that will have been carefully weighed up by Twofour and C4. The contributors couldn’t accept the title and the broadcaster, indie and talent felt it was too important to PROGRAMME TITLES // LEADER 05 AUGUST 2023 // broadcastnow.co.uk What’s in a name? Programme titles have been in the spotlight this month, with a polarised online row (is there any other kind?) around Channel 4/Twofour doc Rosie Jones: Am I A R*tard?. It’s not a new debate: nine years ago, Channel 4 was being criticised for prompting tabloid rage with the title Benefits Street; 11 years ago, it was under fire for the provocative name of its new ob-doc format, The Undateables. The former did gangbuster numbers, while the latter went on to become one of the most influential shows about disability and neurodiversity in British TV history. The programme’s name was central to that, setting up preconceptions that the show then rather beautifully demolished. People and organisations are entitled to their own views on whether a provocative title is justified or exploitative, and have the right to complain, criticise, refuse to tune in or decline to take part; and a broadcaster – and, to a lesser extent, an indie – has the right to give a show the title it chooses. That seems to have been the way things played out on Rosie Jones: Am I A change. That conflict might be a good story, but it also seems pretty reasonable on all sides. Where there might be greater cause for concern is in the true-crime doc space, where devastating stories of personal loss can be told with or without the consent of those impacted. The creation of the True Crime Producers Association earlier this month is an attempt to bring some order and consensus to the genre. Its 13 guidelines cover wellbeing support for staff and freelancers, being transparent and honest with all participants, and considering the potential impact of a programme on the wider community. Titles can play a part in that impact. One freelance producer with decades of experience in the genre has flagged that even docs that are sensitively made with good protocols can be given trashy or tabloid names that are rarely shared with the families affected in advance, which can cause them significant distress. They highlighted that the commissioners or production company bosses seldom have to deal with those vulnerable families, with that task left to producers and APs. Plus, challenging educated middle-class programme-makers might be far harder for the families connected to a true-crime doc than the contributors to a thoughtful piece such as the Rosie Jones film. Who holds the power, and how that power can best be exercised, is crucial to the industry ensuring that it doesn’t fall over when walking the tightrope of provocative programme titles. CHRIS CURTIS Editor-in-chief BROADCAST Š_ubv†uঞv Broadcasters are balancing the need to stand out with the possibility of †rv;মm]1om|ub0†|ouvou|_;r†0Ѵb1 1_ubvĺ1†uঞvŠ broadcastnow. co.uk For the leader archive go to broadcastnow. co.uk/the-editor Power is crucial to whether provocative titles are justified Below: Rosie Jones: Am I A R*tard? “People and organisations have the right to criticise and complain, and a broadcaster has the right to give a show the title it chooses”

WHAT’S HOT, WHAT’S NOT AND WHAT’S COMING UP broadcastnow.co.uk // AUGUST 2023 06 THE VERDICT RAJAN GETS THUMBS UP FROM CRITICS AFTER REPLACING PAXMAN [;uloѴ!-f-mĽvCuv|o†ঞm]-v _ov|o=University Challengeķ|_; 1ubঞ1v‰;u;Ѵ-u];Ѵ‹-]u;;7om|‰o |_bm]vĹ|_-|_;Ѵooh;7vl-ѴѴvbমm] bm;u;l‹ff-Šl-mĽv1_-buŋ-m77b7 u-|_;u-]oo7fo0ĺ ľ$_;or;mbm];rbvo7;0;]-m ‰b|_|_;ru;v;m|;uѴoohbm]v|u-m];Ѵ‹ ঞm‹ķ-vb=‰;‰;u;‰-|1_bm]Honey, I Shrunk The KidsķĿ‰uo|;mb|-"bm]_ bmThe Telegraphĺ "|-|†u;-vb7;ķ|_;u;‰-v-1ubঞ1-Ѵ 1omv;mv†v|_-||_;m;‰ru;v;m|;u r†|bm-ˆ;u‹voѴb7r;u=oul-m1;ĺ (b;‰bm]C]†u;v-Ѵvo|;ѴѴ- v|ou‹o=1omঞm†b|‹ķ‰b|_-m -†7b;m1;o=ƈĺƎlbѴѴbomŐƈƊĺҙѷőķ 0uo-7Ѵ‹bmѴbm;‰b|_|_;ƉlbѴѴbom ŐƈƊĺƉѷőv;ub;v-ˆ;u-];=ouff-Šl-mĽv Ѵ-v|u†mbm-‹ĺ UPFRONTS New University Challenge host Amol Rajan SOUND BITES “We had a duty to act with some calm and rationality in the face of a lack of rationality and a lack of calm” 1ঞm] 1_-buElan Closs Stephensom|_; 1ourou-ঞomĽv _-m7Ѵbm]o=|_; †‰7‰-u7v -@-bu “As a country, we are replete with good broadcasters. We don’t need politicians to take our jobs. Particularly since they’re not very good at it either” (;|;u-m 0uo-71-v|;u Andrew Neil ‰;b]_vbmom roѴbঞ1b-mv ru;v;mঞm] |orb1-Ѵ-m7 bm|;uˆb;‰v_o‰v “How can you fulfil your duty of care when free alcohol is involved?” oul;uX Factor 1om|;v|-m| Lucy Spraggan 1-ѴѴv=ou0;‚;u v†rrou|=ouv|-@ -m71om|;v|-m|v omu;-Ѵb|‹v_o‰v

AUGUST // UPFRONTS 07 AUGUST 2023 // broadcastnow.co.uk PROGRAMME INDEX COMMISSIONING: JUNE 2023 Ŗ $! !"$flfl& fl""fl"+!fl "$!" "$!!"$& &" Total orders for Channel 4 - the most prolific broadcaster 17 Total orders - 34% decrease from May 107 Proportion of factual orders (51 titles) 48% CHANNEL 4 BRINGS BACK THE PIANO FOR TRIPLE ENCORE )_;mThe PianoѴ-†m1_;7bm ;0u†-u‹ķb|0;1-l;_-mm;ѴƋĽv 0;v|Ŋu-|;7m;‰=oul-|vbm1; flѲ7ff;orѲ;Ļvol; ouƉ+;-uflѲ7v bmƉƇƈƍĺ"o|_;1ollbvvbomo=- v;1om7v;ub;v1ol;v-vmov†urubv;ĺ †|Ƌ_-vmo|v|orr;7|_;u;ķ ou7;ubm]|‰o=†u|_;uv;ub;vo=|_; oˆ;ffuo7†1ঞomvv_o‰ķ;-1_‰b|_ v;ˆ;m;rbvo7;vĺѴ-†7b-)bmhѴ;l-m -m7f†7];vbh--m7-m]-m]‰bѴѴ u;|†um|o7bv1oˆ;u†mhmo‰m-l-|;†u rb-mbv|v-v|_;‹v_o‰1-v;|_;bu|-Ѵ;m| omr†0Ѵb1rb-mov-1uovv|_;&ĺ $_;u;‰bѴѴ-Ѵvo0;-vbm]Ѵ;7o1 =oѴѴo‰bm]v;ub;vom;‰bmm;u†1‹ -m7-om;Ŋ_o†u_ubv|l-vvr;1b-Ѵķ ‰b|_=-ˆo†ub|;v=uol|_;Cuv|v;ub;v u;|†umbm]|orѴ-‹=;vঞˆ;m†l0;uv-| bm]Ľvuovv"|-ঞombmom7omĺ COMING UP ";ub;vom;‰bmm;u†1‹bm$_;ffb-mo LIVE ISSUE $_;]Ѵoˆ;v-u;o@bm|_;C]_|oˆ;u |_;‰-‹bm‰_b1_v|u;-lbm]v;uˆb1;v -u;|u;-ঞm]-1|ouv-m7‰ub|;uvbm |_;&"ķ-m7=;-uv-u;lo†mঞm]|_-| |_;blr-1|‰bѴѴvoom0;=;Ѵ|om|_bv vb7;o=|_;|Ѵ-mঞ1ĺ oѴѴo‰bm]|_;‰ub|;uvĽv|ubh; ;-uѴb;u|_bv‹;-uķ†Ѵ‹0uo†]_| |_;Cuv|-1|ouv‰ouhv|orr-]; vbm1;ƈƎҚƇĺlb7o†|u-];oˆ;u v|†7bovr†v_bm]7o‰mr-‹-m7 bmˆ;vঞm]bm|_;†v;o=-uঞC1b-Ѵ bm|;ѴѴb];m1;ķ0b]m-l;vv†1_-v ;ou];Ѵoom;‹ķ-u]o|!o00b; -m7ub-moŠ-ѴѴv|oo7‰b|_†mbom "Ŋ $!ĺ )_bѴ;|_;-1ঞom_-v|_; ro|;mঞ-Ѵ|o0ubm]oѴѴ‹‰oo7 |o-=†ѴѴv|-m7vঞѴѴķ|_;&bvmo| †m-@;1|;7ĺm†l0;uo= ruo7†1ঞomvoˆ;u_;u;-u;-Ѵvo |_o†]_||o0;-|ubvho=]obm]bm|o _b-|†v7†;|o|_;v|ubh;vķ‰b|_;1|† ‰-umbm]|_-||_;‰-Ѵho†|v‰bѴѴ ;Š-1;u0-|;|_;1†uu;m|bm7†v|u‹ vѴo‰7o‰mbm|_;&ĺ INTERNATIONAL CRACKDOWN PAYS OFF AS NETFLIX BEATS SUBS TARGET ]-bmv|-0-1h7uoro=bѴѴ‰bѴѴ =uol|_;1u;-ঞˆ;1oll†mb|‹ -vv|ubh;v7bvu†r||_;&"l-uh;|ķ ;ѴbŠvl-v_;7b|v=ou;1-v|v =ouv†0v1ub0;um†l0;uvķ -1_b;ˆbm]7o†0Ѵ;b|vru;7b1|;7 m;|-77bঞomv‰b|_ƌĺƎlbѴѴbom bm|_;v;1om7t†-u|;uĺ $_;v|u;-lbm]]b-m|-77;7 ƈĺƉlbѴѴbomv†0vbm|_;&"ķ ƉĺƋlbѴѴbombm-m7 ƈlbѴѴbombmvb-Ŋff-1bC1-vb|v r-vv‰ou7v_-ubm]1u-1h7o‰m r-b77bˆb7;m7vĺ $_;Қѷ‹;-uŊomŊ‹;-u ]uo‰|_bvbml-uh;71om|u-v||o b|vCuv|Ŋt†-u|;uƉƇƉƉu;v†Ѵ|vķ ‰_;mv†0v1ub0;um†l0;uv=;ѴѴ =ou|_;Cuv|ঞl;bm-7;1-7;ĺ ľ);-u;u;ˆ;m†;-m7r-b7 l;l0;uv_brrovbঞˆ;ˆvĺrubou |o|_;Ѵ-†m1_o=r-b7v_-ubm] -1uovv;ˆ;u‹u;]bombmo†uѴ-|;v| Ѵ-†m1_ķĿ;ѴbŠv-b7bmb|vѴ;‚;u |ov_-u;_oѴ7;uvĺ US TV writer Marcelina Chavira pickets the studios UK SET TO FEEL IMPACT OF HOLLYWOOD STRIKES

broadcastnow.co.uk // AUGUST 2023 T hose working their way up the TV career ladder have witnessed several huge fluctuations in the market, as it seesawed from the excesses of the streaming revolution to the shutdowns of the pandemic, then the post-lockdown boom and the recent slowdown. No wonder, then, that when Broadcast gathers together four of last year’s Hot Shots to talk about how the industry is supporting new and emerging talent, their answers suggest some tensions and contradictions. The industry is getting kinder and more open, they say, but making progress is still difficult. People are more assertive about finding a good work-life balance – but still feel pressure to say yes to everything. Employers are willing to nurture talent, but many individuals are falling by the wayside for lack of support. However, for those at the entry level, there is some good news at least. HOLDING THE LADDER FOR YOUNG TALENT Given the ups and downs of recent years, sustaining a career in TV has not been easy. Four of last year’s Hot Shots tell Rebecca Cooney what the industry is doing right and what more could be done to support emerging talent “The industry is quite supportive in getting people in through work experience, internships and various schemes,” says Tom Price, development producer at Studio Lambert, who has worked on commissions and developments including Lovestruck High for Amazon Prime Video and BBC1’s hit adventure series Race Across The World. Yasmin Amey, an executive post-producer at Picture Shop, says: “There are more and more places being advertised – the work-experience placements, internships. There are careers fairs and networking events, which is great for the younger students and really helps get them through the door.” And, she says, the abundance of options just a quick Google search away means that knowing someone already in the industry is much less important than it used to be. Help and support Wildstar line producer Becky Hathway, who is currently working on a wildlife documentary, agrees, pointing to the Facebook groups that have sprung up in recent years, helping those who want to break into the industry to polish their CVs and find out about opportunities. This certainly tallies with the entries for Hot Shots over the past couple of years, where a substantial portion of applicants describe themselves as having come into the industry through “non-traditional” or “unconventional” routes. But Hathway sounds a note of caution: while getting into the industry is easier than it used to be, it is still a challenge. “When we advertise for a runner or a production assistant, we might get 200 CVs, so it still feels like

AUGUST 2023 // broadcastnow.co.uk Yasmin Amey Executive post-producer Picture Shop Becky Hathway Line producer Wildstar Riva Japaul Producer Dare Pictures there are a lot more people than there are jobs,” she says. “Particularly with so many individuals now doing media degrees – you’re getting a huge influx of graduates every year, all applying for the same roles.” All four of our 2022 Hot Shots agree that the problem is exacerbated as people work up the ladder, where there are fewer and fewer jobs, creating a bottleneck. “Our level is where you see people dropping off, because of things like freelancer contracts, where they don’t feel supported,” Price says. “It doesn’t feel like there’s quite enough backing – other than a handful of things like Hot Shots and [Edinburgh TV Festival’s] Ones To Watch.” Riva Japaul, a producer at Dare Pictures, who has worked on titles such as Channel 4’s Untold: Secrets Of UK Prisons and The Reluctant Traveller With Eugene Levy for Apple TV+, argues that, for many, the opportunity to progress often comes down to being in the right place at the right time and, crucially, with the right people. “In my own career, there’s been maybe one person at each company who’s seen something in me and has really supported me,” she says. “People are often relying on that, rather than getting support from the industry as a whole. “If people don’t have someone looking out for them, they can get stuck at AP level for a long time, because there’s not someone willing to take a chance on them. And those [gatekeepers] can be under a lot of pressure and scared to rely on someone junior.” In post-production, Amey says, it’s not unusual to see people’s careers stall at a middling point for as much as a decade. She credits having the chance to work on ITV’s The Masked Singer with giving her the experience boost she needed to move up. The slowdown across the industry hasn’t helped – and it’s something Japaul is experiencing first-hand, as she’s currently on rolling short-term contracts with Dare Pictures. “It’s been quite stressful, because my contracts have been extended every three months. You’re constantly thinking, ‘Am I going to have to go and find something new?’.” A researcher she recently hired had been out of work for a whole year. Of course, there are also the perpetual concerns of precariously employed TV workers, which the Hot Shots have all experienced or witnessed: “More funds would allow people to have a certain amount of flexibility to try to progress” Riva Japaul Tom Price Development producer Studio Lambert HOT SHOTS // ROUNDTABLE 09 Tom Price worked on Lovestruck High

broadcastnow.co.uk // AUGUST 2023 10 struggling to pay rent due to short-term contracts (Price recalls paying “everything, all the money I had” to cover six months’ rent in advance to allow him to take up a job), and the constant fight for work/life balance. Both Japaul and Hathway point out that women in particular find themselves forced to choose between their career and personal or family life. “Many women leave TV – or make the decision to not have children yet,” Japaul says. “When you’re freelance, there’s not really any support, and it’s difficult to take the time off. She adds: “There is this expectation in the industry that you need to be ‘on’ all the time, so there’s a lot of pressure on women and, I’m sure, new dads as well. How do you balance having a child and trying to work all the time? It’s really difficult. I’m sure it’s the same in staff roles, because there are those deadlines that you have to meet – and if you can’t do it, they’ll find someone else.” Working patterns have been getting better since the pandemic – there’s a widespread understanding that remote working can be productive and, Amey says, it has become acceptable to respond to nonurgent late-night queries the following day. Many production companies she’s spoken to have brought in rules to reinforce this, she says. “Pre-Covid, you were expected to work all hours of the day – you never felt that you could say no. But I think that has changed.” Workers’ attitudes are also changing, Hathway says: “Going back to six, seven years ago, you had to be working absolutely relentlessly, or you wouldn’t survive. It’s moved away from that now, and the newer generation of people coming through aren’t willing to put up with it.” She welcomes that as a vital improvement – but also recognises that it has been her own willingness to say ‘yes’ to all opportunities, even if they require a large amount of upheaval and sacrifice, that has got her to where she is. Price suggests that, while working patterns are relaxing in many cases, it’s not happening across the board. “You still hear stories of people being asked if they’re solidly available for production for 12 weeks and saying, ‘Yes, but I’ve got a wedding on one Saturday that isn’t a filming day’. The response is that they have to choose between the job and the wedding,” he says. The Hot Shots all acknowledge that there is no silver bullet but say many production companies are making steps in the right direction – Hathway points to her positive experiences with both the BBC and current employer Wildstar. “When production companies really work to retain talent, you can see genuine career progression – where you have mentors and one-to-ones where you work on your strengths and weaknesses,” she says. “That then gives people the empowerment to know how to progress. They feel they’re doing a great job and like they’re hitting targets and goals for themselves.” It’s easier, she acknowledges, where people are on longer-term contracts. Freelancers, by contrast, often find themselves in a position where “you get in the door, you’re thrown in the deep end, you get the job done within three months, and then you’re out again. You move on to the next thing and it’s not about your career progression.” Part of the responsibility for slowing down this revolving door lies with commissioners. “If production companies are just getting commissions with a short lead time, they’re recruiting and turning things around super quickly,” she says. “Unless a company is big enough to have the cash flow to support a good number of staff and nurture them, it puts production companies in a very tricky position. Whereas if companies are getting commissions with longer lead times, they can nurture talent.” Japaul agrees, adding that the time constraints of last-minute commissions are also hampering indies’ efforts to take risks on newer and more diverse talent. “Production companies are increasingly willing to hire and nurture people with different needs, but the situations they’re being placed in just make it impossible – there may not be a budget for trainees or time to work with them,” she says. At a wider industry level, Hathway says, an increase in the number of mentoring schemes available “wouldn’t actually cost a lot of money. I see so many people who are willing to give up their time, and it would make a huge impact.” Price says he has relied on ScreenSkills to provide training beyond that offered by his employers, and t w s m t c t y o t p t l fi d d Y c r c a c n v g t l e t t i o i “ p w t “When production companies work to retain talent, you can see genuine career progression” Becky Hathway “Pre-Covid, you were expected to work all hours of the day But I think that has changed” Yasmin Amey

AUGUST 2023 // broadcastnow.co.uk he believes that many more such opportunities should be available. Japaul points to the work of the Film and TV Charity, suggesting similar sector-wide hardship funds, backed by indies, would help to address the lack of certainty for many workers. “The reality of the situation is that for so many people who are trying to progress, especially working class or people of colour, they likely don’t have the funds behind them to be able to just accept not working for three months,” she says. This also prevents people from taking risks with their own careers, such as attempting to shift genre, for example. “More funds would allow people to have a certain amount of flexibility to try to progress,” Japaul says. Price says that some of the standout leadership on this issue over the past year has come from an unexpected source: on-screen talent. He cites the example of Joe Lycett’s Birmingham-based Late Night Lycett, where the comedian was proactive about ensuring the show included a large number of training roles from the outset. While this was largely aimed at more entry-level roles, it demonstrates that it is possible to build support for career progression into productions at a structural level. “The channels seem only to do it if the talent draws a line and say it’s something they want to do, so you get the Joe Lycetts and the Jay Blades,” he says. “That’s amazing, but it shouldn’t only come from them and the channel shouldn’t only listen when it comes from the talent.” They are sympathetic to the difficulties facing indies and broadcasters alike but, ultimately, Japaul says, “things do have to change”. She’s hesitant to suggest that it’s just about putting more money into budgets, “because I know it’s so much more complex,” she says, acknowledging that broadcasters and streamers themselves are feeling the pinch. But, she adds, “it feels like most of these issues would be improved with extra cash”. Hathway agrees. “There are definitely production companies putting themselves out there, making the effort and making big financial commitments to it, but it’s not wide enough yet as an industry to really feel the full effect.” Price concludes that if the industry truly wants to support new, emerging and diverse talent, “it needs a concerted effort from everyone – the entire industry”. Riva Japaul worked on The Reluctant Traveller Joe Lycett ensured Late Night ‹1;‚ offered a large number of training roles “Supporting emerging and diverse talent needs a concerted effort from the entire industry” Tom Price HOT SHOTS // ROUNDTABLE 11

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stalling subscriber numbers and cancelled shows. In a sea of disappointing results, much is made of challenging economic conditions and consumers being forced to rationalise their streaming options. The real story, however, is that the move to streaming was a bubble that is rapidly defl ating. Costs are too high, bundles are too small, technology and subscriber management costs are too large. Beyond Netfl ix, few will make any money. What of TV advertising – the critical bedrock of investment in UK content? The latest data is troubling. ITV spoke in the fi rst quarter of total advertising revenue down 10% year-on-year, within which traditional NAR (net advertising revenue) and sponsorship was down 17%. Many US media companies are reporting similar numbers. 13 AUGUST 2023 // broadcastnow.co.uk One problem is that the economy is not as bad as those looking for something to blame want to claim. Things are certainly not buoyant, but neither are we in recession. A second problem is that blaming the cycle carries an implicit claim that an upswing will soon deliver better outcomes. Sadly, things are unlikely to get much better – real wages are falling, interest rates are staying high and both political parties have pledged spending discipline. Subdued growth looks likely for the foreseeable. So what if recent weakness in TV advertising is more structural than cyclical? Failing to spot the diff erence is the mistake the newspaper industry made after the global fi nancial crash. But the decline kept going, and it was years before the industry accepted it was structural. Two lessons emerge from this period. First, the correct diagnosis might only be clear in retrospect. Second, a structural decline can be triggered by a cyclical downturn – the money leaves but never comes back when the cycle rebounds. TV is still the best medium for brand building, but the case for structural weakness is serious. Alongside persistent digital pressure from adjacent categories (Google for search, Meta for social, Amazon for retail advertising), the proliferation of new video advertising options continues, with streamers adding ad-funded tiers. The PSBs can fi sh in these new ponds too, and are showing solid digital growth, but these are more contested bodies of water and they are not always the biggest fi sh. Alarmingly, PSB viewing continues to fall, especially among younger cohorts, so the price of TV keeps rising. This has been true for a while, but the elastic can only stretch so far before it snaps. The jury is still out on this debate, and things might yet improve if the economy turns up – but honesty is more important than optimism. If this is a structural shift, more radical thinking might be needed. Let’s not follow the newspaper industry. Mike Darcey is a former chief operating offi cer of Sky and former chief executive of News UK T he cost-of-living crisis dominates the headlines, so it’s no surprise to see a slew of media leaders blaming the economy for poor revenue and profi t performance. When such claims abound, it is often wise to ask if the cycle is to blame, or whether it might be down to underlying structural problems. Take developments at Scandinavian media company Viaplay (formerly NENT). The chief executive has been replaced amid deteriorating fi nancial performance and the company blames macroeconomic headwinds and a cost-of-living crisis for disappointing subscriber progress and falling ad revenues. All would be well, if not for the pesky economic cycle. A more likely explanation is that the business model is fl awed, small content bundles are not well suited to pay exploitation and standalone sports players lose money. The streaming revolution more generally is running out of steam, amid Broadcasters and streamers need to face up to the fact that the problems they face may be structural rather than cyclical, says Mike Darcey MIKE DARCEY // COLUMNIST “The economy is not as bad as those looking for something to blame want to claim. Things are certainly not buoyant, but neither are we in recession” The industry must not repeat the mistakes of newspapers

BEHIND THE SCENES // FIFTEEN-LOVE n a key scene in Fifteen-Love’s fi rst episode, former tennis prodigy Justine Pearce (newcomer Ella Lily Hyland) takes on the man who coached her, Glenn Lapthorn, (Poldark’s Aidan Turner) in a goodspirited show match. Almost immediately, the wrist injury that prematurely ended her career fl ares up – but so do deeper wounds, ones that call into question the nature of their previous relationship, and stir themes of unhealed trauma, power abuse and consent. The series was created by Hania Elkington and produced by World Productions (Vigil; Line Of Duty) and it took a mere one-page outline for Amazon to give the series the green light in late 2019 – a testament to the power of a compelling idea and proven record. Since then, its themes have only become timelier, as female sports stars such as Pam Shriver, Emma Raducanu and Naomi Osaka have spoken up about abuse, coercion, mental health issues and the pressures of pro tennis. With subject matter that deals with exploiting vulnerability, it was only fi tting that the production team took extra care in supporting their up-and-coming cast and crew – of which there were many. The six-parter was Elkington’s fi rst time creating and writing a series solo, having co-created The Innocents on Netfl ix. Eva Riley, director of the fi rst three eps, only had smaller-scale projects under her belt. The tennis hotshots in the cast were relatively new too: it was Hyland’s fi rst major role, and the wider cast included emerging stars Harmony Rose Bremner and Maria Almeida. Giving rookies a chance A big-budget drama’s success often relies on household names, but uncovering new talent is a necessary part of the process, says Jake Lushington, executive producer for World Productions. “As soon as your leading character is under 30, the chances are they’re not going to be that experienced and you’ll be looking for new talent,” he says. “The appetite for taking big chances depends on the confi dence of the production company, the directors and the broadcasters. Amazon was great in this regard – between Harmony, Maria and Ella, there was very little on-screen experience.” Rigorous auditions involving callbacks, chemistry reads and plenty of time helped to manage the risk. “You can’t just expect to fi nd people in a week,” says Lushington. “You can cast men in their 50s quickly, because there are a lot of them and we know what they can do. Otherwise it’s a process.” Lucky, then, that they found Hyland – a graduate of the Lir Academy in Dublin – with relative ease. Elkington says: “When we saw Ella, the whole executive team, our casting director, Lauren [Evans] and her team, said, ‘that’s her’, which doesn’t really ever happen, particularly for somebody with little experience. I’m grateful we found someone who could give our lead character singularity, drive, fl avour and passion.” For Hyland, stepping up to the role was “terrifying at the beginning”. She cites open communication as important “so you don’t worry about asking for what you need. And whenever there were tough scenes, our ADs would make sure everything was properly set up so I felt safe to go there emotionally”. This was a conscious decision on the production’s part, says Lushington. “The AD team have to make [young talent] feel secure, and pay attention to them. If you have someone like Jim Broadbent, you’ll know when they’re unhappy so you don’t need to worry about that. If you have someone who’s 23 and it’s a big job for them, they probably won’t tell you. So you have to check in again and again.” The newer actors were even front of mind when casting Turner, who had recently completed The Suspect with World Productions. Lushington explains: “We were going to be in a situation with a lot of young, untried female talent, and it was quite challenging material. So apart from all of the skills and brilliance he brought to the role, I knew he’d also be somebody on set who would be careful, welcoming, professional and nurturing, and make these newer actors feel safe and secure.” To prime Hyland and Turner for their lead roles, they and Riley met for a week of script-free character rehearsals ahead of the shoot “to take the anticipation and stage-brightness out of it”, as Lushington describes. Fifteen-Love was Riley’s fi rst big-budget production, and it was also her fi rst time directing a project she hadn’t written. That allowed her to bring fresh ideas to the table. “Sometimes the cockiness of inexperience can be a good thing,” she says. “When you’re new, you can just say, ‘this is what should happen’. Whereas if you’ve been doing it for a long time, you might think ‘that’s not what happens normally’. And for me, it was important to rehearse relationships more than rehearse scenes.” During these improv sessions, both leads switched from their native Irish brogue and adopted their characters’ English accents as they played out vignettes of their history. To foster their “Someone who’s 23 on a fi rst big job probably won’t tell you if they’re not happy. So you have to check in again and again” Jake Lushington Executive producer

Handling the themes of abuse -m71omv;m|‰b|_v;mvbঞˆb|‹ ‰-vh;‹=ou|_;|;-l0;_bm7 l-Œom|;mmbv7u-l- b[;;mň oˆ;ŋ;vr;1b-ѴѴ‹‰_;m‰ouhbm] ‰b|_v†1_-‹o†m]1-v|-m7 1u;‰ĺShilpa Ganatrau;rou|v POWER GAMES ON CENTRE COURT

broadcastnow.co.uk // AUGUST 2023 16 coach-pupil relationship, Turner, who was once a semi-pro ballroom dancer, taught Hyland a routine. One day, they brought in movement director/ intimacy co-ordinator Louise Kempton, who facilitated an interpretive dance of their relationship. Riley says: “It was mind-blowing to watch. I cried. It was beautiful to see how they express so much through movement.” The impact of the rehearsals showed not only in Hyland’s confidence as soon as the cameras started rolling but also weighted their on-screen interactions with significance. In the first episode, when Justine sees Glenn’s reaction for the first time, “it’s a powerful moment, and you can feel there’s so much history and memories in their bodies”, says Riley. Another aspect that allowed Riley to rise to the challenge was reuniting with Steven Cameron Ferguson and Abolfazl Talooni, the cinematographer and editor she’d worked with on previous projects. “That meant I didn’t feel alone,” she says. Collaborative working Across the production, there was a colloborative culture that helped everyone – both experienced or emerging – to feel supported. Elkington says: “We all afforded each other quite a lot of access to our slice of the pie. I wanted the directors to tell me their thoughts on the scripts, I wanted to talk to the actors about their roles. Eva and Toby were very generous about having me beetling around set. “We all felt quite secure in what we were doing, and happy to collaborate in different ways. When you do that, you do end up with a stronger product in the end.” While the production benefited from having a healthy mix of experience and new perspectives, more can be done across the industry to support emerging talent, says Elkington. Encouraging diversity helps bring new voices to the fore, and the industry should carve out spaces where chances can be taken on new writers, she says. “Script commissions are few and far between, even for established writers,” Elkington adds. “But a lot of young writers have day jobs to contend with – I certainly did for years, while I was writing in every crevice of time. It would be great if emerging writers were given different platforms so they can come up with strong ideas – to not only be recognised and connected, but also to be funded, so they get a chance to practice their craft and prove what they can do.” A clear feedback loop and pathway for progression are other initiatives that could encourage new talent, she adds. “A lot of writers end up writing treatments into a vacuum. If something doesn’t go ahead, they o‚olĹ m;‰1ol;uvѴѴ- bѴ‹‹Ѵ-m7 Őub]_|ő-m7 -ulom‹!ov; u;lm;u ;Ѵo‰Ĺb7;m $†um;u-vѴ;mm -r|_oum FIFTEEN-LOVE PRODUCTION COMPANY)ouѴ7ffuo7†1ঞomv COMMISSIONERSo_m-|_-m;‰;vѴ;‹ĸ-mm-_u7-ѴbŊѴ‹|_ LENGTHҙŠƌƇlbm†|;v TXl-Œomffubl;(b7;o=uolƉƈ†Ѵ‹ EXECUTIVE PRODUCERS-h;†v_bm]|omĸ-mb-Ѵhbm]|omĸ ˆ-!bѴ;‹ĸ$o0‹-1 om-Ѵ7 DIRECTORSˆ-!bѴ;‹ĸ$o0‹-1 om-Ѵ7 PRODUCER-|-v_-!ol-mb†h POST HOUSE-Ѵo VFX Ѵ‹bm]oѴo†uolr-m‹

FIFTEEN-LOVE // BEHIND THE SCENES 17 AUGUST 2023 // broadcastnow.co.uk might think it’s because they’re not good enough. But that’s not necessarily the case.” Mentorship schemes can help rising actors, says Hyland. “It’s a brilliant support system because it’s a pal whose experience you can use to inform your career – a lot of art is learned through experience.” In the world of directing, Riley says, hiring on potential can foster creative output. “If someone has a good vision and something to offer, even if they haven’t done a lot, then give them a job. It’s what Hania and Jake did with me – I had a feature film, but it was low budget. They liked it enough to take a punt on me. And that’s where you get the most exciting work.” o‚olĹmm- _-m1;ѴѴou-v m7b)oo7‰-u7 ;Ѵo‰Ĺ1o-1_ -m7ruo7b]‹ķ Ѵ;mm-r|_oum -m7†vঞm; ff;-u1; ffou|u-‹bm]|_;‰ouѴ7o=ruo=;vvbom-Ѵ|;mmbv 0uo†]_|†mbt†;1_-ѴѴ;m];v|o b[;;mňoˆ;ķ ‰b|_ruo7†1;u)ouѴ7ffuo7†1ঞomvlou;†v;7 |o1olrѴb1-|;77;-|_Ŋ7;=‹bm]v;t†;m1;vbm|_; likes of $_;"†vr;1|ķ$_; o7‹]†-u7 and Vigil than |_;‰ouѴ7o=1olr;ঞঞˆ;vrou|ĺ $_;1_-ѴѴ;m];v‰;u;|‰o=oѴ7Ĺ|_;Cuv|‰-v |†umbm]-1|ouvbm|o|;mmbvruovĸ|_;v;1om7‰-v Cm7bm]-m7u;r†urovbm]|;mmbv1o†u|v-v|_; Ѵo1-ঞomv=ou†vঞm;-m7Ѵ;mmĽv‰ouѴ7ĺ oll;m|-|ou-m7=oul;urѴ-‹;u-olb -ˆ-7-‹_;Ѵr;7|_;-1|ouvlour_bm|o|;mmbv rѴ-‹;uvĺ$_;‹-7or|;7-m;Š;u1bv;u;]bl;|o u;Y;1||_;0o7‹v_-r;o=|_ov;bm;Ѵb|;|;mmbvķ -m7l-v|;u;7|_;loˆ;l;m|o=vr;1bC1|;mmbv v|uoh;vĺ-ˆ-7-‹-Ѵvo1_ou;o]u-r_;7|_;|;mmbv u-ѴѴb;vķ-m7v|-‹;7omv;||o1_;1h|_;|-h;vĺ ou|_;lov|r-u|ķ|_;‹-ˆob7;70o7‹7o†0Ѵ;vĺ mv|;-7ķ|_;-1|ouvrѴ-‹;7o†||_;|;mmbvv1;m;v ‰b|_o†|-0-ѴѴķ‰_b1_‰-v-77;7bmѴ-|;u‰b|_ĺ Š;1ruo7†1;u-h;†v_bm]|om;ŠrѴ-bmvĹľ| l;-m|‰;1o†Ѵ7r†||_;1-l;u-bmrѴ-1;v‰_;u; ‰;‰o†Ѵ7mĽ|moul-ѴѴ‹ĺ);_-ˆ;v1;m;v‰_;u; |_;0-ѴѴŒbm]vr-v||_;1-l;u-ķvo‰;v_o| vol;|_bm]lou;ˆbv1;u-Ѵ|_-m;ˆ;m|_;0;v| 1oˆ;u-];o=-u;-Ѵ|;mmbvl-|1_ĺĿ )_;mb|1-l;|oѴo1-ঞomvķ|_;1ov|o=_bubm] o†|)bl0Ѵ;7omru;1Ѵ†7;7b|v†v;ĺmv|;-7ķ|_; ruo7†1ঞomloˆ;7|o-v|0o†um;ķ_ol;o=|_; v;1om70b]];v|v;|o=]u-vv1o†u|vbm|_;&ĺ$o u;1u;-|;|_;buˆ;uvbomo=|_; u;m1_flr;mķ|_;‹ 1_ov;1Ѵ-‹1o†u|v-|u-b]Ѵo1h_-u|&mbˆ;uvb|‹bm 7bm0†u]_ķ†vbm]|obm1u;-v;b|vvbŒ;ĺ )ub|;u-m7;Š;1ruo7†1;u-mb-Ѵhbm]|om v-‹vĹľ"ol;o=|_;v_o|v|_-|Œ1oŊ7bu;1|ouœ$o0‹ -17om-Ѵ7r†ѴѴ;7o@Œ-||_;v;ˆ;m†;vœ-u;|_; 7;Cmbঞˆ;ˆbv†-Ѵvo=|_;v;ub;vĺĿ “We were all happy to collaborate. When you do that with a show, you end up with a stronger product in the end” Hania Elkington Writer/executive producer GETTING ACES FROM ACTORS

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OPEN DOOR // PROFILE 19 AUGUST 2023 // broadcastnow.co.uk Founder David Mumeni talks to Heather Fallon about widening the charity’s scope to help disadvantaged groups enter the industry in behind-the scenes roles Actor David Mumeni has a bold claim to make about his charity Open Door, which supports young people to enter the film, TV and theatre industries. When it comes to diversifying the talent pipeline and bringing in those from disadvantaged backgrounds, “there isn’t a more effective model”, he says. Mumeni established Open Door in 2017, primarily to help actors from low-income households get into drama schools. It has since secured 178 offers for its mentees. Now the charity is expanding its remit to help young people into behind-the scenes roles, and applications are open. The model was inspired by Mumeni’s own experiences. As a child at an inner-city London school, his acting breakthrough came when he joined Amanda Redman’s Artists Theatre School in 1998, and then was on the waiting list for Bristol Old Vic. Redman personally gave him individual tutoring, and a £1,000 support bursary when he got into the prestigious acting school. It was the extra help he needed to launch a career, which has included roles in Channel 4 comedies Dead Pixels and Stath Lets Flats, as well as the feature film Johnny English. It also gave him a blueprint for Open Door. The scheme is open to talent aged 17 to 30 from low-income households. Successful applicants will have their interviews and UCAS Conservatoire fees paid for. Participants in the behind-the scenes programme will be supported in applying to study for positions in a variety of TV and film roles, such as costume design, set construction and prop-making, receiving one-to-one tutoring, access to a hardship fund, pastoral support and mentoring, and travel expenses for interviews. They will also receive free theatre and screening tickets. Applications for this scheme all take place online, allowing easier access for participants to apply across England, Wales and Scotland. Mumeni is also in the process of developing a pathway for upcoming writers and producers. He says one of the challenges in diversifying TV and film talent is simply letting a more diverse group of people know about the opportunities. Recent graduate Dionne Brown, who will appear in the lead role in upcoming Channel 4 drama Queenie, says this is one of the crucial things Open Door offers candidates: “An equitable and safe space for the kids that are lacking genuine knowledge.” Open Door patron and Game Of Thrones actress Emilia Clarke agrees, saying the barriers facing young talent “start at day one”. “If you don’t have anyone in your community who has followed this path, how are you expected to know how to get there?” she says. “People tend to look in the same channels, expecting a certain type of person. We need to be more regional, and the wider industry needs to make itself a safer space so that everyone feels valid.” Mumeni says: “Ensuring diversity behind the scenes is a huge challenge for production companies to take on alone so there needs to be a real improvement – which is where we come in.” Much of Open Door’s funding comes through theatre and talent agencies, with Clarke’s production company, Magical Thinking Pictures, actively working with the charity. But, Mumeni says: “Investment from the TV industry can really make a difference. “I don’t think the answer is creating more schemes, but rather looking at how to support and amplify those that are already effective.” OPEN DOOR LOOKS TO EXPAND REMIT Above left: Open Door nurtures the next generation of talent “If you don’t have anyone who has followed this path, how are you expected to know how to get there?” David Mumeni Founder, Open Door

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SCOTT BRYAN // COLUMNIST 21 AUGUST 2023 // broadcastnow.co.uk concerned about and are clamping down on, especially during a time of streaming consolidation and squeezed advertising budgets. But the great irony is that such a large clampdown, which has evolved from Netfl ix to just about every other broadcaster, platform and streamer in the past year or so, risks actually hurting the very programmes they are trying to protect. The internet and social media thrive on great television moments: from Come Dine With Me’s “You won Jane, I hope it makes you very happy”, to when a dog called Bounce appeared on the BBC News channel and sat up like a newsreader. Yes, broadcasters and streamers often upload such clips to social media to capitalise on them being talked about, but these moments also tend to be spotted, grabbed and uploaded by the viewers themselves, eager to share and talk about them. A recent example of this is Jury Duty – a Beadle’s About-style reality show where a member of the public thought they were serving on a jury, when in fact it was a set-up, featuring actors. The show risked being missed, as it debuted on a relatively new streaming service called Amazon Freevee that hardly anyone – apart from Neighbours fans keenly awaiting new episodes – has heard about. Yet, thanks to the huge number of videos and memes uploaded by fans, especially on TikTok, the show quickly became a big talking point. In an age of endless choice, social media is the greatest form of advertising. But due to concerns over copyright, these moments are becoming harder for viewers to grab. Just look at Bake Off. When the show was on the BBC, fans used to regularly make videos and memes, even compilations, to highlight and follow their favourite personalities. But if you try to grab a still from any show on C4? A blank screen. Meanwhile, on its old home, BBC iPlayer, you can still grab footage easily. In fact, BBC iPlayer remains one of the last places you can easily take live footage and stills without limitation. I wonder whether that policy is paying dividends. The Eurovision Song Contest last month announced that it had broken online engagement records. My gut instinct is that the BBC and Eurovision’s relatively lax approach to fans grabbing material contributed to that success. It keeps the fans in charge, letting them share the moments they fi nd interesting, and driving more young audiences to the contest itself. Ironically, I’d suggest you don’t screengrab this piece and send it to anyone at BBC iPlayer. Why? Just in case the BBC doesn’t actually realise its policy is rather relaxed compared with its rivals. It is the BBC, after all. In a column all about a clampdown on copyrighted material, I’d hate to end up being the one responsible for making it worse. Scott Bryan is a media journalist, presenter and entertainment critic I t feels like quite a lot, when you have just stumbled across this article, to then ask you to do something else, but bear with me. Head to Netfl ix, ITVX, Channel 4, My5 or Amazon Prime Video on a phone or tablet. Press play on any bit of content. Now, when you’ve found a scene or quote that you fi nd interesting, try making a screenshot, which saves the picture to your device. You can easily do it on an Apple device by quickly pressing the power button and a side button at the same time. Blank screen, right? It even happens when you watch content on a laptop. You can still see the show on the screen in front of you, but what gets saved to your photo album is a blank image, perhaps bar some subtitles on the screen that might have slipped through. There’s an obvious reason why you can’t share such images: copyright. Infringement is something broadcasters and streamers are very Stopping viewers from sharing footage on social media risks losing the buzz created by great TV moments, says "1o‚u‹-m There’s nothing wrong with a relaxed take on copyright “The irony of broadcasters and streamers clamping down on infringement is it risks actually hurting the programmes they are trying to protect”

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How to successfully navigate evolving viewing habits PROMOTIONAL CONTENT Choosing what to stick on the TV has been a part of daily life for the best part of a century. But what used to be a TXLFNɫLFNWKURXJKWUDGLWLRQDOOLQHDUFKDQQHOVKDVQRZ evolved into viewers trawling through their favourite streaming services searching for that pot of content gold. The TV landscape has become convoluted. Increased viewer fragmentation has left advertisers facing an uphill battle trying to identify where target consumers are spending the majority of their time and how to effectively engage them. New acronyms and terminology are being introduced to try to make sense of this confusion, but you won’t see AVoD, SVoD and FAST popping up in consumers’ vernacular. And with the lines between VWUHDPLQJSODWIRUPVEHFRPLQJLQFUHDVLQJO\EOXUUHG1HWɫL[DQG Disney have introduced ad-funded tiers into their subscription models - allocating ad spend is trickier than ever. In the eyes of viewers, TV is just that - TV. Samsung Ads’ latest report observes that when it comes to how they use and watch TV, viewers are driven more by content than platform. They are hungry for content recommendations during their moment of discovery, but are being overwhelmed by the level of choice. The onus is on the industry to help, not hinder, them. The more things change… The fundamental reasons we watch and enjoy TV have remained consistent throughout the years. It’s a FRPPXQDOH[SHULHQFHSURYLGLQJHQWHUWDLQPHQWDQGD chance to escape from the hardships of the real world. Look at consumers’ motivation for tuning in to live and on-demand programming. Some want to watch shows they’re looking forward to, others are searching for inspiration. The common denominator - these are content-driven decisions. This isn’t an all-out battle pitching streaming against linear - audiences are watching both. But while viewership across all TV services is predicted to increase, they aren’t all enjoying the same share of consumers’ time. Viewing time across free streaming services - such as Samsung TV Plus, Samsung’s free ad-supported 79)$67SODWIRUPLVSURMHFWHGWRULVHE\ʫʱDFURVVWKH8.RYHUWKH QH[WʩʪPRQWKVFRPSDUHGZLWKʪʪIRUUHJXODU79FKDQQHOV As viewing time increases across the board, the need for content recommendations is more important than ever. Choice paralysis has already become an inevitable part of modern YLHZLQJ6RPHʮʭRIYLHZHUVVKRZDODFNRISDWLHQFHDQGEHFRPH IUXVWUDWHGDIWHUEHLQJXQDEOHWRɪQGVRPHWKLQJWRZDWFK$QGZKLOH YDULRXVPHWKRGVDUHXVHGWRɪQGQHZFRQWHQWʫʰRI8.FRQVXPHUV acknowledge they will visit a streaming service during this time of uncertainty. Leveraging native ad formats on Smart TVs can enable advertisers to connect with consumers at the moment of discovery. &KDQQHOVXUɪQJWKURXJKWKHDJHV Emotionally, TV provides the same purpose across generations: it is able to adapt to the evolving landscape. However, how we use our TV is changing. There’s a marked difference between younger and ROGHUDXGLHQFHVŢZHHNO\YLHZLQJKDELWV0RUHWKDQʰʩ RIʩʰWRʪʬ\HDUROGVUHJXODUO\HQJDJHZLWKVXEVFULSWLRQ VWUHDPLQJVHUYLFHVEXWWKLVIDOOVWRʭʬIRUWUDGLWLRQDO OLQHDUSURJUDPPLQJ&RQYHUVHO\RQO\ʮʪRI FRQVXPHUVDJHGʭʭʮʬZDWFK69R'VHUYLFHV+RZHYHU WKHLUOLQHDUYLHZHUVKLSʰʰLVWKHKLJKHVWRIDOOJURXSV Advertising on streaming platforms can also have a positive knock-on effect on brand image - particularly among younger audiences. Brands that use DGYHUWLVLQJZLWKLQVWUHDPLQJHQYLURQPHQWVDUHSHUFHLYHGWREHɪYH times more innovative and modern compared with those in QRQVWUHDPLQJDUHDV7KHVHɪJXUHVMXPSWRHLJKWDQGVL[WLPHV UHVSHFWLYHO\IRUUHVSRQGHQWVDJHGʩʰʫʬ Advertising potential Advertisers have an opportunity to ditch the outdated silo mentality and adopt a holistic approach. TV is TV in the eyes of the consumer and it’s content, not platform, that is the differentiator. Acknowledging the high-value, enriching environment that TV advertising creates - DQGWKHQXDQFHVWKDWH[LVWEHWZHHQVWUHDPLQJDQGOLQHDU SODWIRUPVLVWKHɪUVWVWHSWRZDUGVXVLQJERWKWRWKHLUIXOOSRWHQWLDO ǎDownload Is TV Just TV? from our Samsung Ads Europe page on LinkedIn for more insights and recommendations on how to effectively leverage consumers’ evolving television viewing habits Antonia Faulkner Head of Marketing & Analytics Europe, Samsung Ads Samsung Ads’ Is TV Just TV? report provides valuable insight into how advertisers can tap into viewers’ GHVLUHWRɪQGHQJDJLQJFRQWHQWVD\VAntonia Faulkner

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CONTENTS // HOT SHOTS 27 AUGUST 2023 // broadcastnow.co.uk LEADER J udging this year’s Hot Shots has been both a joyous privilege and absolutely torturous. Broadcast editor Chris Curtis and I have once again been blown away by the wealth of talent that exists in the television industry. I can honestly say that every single one of the 200-plus people who applied this year was clearly brilliant at their job, and their employers’ appreciation and admiration for them shone through. Whittling the entries down to a manageable final list has been challenging to say the least – and the fact that there are still 61 people on it is testament to the scale of that challenge and the strength of so many of the applications. This year’s Hot Shots are not just brilliant at their jobs, they are also people who have made a difference – clinching commissions, streamlining processes, adding vital polish or snatching victory from the jaws of disaster with quick thinking and dedication. They are a varied group – some have achieved great things at an impressively young age, some started out in completely different careers before making the brave decision to pursue their TV dreams, while some have been quietly plugging away for years and are finally seeing the rewards. A common theme highlighted by this year’s nominators was the nominees’ commitment to equality, diversity and inclusion. Many of this year’s Hot Shots found their way into TV though what they describe as unusual routes – and they are committed to ensuring that as many people as possible can follow in their footsteps. If the quality of this year’s Hot Shots is anything to go by, it seems the television industry can only benefit. Hot Shots continue to raise the bar REBECCA COONEY Insight editor BROADCAST Producers & PDs 28 Production 34 managers Directors & DoPs 39 Development 42 producers Commissioners 50 Post & craft 52 Writers 55 Researchers & 58 assistant producers Talent managers 63 Broadcast editor-in-chief CHRIS CURTIS Insight editor REBECCA COONEY Production editor DOMINIC NEEDHAM Art editor CHARLOTTE CRIPPS Business development director FRANCESCA VERDUSCO Business dvelopment manager CALLUM BLACKWELL Contributors JOHN ELMES, ELLIE KAHN, MARIAN MCHUGH, ROBIN PARKER

broadcastnow.co.uk // AUGUST 2023 28 Alyona Synegina // 38 Producer // Freelance Alyona Synegina escaped the Russian shelling around Kyiv in February 2022. She spoke virtually no English, but had spent her career producing shows such as the Ukrainian versions of Hell’s Kitchen and The Daily Show. Undaunted, she dived into months of intense networking and English lessons, landing herself a place on the Media Trust & Channel 4 Mentoring Scheme, which in turn led to the opportunity to work on a Windfall Films doc charting the fi rst year of the invasion from an aerial perspective. She immediately impressed, despite never having worked on a documentary before, says Windfall Films producer/director Joby Lubman. Taking on Synegina turned out to be a boon for Windfall Films in other ways too. She helped to develop the concept for the company’s bid to produce the Eurovision 2023 ‘Postcards’ – the short fi lms that introduce each act. And when BBC Studios needed a Ukrainian producer for the live show, Synegina’s “incredible work rate and perseverance made it easy to recommend her”, Lubman says. “With Alyona we got so much more,” says Andrew Cartmell, senior executive producer for the Eurovision Song Contest 2023. “She was tasked with ensuring the authenticity of the Ukrainian elements and she pitched idea after idea and was a creative force.” “With Alyona we got so much more. She pitched idea after idea and was a creative force” Andrew Cartmell Senior executive producer Windfall Films Louis Lee Ray // 34 Producer-director // ƍƉ bѴlv Louis Lee Ray spent most of the 2020 lockdowns trying to negotiate access to the people surrounding the most powerful man in the world – from his living room. The task of trying to secure interviews with the likes of Steve Bannon and Rudy Giuliani for The Trump Show, a four-part doc series on BBC2, took every ounce of the skills he learned as a BBC broadcast journalist – but he succeeded. As a broadcast journalist, Ray had been part of the team nominated for a Royal Television Society award for uncovering sexual abuse in football, but in 2019, he decided to switch track, becoming a development producer for 72 Films, then assistant producer on BBC2’s Baftanominated The Rise Of The Murdoch Dynasty. In the wake of his triumph with Donald Trump’s confi dants, as well as on a featurelength pandemic doc for Channel 4 – The Year That Britain Stopped – he served as casting producer for the three-part C4 series Spice Girls: How Girl Power Changed Britain. In 2021, he made the jump to producer, working on an as-yet-unannounced three-part series for a major streamer and on 72 Films’ upcoming four-part Boris Johnson doc for C4. For the latter, he has helped to plot episode outlines on a series spanning several decades and negotiated access to many of the country’s most infl uential politicians, conducting many of the interviews. Rob Coldstream, executive producer at 72 Films, describes Ray as “relentless, resilient and resourceful”. He adds: “His judgement is impeccable, he’s calm under pressure and good humoured in the face of adversity.” Producers & PDs

PRODUCERS & PDs // HOT SHOTS 29 AUGUST 2023 // broadcastnow.co.uk Ellie Merz // 35 "_ooঞm]ruo7†1;uņ7bu;1|ou// Freelance Ellie Merz admits that her route into TV was “pretty conventional – a university history geek, turned history TV researcher and a lot of time fi nding storylines in dusty archives”. After six years as a researcher, she became a producer, where she supported top-fl ight talent such as Julie Walters and Krept & Konan to front their fi rst documentaries. But after 10 years in the industry, she realised she was hungry for something more. She felt accomplished in the role of producer, but also stuck. There were two things holding her back: her limited self-shooting experience and her own inner critical voice telling her she “wasn’t technical”. She decided to tackle both head on, winning a coveted BBC-funded place on the National Film and Television School’s female shooters course. Within months of completing the course, she’d scored her directing break on BBC3 doc Zara McDermott: Disordered Eating. She pushed herself to self-shoot more than half the fi lm, and in the process earned an Edinburgh TV New Voice Award for Debut Director. Emboldened by this success, she went on to shoot the majority of her next project: Dani Dyer: Is This Anxiety? for C4. Summer Films creative director Lucy Hillman, who supported Merz in both of her directorial outings, says she was impressed by her “confi dent and imaginative visual style”. She adds: “Ellie was outstanding with talent, vulnerable contributors and when negotiating sensitive access. She’s a passionate fi lm-maker, full of ideas, but calm when challenges arise.” “She’s a passionate fi lm-maker, full of ideas, but calm when challenges arise” Lucy Hillman Creative director Summer Films Chibuikem Oforka // 27 Producer // u-]omY‹ bѴlş$;Ѵ;ˆbvbom Chibuikem Oforka joined Dragonfl y Film & Television in 2018 on an internship placement with Creative Access and has since had a meteoric rise, initially to the development team. After a year at the company, he moved into production as a researcher, and has since risen through the ranks to become what director of programmes Ros Ponder describes as the company’s “go-to producer”. In his fi ve years at Dragonfl y, Chibuikem has racked up credits on specialist factual formats, current aff airs, observational and retrospective documentaries – but his speciality is in handling diffi cult subjects and approaching potential contributors with care and sensitivity. He worked on Sky Documentaries’ featurelength doc Forced Out, about the men and women who were dishonourably discharged from the British armed forces because of their sexuality. Oforka managed to track down key contributors and, despite their initial wariness, get them on board. “He has a tireless work ethic and the determination to do right by the story, whether it be negotiating sensitive access, combing through extensive court transcripts, or writing briefi ng notes for studio show presenters,” says Ponder. “He is able to spin a lot of plates and keep calm while his mind is always leaping ahead to work out what needs to be done next.” Dragonfl y managing director Richard Bond says that since joining the company, “Chike has consistently shown there’s nothing he can’t do”. “He’s always enthusiastic, incredibly tenacious and editorially on point. Whenever I hear the phrase in the offi ce, ‘Chike is on it’, I know I can relax with the absolute confi dence that whatever the task, he will deliver in spades.”

broadcastnow.co.uk // AUGUST 2023 30 Celia Jennison // 29 Producer // Freelance T he producer of Candour Productions’ Bafta and Broadcast Digital Awardwinning doc series Libby, Are You Home Yet?, Celia Jennison is “one of the most talented producers in the industry”, says series producer Josephine Besbrode. Besbrode credits Jennison’s “hard work and dedication” for the success of the doc. Working on the three-parter about the murder of Libby Squire, Jennison secured access to Libby’s family, friends, witnesses and Humberside Police, produced 30 interviews over eight weeks, took responsibility for contributor wellbeing, sourced and cleared archive material and made key decisions in the edit alongside Besbrode. Besbrode calls her “tenacious, clever and creative” and praises her ability to turn dense political material into a simple and compelling story. With a story that is clearly so personal and diffi cult for contributors, sensitivity and care was crucial to managing access and the production as a whole. “One of Celia’s greatest strengths is how seriously she takes duty of care,” Besbrode says. “She has reliable instincts for content, while always being mindful of the emotional impact that a documentary project can have on those involved, and she works tirelessly to ensure that they are supported throughout the process. Next on the agenda are a four-part Disney+ series and a major doc for the BBC. “One of Celia’s greatest strengths is how seriously she takes duty of care. Her integrity and moral compass are second to none” Josephine Besbrode Series producer Libby, Are You Home Yet? Hassan Ghazi Producer-director //Workerbee Hassan Ghazi’s superpower is his ability to earn the trust of those around him, from heavyweight boxing world champions to a young Sikh couple and even Hollywood A-listers,” says Amazon Studios unscripted development executive Harjeet Chhokar. Chhokar fi rst encountered the Pakistanborn Ghazi through a Channel 4 mentoring programme, and says it has been a privilege to watch him grow, personally and professionally. Ghazi’s debut as a producer-director for Workerbee was a 40-minute episode of the RTS Award-nominated Being… for BBC1, which sought to shine a light on what it means to be religious in a multi-faith modern Britain. He then relocated from Manchester to London for the best part of a year to serve as the most senior producer-director on the Grierson-nominated Idris Elba’s Fight School. Currently, Ghazi is producing and directing Four Kings, a three-part series for Amazon that chronicles the golden era of British boxing, exploring the highs and lows of boxing legends Frank Bruno, Nigel Benn, Chris Eubank and Lennox Lewis. He’s also travelling between the UK and the US, where he is producing and directing an indie fi lm, Anatomy Of A Murder, which is being funded by Banijay Rights for submission to the Sundance Film Festival. Workerbee chief executive Rick Murray says: “Hassan has it all – he’s able to produce talent with great maturity, and has natural storytelling ability and impressive visual fl air.” Chhokar agrees: “As we strive to hear from more diverse voices behind the camera, Hassan’s fi rst-generation immigrant, northern voice will be a powerful one.” “

31 AUGUST 2023 // broadcastnow.co.uk Georgina Lee // 30 Producer // _-mm;ѴƋ;‰v -1|_;1h I t has been a “blockbuster” year for Georgina Lee, says Channel 4 News head of digital Mike Deri Smith. Lee runs, and is the sole producer on, Channel 4 News FactCheck, the support site that holds MPs’ claims to account in a bid to curb the spread of misinformation. C4 has been running FactCheck since 2005 but since she joined in 2017, Lee has transformed it into a multimedia broadcast brand with explainer videos that have amassed millions of views across social platforms, tackling subjects from domestic violence against pregnant women to the government’s asylum backlog. Lee, a former HM Treasury policy adviser, kicked off 2023 with the revelation that the NHS is now 10 times worse than in 2011 on four key measures, with a video attracting almost 200,000 views on Twitter and informing a Channel 4 News TV special on the NHS. Lee’s analysis also delivered the shock statistic that the number of women in Northern Ireland waiting longer than the offi cial target for breast cancer treatment is 50 times higher than 12 years ago. FactCheck has also proved invaluable in cutting through the noise around Russia’s war with Ukraine. Lee’s beginner’s guide to the confl ict had almost 10 million views on Facebook within days of the invasion, while the FactCheck analysis of Vladimir Putin’s tactics in previous wars has been watched 3 million times. A one-minute explainer on abortion ruling Roe v Wade, meanwhile, was a hit on TikTok, with more than 4 million views within hours of the historic Supreme Court decision. Smith says it is testament to the esteem in which Lee’s journalism is held that in January she was invited to give evidence to the DCMS Committee session on Online Harms and Disinformation. PRODUCERS & PDs // HOT SHOTS Ruben Reuter // 23 bv-0bѴb|‹1ouu;vrom7;m|// _-mm;ѴƋ;‰v Previously a regular face on CBBC as a cast member of drama The Dumping Ground, Ruben Reuter is now a cornerstone of Channel 4 News. As a young man with Down’s Syndrome, Reuter has brought a new dimension to the show since joining in 2021, by putting the challenges faced by disabled people centre stage, shining a light on positive stories of inclusion, and giving a voice to communities often unheard in mainstream news programmes. Working with doc-maker Rosie Baldwin, Reuter has tackled the impact of Covid on disabled people and pursued stories on nature, sport and the environment. One of his key interviews last year was with Oscar-winning actor and fi lm-maker James Martin, who also has Down’s Syndrome. The pair talked candidly about feared post-Brexit funding cuts to Mencap, which had helped Martin into work. Reuter’s reports on abortion access bagged him an RTS Award nomination and he dug deeper into the issue with RDF Television/ Hey Sonny C4 doc Disability And Abortion: The Hardest Choice, which he co-presented with actor and campaigner Ruth Madeley. Reuter fi rst burst onto screens aged 12, in a CBBC My Life documentary about young people with Down’s Syndrome, and got his taste for journalism with a second edition, The Real Dumping Ground, in which he visited institutions for disabled children in Moldova. Baldwin describes him as a “consummate professional”, adding: “Ruben brings an unmatched energy and enthusiasm to the stories he works on and is always off ering up creative ideas. His warmth and humour not only puts contributors at ease, but invites audiences to diffi cult stories in an accessible way.” “Ruben’s warmth and humour not only puts contributors at ease, but invites audiences to diff icult stories in an accessible way” Rosie Baldwin Director Limpet Films

broadcastnow.co.uk // AUGUST 2023 32 HOT SHOTS // PRODUCER & PDs Steve Monger// 34 Producer // !o†]_1†| Comedy producer Steve Monger believes the scripting stage is where he really shines – collaborating with talent, building a project around their voice and punching up the scripts to within an inch of their lives (but in a fun way, he promises). His boss at Roughcut, chief executive Ash Atalla, says Monger is multi-talented and his “career is on the move fast”. “He’s a sharp comedy producer who is very much developing his own brand, style and talent relationships,” Atalla adds, with BBC3 dysfunctional family sitcom Things You Should Have Done set to TX next year. Championing under-represented talent is a cornerstone of Monger’s work – mentoring upcoming talent for the BBC’s Felix Dexter Bursary, North East Comedy Hot House and the BFI. Tafara Makopa // 32 -m-]bm]7bu;1|ou//)-ѴѴo=m|;u|-bml;m| Tafara Makopa’s route into TV was certainly unusual – his career started out in fi nance, working for a number of big-name brands, including Game, Ramboll and Waterstones. He brought his expertise to Wall of Entertainment, initially as director of fi nance, before soon being promoted to managing director. Makopa took the reins when the indie was on the brink of collapse. He was able to stabilise operations and support it to secure vital commissions, carving out a role for itself catering specifi cally to a Gen Z audience. Channel 4 head of digital commissioning Sacha Khari says: “Taf has nimbly redefi ned the modern-day indie, crafting a business model that navigates challenging budgets while also allowing Wall to grow and innovate.” “Steve is a sharp comedy producer who is developing his own brand, style and talent relationships” Ash Atalla Chief executive Roughcut Pandora Monnas // 27 Producer // !o]-mffuo7†1ঞomv Over the past four years at Rogan Productions, Pandora Monnas has progressed from researcher to producer, working across archive, observational, quickturnaround and current aff airs fi lms and series. Her real learning curve came last year, when she developed and then worked on an archive series for C4’s 40th anniversary, Made In The 80s, which explored stories from pop culture, politics and technology. This year, she’s been testing her skills at tracking down contributors and stories for The Final (w/t), a feature-length football documentary for Netfl ix. “Pandora’s diligence and commitment are matched only by her passionate approach to her work,” says Rogan Productions managing director Soleta Rogan.

broadcastnow.co.uk // AUGUST 2023 34 Production managers Zoe King // 28 ffuo7†1ঞom1oŊou7bm-|ou// u;;Ѵ-m1; Z oe King entered the industry in the summer of 2020, starting out as a runner in rural North Wales. From there, she has worked in production roles on shoots across the globe for some of the biggest factual entertainment shows, including ITV1’s I’m a Celebrity… Get Me Out of Here!, Channel 4’s SAS: Who Dares Wins and BBC1 ratings juggernaut Race Across The World. Maria Kennedy, line producer at Studio Lambert, says that from the moment she met King, her talent and enthusiasm stood out. She describes King as having “naturally navigated working in production management”, and commends her ability to “problem solve instantly”. During King’s fi rst week as a production secretary, a sudden update to Covid regulations meant she had to respond to cancelled fl ights and new testing and quarantine regulations that came into force while her team was abroad on a recce. When King herself is working on international shoots, Kennedy says, the editorial team are quick to recognise her caring and supportive nature and express confi dence that she will keep them safe and well looked-after. “On Race Across The World, Zoe is always waiting for us at the checkpoints to check in on our welfare, and will off er to help in any way she can,” Kennedy says, adding that King will often go above and beyond, surprising colleagues with treats from home to give them an extra boost. Going the extra mile At the beginning of this year, King joined the team behind Squid Game: The Challenge, juggling complex travel plans for an international cast of more than 450 people – and, Kennedy points out, she still found time to support the learning of newer team members. This year, King also worked closely alongside the Royal Household on the production of HM The King’s Coronation Concert. Once again, she went the extra mile, striving to ensure the concert was as inclusive as possible through “Zoe has an endless well of positivity even in the face of the most bonkers productions” Maria Kennedy Line producer Studio Lambert co-ordinating the use of audio description, welfare tents, BSL interpreters and SubPacs – vibrating packs that enhance deaf people’s experience of the event. Her commitment to the production was not only recognised by BBC Studios, but also by the royal household and the Department for Digital, Culture, Media and Sport. “Zoe is the heart and soul of all productions she’s worked on,” says Kennedy. “It seems almost criminal that she had ever considered a career on the editorial path, given that she thinks and breathes production. “She has an endless well of positivity and energy, even in the face of the most bonkers productions, instinctively thinking of multiple solutions before anyone has even realised there’s a problem. “She is loved and respected by the entire team – from the executive producer to the runner.”

PRODUCTION MANAGERS // HOT SHOTS 35 AUGUST 2023 // broadcastnow.co.uk Jade Miller-Robinson // 36 ffuo7†1ঞom;Š;1†ঞˆ;// ;o bѴlv Keo Films’ BBC2 series Once Upon A Time In Iraq and Once Upon A Time In Northern Ireland are two of the most acclaimed factual series of recent times. They’re also among the most challenging to put together – which is where Jade Miller-Robinson comes in. On the recent Northern Ireland series, she led a team working on the sensitive subject of The Troubles and their aftermath, which needed to be told with balance and care. “Time and time again, Jade has displayed remarkable composure in high-pressure situations, and she is always pivotal in creating supportive working environments that prioritise the care and mental wellbeing of both contributors and the production team alike,” says Keo creative director Will Anderson. Documentaries with thorny subjects, vulnerable contributors and, on occasion, hostile environments fi ll Miller-Robinson’s CV: cancer in The Big C And Me, cross-channel immigration in Exodus: the Journey Continues and the impact of the Covid outbreak in Pandemic 2020. For Passion Pictures director of unscripted production Trevor Lopez de Vergara, MillerRobinson has mastered one of the hardest elements of production management: the balance of meeting both creative ambition and business commercial needs. “Jade has repeatedly delivered award-winning premium factual projects on budget,” he says. “She’s a fantastic leader, able to inspire teams with a demonstrable focus on diversity and equality.” Will Shellard // 27 †mbouruo7†1ঞoml-m-];u// u;;Ѵ-m1; How many junior production managers can say they’ve overseen almost 700 members of crew in only their fourth TV gig? William Shellard can. Having put in stints as a production co-ordinator on The Apprentice and I’m a Celebrity... South Africa, and his fi rst junior production manager post on The Martin Lewis Money Show, Shellard bagged a once-in-a-lifetime opportunity to prove he has what it takes. For BBC Studios Events, he was tasked with setting up all seven live OBs of the BBC’s coronation coverage, ready to hand over to production managers to oversee the week of the event – and taking a PM role himself at one of the sites. “You can throw any challenge at Will and it’s completed with focus, determination and drive,” says BBC Studios deputy head of production, factual entertainment and events, Gemma Thomas. “The coronation was a huge undertaking, and Will went above and beyond, continually solving problems as the centre point for the OBs and remaining calm throughout. Anyone who can oversee 696 crew with a smile is a defi nite production management keeper.” Thomas says being inclusive comes “very naturally” to Shellard, who had production co-ordinators and managers singing his praises. “The OB team say the thing that annoyed them was that will had JPM on his signature – they thought he was an experienced PM,” she admits. The feedback was duly noted: this autumn, Shellard steps up to his fi rst PM role on an Events production. “Time and again, Jade has displayed remarkable composure in high-pressure situations” Will Anderson Creative director Keo Films

broadcastnow.co.uk // HOT SHOTS 2023 36 HOT SHOTS // PRODUCTION MANAGERS Jennifer Dempster // 36 ffuo7†1ঞom1oŊou7bm-|ou// !b1o1_;| Last summer, Jennifer Dempster made a big change. After nearly a decade in the hair and beauty industry, she embarked on a new life in TV – and within two months, she found herself in the south of France, helping to run a month-long shoot for a new BBC series. Dempster’s route in was via a ScreenSkills training scheme, with production management deemed the best fi t for her transferable skills. Placed at Ricochet, she took on production secretary duties for the indie’s established Channel 4 series Food Unwrapped, before being tasked with fi nding the location for BBC daytime series The Vintage French Farmhouse. Six months in, Ricochet made Dempster a production co-ordinator with another overseas shoot to manage on C4’s Sun, Sea And Selling Houses. People skills built in her previous career have proved invaluable on an 18-week shoot in which she has been dealing with transport issues, carnets and visa regulations, as well as the schedule, morale and welfare of a team of more than 20 crew fi lming away from home. To off set the international travel, Dempster has worked closely with Bafta’s Albert scheme. Ricochet Glasgow head Rob Butterfi eld is stunned by how quickly Dempster has grasped the nettle in a profession notoriously hard to break into. “Less than a year into her career, Jen is already an incredibly capable co-ordinator,” he says. “Smart, creative and cool under pressure, I’ve no doubt she will rise to production manager level at lightning speed. “Jen is smart, creative and cool under pressure. I’ve no doubt she will rise to production manager level at lightening speed” Rob Butterfi eld Head of Ricochet Glasgow Emma Rowe // 27 ;-7o=or;u-ঞomv-m7ruo7†1ঞom//  bѴlv A career in television was not always on the cards for Emma Rowe, but Curious Films executive producer Natalie Hill says that in just over three years, she’s already every bit as capable as someone with 20 years under their belt in production management. Moving to the UK on her own from Spain at just 15, Rowe studied for a law degree and a masters in entrepreneurship, while running her own independent travel and events business. Landing a role as a PA with AJ Media Group in February 2020 - and managing both that new position and an unfamiliar industry in the fi rst stage of lockdown – proved a turning point. First came a production manager role on Channel 4’s short-form series The Dog Fixers, then production executive on sister company Rogo Productions’ debut commission – ITV2’s six-part series Bad Boy Chiller Crew. Running logistics and day-to-day co-ordination on the project, Rowe stepped up to production manager, overseeing shoots across the UK and securing new fi nancing for the budget in just six weeks after initial funding fell through – bringing all six episodes to budget within a tight schedule. At that time, she also became operations head of AJH Media Group. Unprecedented, AJH Films’ three-part Discovery+ series about Donald Trump, was running in parallel and Rowe stretched herself across both productions. When the Congressional Committee subpoenaed the company, she fi elded all press requests, bookings and logistics in the subsequent media storm. “I don’t think you could meet anyone more conscientious, hard-working and able than Emma,” concludes Hill.

C elebro has acquired the lease of the former Hclub Studio in Covent Garden. The 11,500 square foot studio facility closed Ǟȁׂ׀ׁ׉ƊȺȯƊȲɈȌǏȲƵƮƵɨƵǶȌȯǿƵȁɈȌǏɈǘƵɐȯȯƵȲ˜ȌȌȲȺȌǏɈǘƵ building. During its years of operation as the Hospital Club, ɈǘƵȺɈɐƮǞȌȯǶƊɯƵƮǘȌȺɈɈȌƊȁɐǿƦƵȲȌǏǘǞǐǘٌȯȲȌ˛ǶƵǶǞǐǘɈƵȁɈƵȲɈƊǞȁǿƵȁɈ shows such as Strictly Come Dancing – It Takes Two, Joe Lycett’s Got Your Back, Vic And Bob’s Big Night Out, Eurotrash, Top Gear Extra Gear and The Xtra Factor Live. The facility has undergone extensive renovations and will be ǏɐȲɈǘƵȲɐȯǐȲƊƮƵƮɈȌƊǶǶȌɩǏȌȲǏɐǶǶׄjɩȌȲDz˜ȌɩȺخ!ƵǶƵƦȲȌǘƊȺƊǶȺȌ undertaken to build a smaller studio within the footprint to allow for smaller streaming shows and podcasts. Celebro, working in partnership with local groups, will be running various community engagement programmes to allow young people from the borough to get a start in the TV industry. Celebro will also be making days available in the studios for community and charity projects. Celebro says the facility will be operational in late August 2023. ABOUT CELEBRO Celebro Live LTD is a global broadcast company with studios in London, Washington DC and New York. They provide facilities for live television and streaming events to some of the world’s best known broadcasters and brands. Media enquiries: Wesley Dodd [email protected] Bookings: Tristan Temple [email protected] COVENT GARDEN STUDIO REOPENS PROMOTIONAL CONTENT Former home of Strictly Come Dancing – It Takes Two and The Xtra Factor Live ɈȌƦƵǐǞȁȌȯƵȲƊɈǞȁǐɩǞɈǘǏɐǶǶׄjɩȌȲDz˜ȌɩǞȁ August 2023 following Celebro acquisition

DIRECTORS & DOPS // HOT SHOTS 39 AUGUST 2023 // broadcastnow.co.uk Directors & DoPs Tolu Ogunware // 27 Director // Freelance Based in Northern Ireland, director and photographer Tolu Ogunware started out on his career six years ago making music videos for local musicians, and has since seized any opportunity that comes his way, including making commercials and documentaries. He cut his teeth as a camera operator on the short documentary fi lm Where You Really From?, which explores the experience of growing up mixed-race in Northern Ireland through the eyes of three ex-national youth team players, asking how they found their own identity in a predominantly white country whose collective identity is so strongly embedded in its footballing history. Ogunware’s own fi rst documentary, Black, Northern Irish And Proud, was acquired by the BBC and aired on BBC1 and BBC2 in Northern Ireland in September. The half-hour fi lm explores what it means to be black in Northern Ireland through fi rst-hand accounts, with contributors off ering frank and honest opinions on topics such as identity, diversity, green and orange politics, racism, black pride and a shared future. Commitment to diversity His next project will also be infl uenced by life in Northern Ireland. No More Bricks In The Wall, produced in partnership with the charity Belfast Won’t Always Be This Way, will look at the legacy and impact of The Troubles and Belfast’s peace walls on the post-confl ict generation. It will explore the mental, physical, geographical, visual and logistical impact of living with and among the separation walls that once proliferated across the city. Ogunware is committed to increasing diversity and representation in the television industry, which he believes can come about through creating opportunities for fi lmmakers and photographers. He demonstrates his commitment to this goal by actively mentoring and collaborating with aspiring fi lm-makers and photographers in his local area. “Tolu is smart, talented and an absolute pleasure to work with” Andrew Reid Chief content off icer Northern Ireland Screen He also plans to launch his own production company, which he says will focus on telling important stories and collaborating with local artists from under-represented backgrounds. Northern Ireland Screen chief content offi cer Andrew Reid says: “We fi rst met Tolu when he was selected for the Aim High boot camp for factual fi lm-makers that we run with the BBC. “Tolu was an outstanding candidate and was immediately selected for our CINE placement scheme. “As well as a talented documentarian, Tolu is a photographer who has had exhibitions in cities nationwide. He gives workshops and talks on fi lm-making to youths from underrepresented communities and was recognised as a trailblazing fi lm-maker and entrepreneur in the Belfast Telegraph’s 30 under 30. “Tolu is smart, talented and an absolute pleasure to work with.”

broadcastnow.co.uk // AUGUST 2023 40 Ade Femzo // 23 Writer/director //ACP Network Ade Femzo is the defi nition of a self-starter. Since he was a young teenager, he’s been writing and directing short fi lms with a tight circle of friends from his Hackney estate. Three years ago, he formalised this by setting up ACP Network: part distribution platform, part training ground, part production company. Femzo has directed 10 original short fi lms for ACP so far – socially conscious works tackling subjects like domestic violence, sexual consent and grief. Two of these were with other creatives and Femzo has now taken on two staff as he sets out to produce the work of other fi lm-makers. This sense of community is something he holds dear: he is a youth worker and helps out at a food bank. Femzo’s talent was spotted by actor John Boyega, who selected him as one of fi ve fi lm-makers to fund and mentor on last year’s Create Next programme. The resulting fi lm, Drop Out, won him director awards at both S.O.U.L Fest and the BFI Future Film Festival, and was voted audiences’ favourite short fi lm at the BFI London Film Festival. For nominator Nicola Lees of Sara Putt Associates, Femzo represents a new generation of self-taught fi lm-makers. “Ade’s a trailblazer and role model, showing other young fi lmmakers how to build a career without the need to attend expensive fi lm schools, or rely on traditional gatekeepers, funds or distribution,” she says. “He is part of a new generation who aren’t trying to get a foot into the industry, they are building their own industry.” “Ade is part of a new generation who aren’t trying to get a foot in the industry, they are building their own industry” Nicola Lees New talent and training agent Sara Putt Associates Martyna Knitter // 37 Director of photography // Freelance Martyna Knitter’s work has spanned feature fi lms, commercials, fashion and music videos, but two kids’ TV series in particular have benefi ted from her ability to make something truly cinematic with limited resources. Lee Walters, the writer/director of Zodiak Kids’ CBBC/ZDF/Hulu sci-fi drama Silverpoint, marvels at Knitter’s “commitment, drive and ability to transform challenges into opportunities” – in particular, how she “maintained her visual style while working within strict schedules”. The Polish-born DoP was instrumental in realising 9 Story Media Group’s recent, critically acclaimed CBBC drama series A Kind Of Spark, which featured three neurodivergent young actors in lead roles. Knitter went the extra mile, spending a considerable amount of time with the cast during pre-production to make everyone feel comfortable, and striving to create a patient, safe environment in which each actor could thrive while feeling supported. Creating heightened worlds for fantasy and sci-fi dramas is something of a speciality for Knitter, who was also a DoP on CBBC’s 2020 magical fantasy series The Snow Spider and part of the second unit on Sid Gentle Films’ hit Disney+ superhero comedy Extraordinary. On both of these, she collaborated with director Jennifer Sheridan, with whom she helped realise the bleak wintry visuals of her movie debut, Rose – A Love Story. Another debut movie director, Tommy Boulding, benefi ted from her keen eye on his horror feature Hounded, while shorts Knitter has made with Joelle Mae David have elevated everyday settings like a greasy spoon café into the scene of miniature sci-fi gems.

DIRECTORS & DOPS // HOT SHOTS 41 AUGUST 2023 // broadcastnow.co.uk Aurora Fearnley // 42 Writer/director // Freelance When BBC3 was looking for directors to work with emerging disabled writers and actors on the fi fth series of its short fi lm strand The Break, Aurora Fearnley was “an immediate yes”, recalls executive producer Caroline Levy. Impressed by Fearnley’s “astute, passionate and exciting” response to the scripts, the BBC handed her two of the fi ve fi lms to direct – one of which, Rude, was nominated for a Broadcast Digital Award for Best Short-Form Scripted. Levy was struck not only by Fearnley’s “well-considered and rigorous notes”, but that she “communicated clearly and worked incredibly hard analysing the material with careful thought and a heartfelt approach”. The Northern Film School graduate fi rst came to prominence as an actor, playing a methamphetamine addict in the 2010 movie Confession, before putting herself on the scene as a fi lm-maker with 2014 short Life On The Line. A year later, she was named Best Emerging Filmmaker at The Smalls Film Festival for her psychological thriller Murmur. After winning The Pitch at Pinewood, Fearnley made the 2018 sci-fi short Pulsar, and is staying with the genre as she steps up to features with Tipping Point. Fearnley has also written for audio episodes of Doctor Who, has folk horror feature Speak Its Name in the works, and has secured her second block of Hollyoaks. The Break producer Esther Springer says Fearnley’s clarity and commitment, coupled with her calm and supportive presence on set, are to be treasured. “She is a fi erce campaigner for disability rights and she wasn’t afraid to speak truth to power, which is something I respected,” says Springer. “I believe that if we, as an industry, want to take diversity and inclusion seriously, then directors like Aurora must be championed.” “Aurora is a fi erce campaigner for disability rights and she wasn’t afraid to speak truth to power” Esther Springer Producer The Break Sam Ewen // 30 Series director/head of entertainment // Wall of Entertainment Sam Ewen is one of the most exceptional, fi nger-on-the-pulse creatives I’ve worked with,” eff uses Channel 4 youth and entertainment commissioning editor Evie Buckley. Over four years at Wall of Entertainment, as a producer, director and head of entertainment, Ewen has been crucial in steering the unconventional producer’s growth. As well as his work with brands such as Netfl ix, Prime Video and Pretty Little Thing, he has cemented a reputation as a leading force in nurturing raw and diverse emerging YouTubers and infl uencers, with whom he has spearheaded a string of shows for C4’s digital platform 4.0. These include Broadcast Digital Award 2023 nominees Secret Sauce, featuring Chunkz, and Harry Pinero’s Worst In Class, as well as Nella Rose’s all-female prank show Tapped. He’s also helped amplify the voices of young on-screen talents Yung Filly and Adeola Patronne. “Ewen has an enviable way with talent that can both push them out of their comfort zones and be their confi dant in ways that radiate through the content he produces,” says Buckley. Ewen was series director on digital dating show Does The Shoe Fit, a collaboration with retailer Footasylum that has garnered more than 60 million views on YouTube. It is one of several shows he directed for the brand as it sought to transform its YouTube channel into a culturally relevant entertainment platform. Having boosted its subscribers from 6,000 to 1.9 million, he can say it’s mission accomplished. “A natural leader, with a relentless fl ow of creative ideas, Ewen has carved his own path, leaving an indelible mark on our company,” says Wall of Entertainment managing director Tafara Makopa. “Sam’s professional prowess is unparalleled.” “

broadcastnow.co.uk // AUGUST 2023 42 Development producers Freya Judd // 28 Development producer // Big Talk Studios Freya is undoubtedly one of the most talented creatives I have worked with,” says Big Talk Studios executive producer Victoria Grew. “Her precision on story and character arcs is second to none, supported by her voracious appetite to read and consume all forms of media.” Judd’s career has been cross-disciplinary, with roles in the commercial, development and production fields, driven by a desire to skill up in every part of the process. She started out in theatre, working for writer-centred theatre company HighTide and West End producer Kenny Wax, before moving on to join talent management agency Curtis Brown as an agent’s assistant in the theatre, film and television department. “When the chips are down, Freya is someone you can rely on to be inventive and entrepreneurial in her approach to a script” Victoria Grew Executive producer Big Talk This gave her a thorough grounding in the commercial and legal side of the TV industry as she negotiated contracts and financial deals. She also worked with high-profile writers such as Adam Kay and Sarah Solemani. In early 2020, Judd made the jump to Big Talk to work as a development producer in the comedy team, where she cut her teeth by supporting the scripting process for series one of Steve Stamp and Ben Murray’s BBC3 comedy about a personal trainer, Peacock. Grew notes that Judd has a particular knack for building relationships with the writers with whom she works – perhaps that’s not surprising, since she’s also an acclaimed writer in her own right. In 2022, she won the Edinburgh TV Festival New Voices Award for her comedy pilot, which is currently in development with Objective Fiction. In the past year, Judd’s career as a development producer has galloped forward, with a role script editing Horseface (working title), a major action-adventure comedy series for Apple TV+ about Dick Turpin. The massive production features the cream of British comedy talent, including Noel Fielding, Hugh Bonneville, Guz Khan, Ellie White, Asim Chaudhry and Tamsin Greig. Big Talk chief executive Kenton Allen says: “From the writers’ room to pre-production and throughout shooting, Freya has been an integral part of the editorial team, helping to craft the characters and stories, supporting their realisation on-screen, and responding with imagination and flexibility to changing production requirements.” Her next projects include working with an Emmy and Bafta award-winning writer on an adaptation of a comic Dickens novel, and a nostalgic comedy by Richard Naylor, which is currently in paid development with Apple TV+. As a writer, Judd is also currently working on an adaptation of a series of romance novels. “Freya is a very clever, articulate person who works incredibly hard at her craft,” Grew says. “When the chips are down, Freya is someone you can rely on to be inventive and entrepreneurial in her approach to a script. “Writers love working with her and she will only grow to become a force within the industry.” “

DEVELOPMENT PRODUCERS // HOT SHOTS 43 AUGUST 2023 // broadcastnow.co.uk Hannah Moulder // 34 Head of comedy development //VAL Hannah Moulder’s talents – and sense of humour – first came to the attention of ITV head of scripted comedy Nana Hughes a decade ago, when Hannah was a runner at Big Talk. Hiring her as a development researcher for Retort in 2015, Hughes swiftly promoted Moulder to assistant producer and development producer. While working as an assistant producer on Michaela Coel’s E4 breakthrough Chewing Gum, Moulder demonstrated her determination to satisfy unorthodox requests, like finding and casting supporting artists that resembled dogs. Hughes says Moulder couples a “no-nonsense approach” to production with an “encyclopaedic knowledge of the UK comedy scene and television”. She adds: “Hannah has a distinct aversion to the unnecessary frills and pretences our industry can foster – and an outstanding ability to identify and nurture promising comedic voices.” Moulder entered the industry without connections and is committed to helping to create opportunities for underprivileged talent, taking on mentoring roles with Mama Youth Project, NFTS, The Network, and LGBTQ+ charity Just Like Us. At comedy indie VAL, she has worked with talent such as duo The Delightful Sausage, with whom she secured the indie’s first radio show and a TV pilot, Ginster’s Paradise; Michelle De Swarte, whose pilot Spent is going to series on BBC2; Rosie Jones on her pilot Alternity; and Mawaan Rizwan on upcoming BBC3 series Juice. “Hannah has an outstanding ability to identify and nurture promising comedic voices” Nana Hughes Head of scripted comedy ITV Ameenah Taher // 28 ;ˆ;Ѵorl;m|;Š;1†ঞˆ;// Red Bull Media House A meenah Taher has returned to development (where she began her career), but it’s as a UK creative exec for YouTube Originals that her skills have been deployed for the past two years. As independent lead for the UK since May 2022, she oversaw the end-to-end creative process: sourcing YouTube series ideas to build the UK slate, granting paid developments, securing greenlights and leading on all aspects of production, from shoot plans to casting, edit, marketing materials and launch. Her commissions spans fact ent formats to purposedriven docs and live specials, including The Mandela Project, Road To Afro Nation: Davido Live and Seat At The Table: Climate Anxiety. Breaking into the industry with a placement on Endemol Shine’s Brightbulb internship scheme, Taher worked her way up through researcher and assistant producer roles to clock up a string of credits in development. Most notably, her own doc topline idea, hip-hop series Legends Never Die, was commissioned as a BBC3 series and a BBC Sounds podcast. She also helped steer the development of Label1’s Broadcast Award-winning and Baftanominated ITV1 specialist factual series Worlds Collide: The Manchester Bombing, plus the indie’s BBC1 army ob doc Soldier: Made In Yorkshire. Gold Wala managing director Faraz Osman, who worked with her on a development project, describes Taher as “a genuine joy to work with”. “With a real understanding of the next generation of audiences, she has proved to be a true asset to the future of our industry,” he says. In her new role at Red Bull Media House, she aims to combine her commissioning experience, audience insights and eye for talent.

broadcastnow.co.uk // AUGUST 2023 44 Soph Webberley // 27 ;ˆ;Ѵorl;m|;Š;1†ঞˆ;//Warp Films Soph Webberley’s natural rapport with a diverse range of writers has led to her working on a slate of in-house projects for Warp Films, four of which are in with broadcasters. One such recipient of her attention is Thara Popoola. Webberley read the writer’s Channel 4 Screenwriting Course script in 2021 and developed her original series, Awakening, which in turn led to Popoola securing gigs on Netflix’s Sex Education and Channel 4’s upcoming Queenie. Webberley’s rising status at Warp, since arriving as a runner five years ago, has included a development assistant role on Amazon Prime’s Everybody’s Talking About Jamie. When Siobhan Morgan joined the indie as head of development last year, she was instantly struck by Webberley’s talent. “I’m consistently blown away by her passion for making television,” says Morgan, who has observed Webberley’s skill in both running team story sessions and script editing one-onone. “Soph goes above and beyond in all areas of her role. Her propensity for talent-spotting and her unique, fresh taste will stand Soph in good stead – it has been a joy to see her grow in confidence in following her creative instincts, and the subsequent, varied range of projects and writers it has resulted in for our slate.” Morgan is also a writer and director, last year directing the BFI-funded short Blind Spot and bringing new talent to the industry’s attention. Warp chief creative officer Emily Feller admires Webberley’s “natural creativity and instinctive tact”, adding: “Her passion for making diverse TV drama constantly impresses me.” The last word goes to Morgan: “Soph’s awareness and understanding of the pace and world of production, alongside her exceptional script and story instincts, are invaluable assets and she’s a true rising star in our industry.” “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” Siobhan Morgan Head of development Warp Films Kariim Case // 28 Assistant digital development producer // Ƌ"|†7bov Always one step ahead of the zeitgeist”, is how Wise Owl Films head of development Lucy Smith describes Kariim Case, who joined the Lime Pictures-owned Leeds indie in 2021, from Channel 4’s Production Trainee Scheme. Throwing himself into development and production, Case was pitching his ideas directly to commissioners within weeks, while working as a production researcher on music shows such as Sky Arts returner Guy Garvey: From The Vaults and BBC2 double When Motown Came To Britain and When Tina Turner Came To Britain. Case was key to Wise Owl launching digitally focused youth label Hoot, helping to win its debut Channel 4.0 commission, Box Fresh. As co-creator and production researcher, he brought rising music star Dreya Mac to the show as host and deployed his encyclopaedic knowledge of streetwear brands and shoes to produce her scripted segments. This eye for talent helped Wise Owl win £50,000 in funding for a nationwide talent search for new digital channel E4 Academy. Case managed a trio of junior researchers to find 10 rising regional stars and select one for a digital pilot that is currently in production. Now an AP at 4Studios, he is helping the C4 offshoot win commissions for Snap and has developed branded shoulder content for Vanish’s award-winning advert Me, My Autism and I. Smith is now looking on as a rare talent prepares to go stratospheric in the digital formats space. She says: “Approaching the relentless development grind with humour, warmth and infinite creativity, and totally on the pulse, Kariim is strapped into the right rocket ship as he pursues his career in digital content, which I’m convinced will hurtle skyward at an extraordinary pace.” “

DEVELOPMENT PRODUCERS // HOT SHOTS 45 AUGUST 2023 // broadcastnow.co.uk Anya Wilson // 29 Drama development producer // Big Talk Studios Within seven years of coming to Big Talk on a two-week internship, Anya Wilson is now development producer and script editor on two of the indie’s highest-profile projects to date: BBC1 comedy-drama Ludwig, and the debut feature from Rev and The Great director James Wood, currently in development at Film 4. Starting as an executive assistant to Big Talk chiefs Kenton Allen and Matthew Justice, Wilson impressed with her “confidence, attention to detail and clarity of purpose”, says Big Talk Studios drama exec Luke Alkin. Moving to the drama team as a development exec, Wilson brought clear and insightful analysis to scripts and honed her story producing skills in many writers’ rooms. Subsequently working as a script editor and now a drama development producer, she has been busy optioning IP, working up pitches and taking projects out to market. She is committed to building strong relationships with new and established writers through initiatives such as Bafta Connect. Among her growing slate of comedies and dramas, including active developments at Sky and ITV Studios, is an adaptation of a Danish movie. “Ambitious and clear in her understanding of what commissioners are looking for, while appreciating the constraints of making a show in the current climate, Anya is uniquely placed to influence great change in the industry with powerful stories, while bringing different voices to the fore,” says Alkin. “Anya is uniquely placed to influence great change in the industry with powerful stories” Luke Alkin Executive producer, drama Big Talk Studios Lottie Naughton-Rumbo // 34 Development consultant, unscripted // Freelance W hen she won the Content London Global Entertainment Format Pitch last year, Lottie Naughton-Rumbo was the only candidate to have two projects on the eight-strong shortlist. She was also the only independent standing, and the youngest. And this was six months after winning a £20,000 development deal with US network HGTV for Earthships, a factual entertainment format she pitched to Realscreen’s Summit Showdown. And the silver lining? Not only did ITV Studios Global pick social experiment format Trashure Island for distribution, but Primitive TV, taking a rare punt on a paper format, approached her directly to pick up her second contender, music talent show Mix & Mash. ITV Studios Global exec Ella Umansky is not surprised at Naughton-Rumbo’s success. “Lottie is an incredibly dynamic, tenacious and exciting developer,” she says. “She is a truly independent thinker and born storyteller. You can guarantee that she will secure the one contributor that no one else has discovered.” Naughton-Rumbo’s development credits include team efforts such as 12 Yard’s ITV shiny-floor show Big Star’s Little Star and CLP’s Channel 4 format How Did You Get So Rich?. She’s now working with Hello Halo managing director Wendy Darke and has shows under option with prominent UK companies, plus Australian producer Mint and US firm HSR, as well as distributors including Fifth Season, ITV Studios and Primitive TV. Next up, she’s helping former Whizz Kid managing director Lisa Chapman get her start-up, Honeybird Studios, off the ground.

broadcastnow.co.uk // AUGUST 2023 46 Eleanor Wright // 30 Development producer // -m7o†uffuo7†1ঞomv I t has been a transformative year for me,” says Eleanor Wright of the past 12 months, during which she both won both a Bafta and a Broadcast Digital Award and secured major development funding for one of her projects, which is set to be Candour Productions’ first international streaming doc series. The Sky Crime three-parter Libby, Are You Home Yet? won the Broadcast Digital Award for Best True Crime Documentary and a Bafta for Best Factual Series, for its sensitive exploration of the murder of Libby Squire, whose disappearance prompted Humberside Police’s biggest-ever manhunt. The series, which Wright describes as “both emotionally challenging to develop and vital to share”, is one of several projects she has developed in her three years at the Leeds-based indie. Others bearing her imprint include Channel 5’s Cause Of Death – recommissioned for two more series – and BBC1 ob-doc Yorkshire Midwives On Call. She was previously an assistant producer on two pandemic-related docs: BBC1 Panorama doc Stacey Dooley & The Lockdown Babies and Channel 4’s A Day In The Life Of Coronavirus Britain. A graduate of the Grierson DocLab scheme, Wright has been out in California this year producing a taster tape featuring a vibrant cast, with whom she had previously spent two years communicating via Zoom. She is now heading Candour’s international documentary development strategy after helping to win funding from the DCMS Global Screen Fund. “Eleanor is a truly gifted development producer,” says Candour creative director Anna Hall. “This is her passion. She has really strong ideas and knows how to turn them into reality, in terms of making contact with potential exclusive contributors. I see her as instrumental to the growth of the company.” “Eleanor is a truly gifted development producer. She has really strong ideas and knows how to turn them into reality” Anna Hall Creative director Candour Productions Daniel Omnes // 30 Senior development producer // Minnow Films A narcoleptic murderer, disabled dogs, a fertility fraudster, gay weddings, Donald Trump… when it comes to casting and access, Daniel Omnes clearly likes a challenge. “Dan is bursting with ideas, with the unique ability to turn his hand to a project across any genre and handle it with enthusiasm, curiosity and inventiveness,” says Minnow Films creative director Sophie Leonard, praising his mixture of imaginative and accessible writing, editing and sense of visual storytelling. Commissioners have gone out of their way to compliment Omnes’ pitch decks, with their eyegrabbing treatments and clarity of purpose. In his first year with the indie, Omnes won Minnow a significant chunk of business from Netflix and the BBC, and large funded developments from the BBC, ITV and Channel 4. Little wonder the indie rewarded him with a promotion to senior development producer. Prior to Minnow, Omnes’ talent shone through on a string of documentaries. For Pulse Films’ feature-length film Dead Asleep for Sky Docs/Hulu, he gained access to a homicidal sleepwalker, his relatives and prosecution and defence lawyers, while on AJH Films/Rogo Productions/Zinc Media’s three-parter Unprecedented for Discovery+, his sensitive proposal decks and detailed treatment won extensive access to Donald Trump and his family. Omnes is currently development producer on a Netflix retrospective about a yet-to-berevealed US star, and his thumbprints are all over upcoming BBC1 special My Big Gay Wedding. As well as coming up with the original idea for the show, in which Tom Allen helps a gay couple prepare for their wedding, Omnes secured access to celebrities including Ian McKellen. Peers point to Omnes’ working-class roots and kind-hearted nature as key to his ability to foster trust from such a variety of contributors. “

DEVELOPMENT PRODUCERS // HOT SHOTS 47 AUGUST 2023 // broadcastnow.co.uk Nasreen Ahmed // 52 Development producer // )-ѴѴ|o)-ѴѴņ!or;-77;u b1ঞom Nasreen Ahmed has switched gears several times in a TV and radio career spanning more than 20 years. Cutting her teeth as a producer/director on BBC Asian Network’s daily soap Silver Street, she went on to work on live music events with the BBC Philharmonic Orchestra, and comedy with Meera Syal. But it’s in continuing drama that she has become a familiar face in the past decade, first as a script editor, then a story producer, on more than 470 episodes of BBC daytime series Doctors; a storyliner on Coronation Street; and a story producer on EastEnders. In 2022, Ahmed joined Lime Pictures as script and story executive on Hollyoaks, where she developed a diverse writing team, nurturing many new faces and first-time writers. “Naz is a tower of strength and commitment,” says Lime head of continuing drama Lucy Allan, pointing to Ahmed’s ability to secure BBC director of drama Lindsay Salt as her mentor on the Women in Film and TV Mentoring Scheme. “Naz genuinely loves telly and goes the extra mile. She always pushes for genuine inclusivity and diversity, she champions new writers and is smart and supportive. She’s the person you want in your corner.” She has recently secured a new role as a block producer on BBC1 prime-time show Waterloo Road, which is co-produced by Wall to Wall and Rope Ladder Fiction. “Naz genuinely loves telly and goes the extra mile. She pushes for inclusivity and diversity and champions new writers” Lucy Allan Head of continuing drama Lime Pictures Robert Hunter // 31 ;ˆ;Ѵorl;m|;Š;1†ঞˆ;// Renowned Films I n his seven years working in development, Robert Hunter has devised and developed more than 100 hours of commissioned shows for UK and international broadcasters. For the past five, he’s been instrumental in helping Renowned Films evolve from a UK-centric indie to one that primarily makes shows for the US. As well as shows such as BBC1’s Good Morning Dagenham, BBC2’s Coastal Defenders and BBC3’s recent streetwear competition format The Drop, Hunter has found huge success on The Weather Channel, with 12-part series Frozen Gold and climate change-focused documentary series Deep Water Salvage. Scottish-born Hunter initially worked as an artist and on the radio station Subcity before a place on the Grierson Trust’s DocLab programme steered him into the TV world with a two-year stint at Pulse Films, on shows such as BBC2’s Billion Dollar Deals and Sky drama Gangs Of London. Renowned chief executive Max Welch says it has been a pleasure to watch Hunter grow, adding his “strong aptitude for developing ideas for incredibly differing networks”, informed by an impressive understanding of the media landscape, has led to major commissions such as the 10-part Discovery+ series Ice Cold Catch and Amazon Prime/ Paramount+ co-pro Elvis’ Women. And there’s more where that came from, including premium true-crime box sets for major US streaming services and an eight-part sports doc for BBC3 and BBC Scotland. “Robert is a skilled writer, producer, sales person, negotiator and creative, with strong leadership skills,” says Welch.

T his summer marks the 10th anniversary of the industry-created High-end TV Skills Fund. Managed by industry-led body ScreenSkills, the Fund uses production contributions to support those at all career levels to enter or progress in the industry. Investments are made in targeted training programmes and initiatives that build and develop the workforce across the UK. The Fund has steadily grown in scale over the past decade, opening the door to the next generation of talent, and helping over 25,000 people across the UK start or progress their careers. Targeted investment and tailored training has addressed areas of skills shortage and equipped the UK’s production crew with the tools needed to thrive. To celebrate a decade of the Fund, we’re looking back at 10 ways in which it has supported the industry over the years. 1. Enabling mid-career progression Building a workforce is one thing, ensuring individuals have the tools and support to progress in their careers is another. The Fund delivers a host of mid-career progression programmes such as Leaders of Tomorrow and Make a Move, designed to do just that. The latter, in its eighth year, allows productions to step up freelance crew by providing targeted support to help them succeed. Leaders of Tomorrow, now accepting nominations to form its third cohort, is a three-year inclusive leadership programme focused on providing comprehensive support and opportunities to those considered ready to step up to leadership roles in HETV. 2. Life-changing programmes “Six years ago I was driving a taxi, now I’m speaking to Hollywood execs.” Tony Schumacher, writer of hit BBC drama The Responder, acknowledges his life was forever changed in 2019 after being part of the new writers programme developed and funded by the HETV Skills Fund. It’s one of many landmark programmes supported by the Fund that has resulted in tangible change in the lives of those who have been part of them. The HETV co-producer programme, tackling an area of skills shortage, became a “completely life-changing experience” for James Levison, who landed a role on Killing Eve through the initiative. His progression to producer of the show speaks to the ways in which the Fund-supported programmes can help develop talent. 3. Providing pathways for new entrants Creating opportunities for those taking their ˛ȲȺɈȺɈƵȯȺǞȁɈȌɈǘƵǞȁƮɐȺɈȲɯǘƊȺƦƵƵȁƊ cornerstone of the Fund since it launched. In an industry that can often appear hard to access, developing programmes that provide training and on-the-job learning is integral to building the workforce and ˛ȁƮǞȁǐɐȁɈƊȯȯƵƮɈƊǶƵȁɈخ First Break launched in 2019 to demystify entry into the industry for individuals from under-represented groups and provide those with no prior experience paid job shadowing roles, events and hands-on sessions to encourage people from all backgrounds to see the industry as a place for everyone. Trisha Mistry, a previous First Breaker, says it opened her eyes to new possibilities in her home city of Manchester. “First Break threw me into a world of HETV [in Manchester] I didn’t know existed. I have learned so much as I’m around people who have been in the industry for years.” Trainee Finder, now in its tenth year, is the next step on the ladder, providing subsidised production placements across a range of behind-the-camera roles to trainees. HETV Trainee Finder has more than 260 individuals across the UK in its 2023/24 cohort. 4. Industry collaboration working groups The Fund is led by a proactive and engaged industry, which has been instrumental in shaping the opportunities and training available. In addition to the HETV Council, comprised of every UK broadcaster and streamer, 10 UK-wide working groups determine the most pressing areas of skills From tailored training to targeted investment, the HETV Skills Fund has been a gamechanger for the industry Celebrating a decade of supporting industry talent “The Fund’s programmes give you the ˛ȁƊȁƧǞƊǶ incentive to look at alternative people and give them opportunities” Lee Morris Executive producer Killing Eve PROMOTIONAL CONTENT Clockwise from above: Happy Valley, The Rig, I May Destroy You and Ted Lasso have all contributed to the HETV Skills Fund

shortage in which to direct investments. The groups, made up of representatives from UK-wide independent productions, use annual research and their on-the-ground expertise to determine the priorities each year, while focusing on ensuring our industry ǞȺɈȲɐǶɯƮǞɨƵȲȺƵةǞȁƧǶɐȺǞɨƵƊȁƮȲƵ˜ƵƧɈǞɨƵȌǏɈǘƵ UK’s production landscape. Frith Tiplady, founder of Moonage Pictures and chair of the Craft and Tech Working Group, says: “As producers who pay into the Fund, it’s important we are part of the process that attracts new entrants into the industry and supports the crew in furthering skills. The structure of each working group means we can discuss each area’s needs to ensure money goes towards the right type of training.” 5. Skills support for HETV productions Over its 10 years, 1,090 productions have contributed to the HETV Skills Fund. They do so with the knowledge that their investment is delivering trusted, targeted and resultfocused training and opportunities to sustain and build the UK workforce. Working as executive producer on Killing Eve, Lee Morris says: “The Fund’s programmes are so important because they give you the ˛ȁƊȁƧǞƊǶǞȁƧƵȁɈǞɨƵɈȌǶȌȌDzƊɈƊǶɈƵȲȁƊɈǞɨƵ people and give them opportunities, whether it’s someone super new or shadowing. This is vital if we’re going to sustain the level of success in the industry and expand.” 6. Bursaries for freelancers To further open up the industry, the Fund ȌǏǏƵȲȺ˛ȁƊȁƧǞƊǶȺɐȯȯȌȲɈɈȌǏȲƵƵǶƊȁƧƵȲȺɈȌ take control of their career needs and move forward positively. Bursaries can ǘƵǶȯǞȁƮǞɨǞƮɐƊǶȺ˛ȁƊȁƧƵȺȯƵƧǞƊǶǞȺɈɈȲƊǞȁǞȁǐة driving lessons or access requirements. In 2022, a new initiative offered bursaries and help with tuition and cost-of-living fees for three students from socio-economically challenged backgrounds over the course of an academic year at NFTS and Napier University. The initiative, following a successful pilot, is returning in the new academic year. 7. Flexibility for job-sharers and returners Flexibility and access remain priorities for the HETV Fund. A funded job-share initiative delivered by Share My Telly Job allows those looking for part-time positions to partner up with a similarly skilled colleague, enabling a ǿȌȲƵ˜ƵɮǞƦǶƵƊȯȯȲȌƊƧǘɈȌɩȌȲDzƊȁƮƵȁȺɐȲǞȁǐ the industry retains key talent. „ɨƵȲɈǘƵȯƊȺɈ˛ɨƵɯƵƊȲȺةɈǘƵIɐȁƮǘƊȺƊǶȺȌ delivered annual programmes to support individuals after a career break, providing ȲƵɈɐȲȁƵȲȺɩǞɈǘɈǘƵƧȌȁ˛ƮƵȁƧƵƊȁƮɈȌȌǶȺɈǘƵɯ need to return to a new working landscape. 8. Developing skills for all To truly support the industry and workforce, it’s key that productions promote healthy working conditions. The Fund’s investment in mental-health awareness workshops and anti-bullying and harassment courses helps improve the industry for everyone. Online learning and resources help further knowledge of the industry for those at every level, including modules on unconscious bias, a work-well series and inclusive hiring. In December 2022, alongside industry partners, the HETV Fund launched Script to Screen, a learning series designed to help newcomers learn the fundamentals of creating scripted content through digestible online modules. 9. Leadership and management The Fund delivers a host of in-person leadership and management training for crews, covering the essentials of effective team management on productions. Taking in team dynamics, working culture and dealing with bullying and harassment, it’s designed to provide the ȺDzǞǶǶȺɈǘƊɈƊȲƵǶƵȺȺƵƊȺǞǶɯƮƵ˛ȁƵƮƦɐɈȁȌǶƵȺȺ important than the practical side of a job. Speaking of the importance of such initiatives, Jo Evans, head of production at Buccaneer Media and chair of the Production Grades Working Group, says: “The swiftness with which some crew progress means they have not developed their soft skills, so it is brilliant that the Fund is continuing with its training in leadership and management, together with anti-bullying and harassment, and is able to offer it to all productions.” 10. Virtual production: evolving futures and new technologies As the industry adapts and uses new ɈƵƧǘȁȌǶȌǐǞƵȺةɈǘƵIɐȁƮǘƊȺ˛ȁƊȁƧƵƮɈƊȺɈƵȲ sessions all across the UK for new entrants and those in mid-career, across all grades, to better understand how new tech will impact their roles now and in the future. A recent report highlighted the skills gaps developing due to the growth in VR studios and the evolution of new technologies. The HETV Fund has committed investments to help address this challenge. For more information about the High-end TV Skills Fund go to: screenskills.com

Oliver Diamond // 28 Senior programming manager // b‚Ѵ; o|"|†7bov Nine years since he joined Little Dot Studios, Oliver Diamond now oversees a network of history brands with more than 10 million subscribers between them. With his well-honed knowledge of the UK and US distribution sectors, Diamond is selective in choosing and scheduling the history content that Little Dot acquires for its portfolio. He devises the channel schedules and strategy across YouTube, Facebook and TikTok for the likes of Timeline World History, Absolute History, Odyssey and Chronicle. Diamond pioneered complex workfl ows that enable the fi rm to distribute licensed TV content to vast audiences online while maintaining a lean operation. Meanwhile, his creation of an effi cient production and edit pipeline has enabled a smooth fl ow of educational content that attracts audiences of scale. Diamond is also a seasoned producer, and was Little Dot’s lead on the world’s fi rst live stream from the frozen Weddell Sea in Antarctica for the multiplatform project Endurance: The Hunt For Sir Ernest Shackleton’s Lost Ship. Peers commend his impressive capacity to off er insightful perspectives on how to package everything from ancient history to WWII content in a way that is both empathetic and compelling. Executive editor Rich Payne says Diamond’s strength lies in “his knack of seeing opportunities where others don’t – and in being able to see both the bigger strategic picture and the granular, practical detail”. Payne adds: “Olly’s understanding of the nuances of each platform, and the internal workfl ows we use, allows him to formulate plans that are dramatic in their ambition but, crucially, also practical and achievable.” broadcastnow.co.uk // AUGUST 2023 50 Jess O’Riordan // 27 ;ˆ;Ѵorl;m|;7b|ou// ub|oŠm|;um-ঞom-Ѵ Within a year of joining BritBox International to provide editorial support for then chief creative offi cer Diederick Santer, Jess O’Riordan established herself as the on-demand platform’s main point of contact for indies and distributors. O’Riordan became BritBox’s lead commissioning voice on several big-budget co-pros, giving edit notes and tracking budgets and deals. She has shaped the company’s global content strategy, building up a map of all upcoming UK scripted titles via her solid relationships with talent, broadcasters, distributors and producers, while also representing the BBC/ITV-run platform on the disability-focused Television Access Project. O’Riordan has proved to be a fearless troubleshooter, unfazed by last-minute upending of plans. While grabbing opportunities that come her way, O’Riordan is no pushover, says Santer. “We regularly disagreed over a script, a cut, a pitch. She sought to understand where I was coming from while giving a view from within her perspective, taste and experience. And her views were always well argued, thoughtful and fresh.” Just as crucial to O’Riordan’s success at BritBox is her love of the kind of big mainstream TV dramas that are the platform’s bread and butter, yet not considered as cool as edgier fare. “It’s near impossible to fi nd emerging scripted editorial talent who know these kinds of shows – let alone watch and enjoy them – and understand what makes them work,” says Santer. “Her views were always well argued, thoughtful and fresh” Diederick Santer Former chief creative off icer BritBox International Commissioners