Broadcast Magazine - August 2023

COMMISSIONERS // HOT SHOTS 51 AUGUST 2023 // broadcastnow.co.uk Art Sejdiu // 29 _-mm;Ѵ;Š;1†ঞˆ;Ő1ollbvvbombm]ő// _-mm;ѴƋ Art Sejdiu grew up loving TV, building up an expert knowledge of genre-bending fact-ent formats of the early 2000s – he claims to have watched nearly 50 series of Survivor – and appearing on four quiz shows when he was a student. Now he has the ear of Ian Katz. The Channel 4 chief content offi cer was among those who spotted Sejdiu’s talent via his viral YouTube series Boozenight, in which he interviewed drunk students about politics. Following a fi ve-year stint in RDF’s development team, working up shows like BBC2 quiz Lightning and C4’s Lodgers For Codgers, C4 snapped him up to work alongside Katz and director of content strategy and planning Kiran Nataraja, to help shape content strategy and act as the internal commissioning contact for anyone across the C4 business. The son of Kosovan refugees, Sejdiu is praised by colleagues for his emotional intelligence, positivity and leadership skills, in his eff orts to help C4 meet both its commercial and creative goals. “Art is a hugely fl exible and capable channel exec who dedicates himself to delivering any task presented to him: from complex strategic data performance forecasts to assembling sizzles and co-ordinating across our brands,” says Katz. “His range is standout but, most of all, his manner is joyful and inclusive. He is ambitious and has a passion for our industry. One day, he will lead an organisation with compassion, insight and, I am in no doubt, success.” Kaio Grizzelle // 30 b]b|-Ѵ1ollbvvbombm];Š;1†ঞˆ;// _-mm;ѴƋ Kaio Grizzelle personifi es coolness,” reckons Channel 4 head of digital Sacha Khari. Grizzelle certainly brought cred to the launch of digital brand Channel 4.0, having been one of the founders of long-form lifestyle YouTube channel Kyra TV, launching shows such as travel series Greatness and cooking format Bad Canteen. At 25, Grizzelle was creative director of Kyra’s weekly series PAQ, a celebration of the creative side of men’s fashion, exploring issues such as gender neutrality and black beauty, and challenging macho stereotypes. The show helped Kyra grow its international subscribers to 780,000 and amass 90 million views of its videos, and Grizzelle instigated commercial partnerships with brands from Calvin Klein, Gucci and Ralph Lauren to TK Maxx. C4 headhunted Grizzelle for his original thinking and natural instinct to go beyond the mainstream TV landscape – two tenets central to Channel 4.0’s mission to translate the channel brand to a hard-to-reach generation of young viewers. Khari hails Grizzelle’s “remarkable track record of bangers”, including Wall of Productions’ breakout C4.0 quiz format Harry Pinero’s Worst In Class, which scooped a Broadcast Digital Award nomination for Best Entertainment Programme. “Kaio is one of the sharpest and most impressive execs working across the digital landscape,” says Khari. “His creative take is unique, youthful and important.” Grizzelle takes huge pride in representing the broadcaster on diversity and digital, and has shared his insights with the YouTube Black Voices Fund Class of 2022 and on industry panels. “His range is standout but, most of all, his manner is joyful and inclusive” Ian Katz Chief content off icer Channel 4 “

Laura Taylor // 24 Post producer // Picture Shop Picture Shop Manchester managing director Paul Austin doesn’t hold back in his praise for Laura Taylor. She is, he says, “the most impressive young post-producer I have had the pleasure to manage in my 25 years in post-production”. Hired by Picture Shop in 2021, when it was still known as The Farm, Taylor was promoted to junior post-producer within six months. Stepping up recently to post producer, she was thrown in at the deep end, managing the complex and demanding production of Channel 4’s 24 Hours In A&E, while also juggling BBC3’s Project Icon and CBeebies staple Justin’s House. “Laura has the perfect combination of technical, commercial, project management and client service skills,” says Austin. “On top of that, she has an amazing attention to detail, is organised and has an impressive work ethic.” As well as junior roles on Cheshire Housewives, Morning Live and The Cruise, Taylor has provided a “cornerstone of stability” during a restructure of post on Dragons’ Den, says executive producer Sam Davies. With a lot of remote editing, some of it in a different country, and a new team of editors and edit producers, Taylor’s in-depth knowledge of the process has proved invaluable in keeping edits running smoothly. “Laura has helped us navigate the evershifting sands of edit schedules with an air of calmness and confidence that belies her years,” says Davies. “Even in the most trying times, when it seemed like there was too much to do in too little time, Laura remained composed and shifted things around at a moment’s notice, making what seemed like the impossible possible. I found her ability to keep calm under pressure astonishing and inspirational.” broadcastnow.co.uk // AUGUST 2023 52 Will Hewitt // 31 Assistant editor // Freelance Will Hewitt made a splash with his work on BBC Scotland’s Sink Or Swim, a 2019 doc that followed two contestants in the World Stone Skimming Championships. The 30-minute film, which he shot, edited and co-directed for his indie Melt the Fly, scored a BBC1 primetime TX. Continuing as a self-shooting, self-editing director, Hewitt bagged a Scottish Bafta for Harmonic Spectrum, a short commissioned by the Scottish Documentary Institute that showed how a pianist used his instrument to navigate life on the autistic spectrum. Hewitt himself is neurodivergent and attributes his love of visual storytelling partly to his dyslexia. In 2022, he released his first feature doc as co-director and editor. The RTS Award-nominated Long Live My Happy Head follows an artist who makes comic books about his brain tumour. Exec producer Amy Hardie says the doc “establishes Will’s ability to bring a lightness of touch and a compulsive narrative even to difficult subjects”. Hewitt is now focusing on creative documentary editing, having edited another Scottish Bafta winner, the 60-minute broadcast version of feature doc The Hermit Of Treig. He’s on a placement with the Grierson/ Netflix DocLab in Focus: Editing scheme, working as an assistant on a Rogan Productions Netflix doc about the Uefa Euro 2020 final. “Will’s talent for structuring a story is clear,” says Hardie. “With his ability to tell a visual story, plus his attention to detail and focus, he will always be in demand as a creative collaborator.” “With Will’s ability to tell a visual story, plus his attention to detail, he will always be in demand as a creative collaborator” Amy Hardie Executive producer Long Live My Happy Head Post & craft

POST & CRAFT // HOT SHOTS 53 AUGUST 2023 // broadcastnow.co.uk Christopher Chow // 41 Editor // Freelance After graduating from film school, Hong Kong-born Christopher Chow initially found himself pigeonholed as an editor of Chinese-branded content. He built up his CV with micro-budget films, collaborating with producer Chi Thai on several shorts and the feature Raging Grace, which scored two awards at the South By Southwest festival. Chow himself has been nominated for Breakthrough Editor at the British Film Editors Cut Above Awards and won Best Feature Editing at FilmQuest Festival for the film Charismata. But facing systemic obstacles to his progress, he lacked long-term security and hit a low point. With support from industry friends, he reset and took a decision to step down to assistant editor and pursue roles in TV. Amassing credits on primetime scripted shows Mum, Cold Feet and This Time With Alan Partridge, he took an editor role on Casualty and was Tiger Aspect’s first choice for assistant editor on BBC3’s Bad Education. The sitcom’s producer Arnold Widdowson observed Chow’s “no-nonsense approach” to his craft, noting that regardless of budget, he works with patience and compassion. “Christopher’s work is always elegant, precise and economic – he edits only in pursuit of elevating the story.” Widdowson adds: “Christopher proved to have all the attributes you hope to find in an editor: great comic sensibility, creative and diplomatic problem-solving, and he was technically efficient and hard-working.” Acelya Kancelik // 38 Assistant editor // Freelance I n her first year as a full-time assistant editor, Acelya Kancelik has worked back-to-back on five factual shows for the BBC, Channel 4, Amazon and Netflix. It’s an impressive start for Kancelik, who studied and worked as a director in Turkey before coming to the UK, finding her feet by winning places on both the Grierson DocLab editing programme and Sheffield DocFest’s Amplify Talent programme. One senior figure whom Kancelik has impressed is Lizzie Gillett, head of documentaries at Misfits Entertainment. She says: “I trust Acelya’s taste and story instincts as much as any senior producer, and I often seek out her advice and suggestions on my documentary projects.” Kancelik’s first challenge was to sift through reams of performance footage for Passion Pictures/Wild Sheep Content/Brown Munde Inc’s This is AP Dhillon, a four-part Amazon Prime ob-doc series centred on the breakout Punjabi hip-hop star. She followed this with another Amazon series, 72 Films’ Newcastle United, plus BBC Studios’ BBC2 doc Empire Of Erdogan, October Films’ C4 doc My Name Is Happy and Curious Films’ Netflix commission Fertility Fraudster. Fertility Fraudster series producer Kathryn Taylor found Kancelik to be a “natural collaborator who listens to all the voices in the room”. She adds: “Acelya brings clarity of thinking to complex storylines, and her insights are fresh, unexpected and nuanced. She has a natural warmth and humour, which enables her to find the human heart in a subject or contributor, and this makes her editorial approach both genuine and incisive.” “Christopher’s work is always elegant, precise and economic – he edits only in pursuit of elevating the story” Arnold Widdowson Producer Bad Education

broadcastnow.co.uk // AUGUST 2023 54 HOT SHOTS // POST & CRAFT Sara Hassan Costume designer // Freelance Jax Media’s Channel 4/NBC comedy Everyone Else Burns lived or died not just by its script and cast but by ensuring its unusual setting – an extremist Christian sect family – looked believable, distinctive and unique. Enter costume designer Sara Hassan, who interrogated the characters and the script to ensure the aesthetic choices stayed true to the world of the hit show. “Sara is a phenomenal talent, who interpreted the brief in such a collaborative fashion,” says director Nick Collett. Graduating in theatre and screen costume design from Wimbledon College of Arts, Hassan honed her skills as a wardrobe assistant on adverts including Christmas campaigns for Argos, Marks & Spencer and Coca-Cola, and John Lewis’ 2018 Bohemian Rhapsody ad; on TV shows including Black Mirror and I Hate Suzie; and films such as Riz Ahmed’s Mogul Mowgli and Joanna Hogg’s The Souvenir and The Eternal Daughter. After working with him on the taster tape for Everyone Else Burns, director Andrew Gaynord brought Hassan on to series three of Jamie Demetriou’s C4 comedy Stath Lets Flats. This led to Netflix special A Whole Lifetime With Jamie Demetriou, again directed by Gaynord, where Hassan created a string of looks for the comic actor, who appears in guises from birth to death. Everyone Else Burns star Simon Bird was equally impressed with her work: Hassan is also working on BBC3 sitcom Such Brave Girls, which he is directing. “Sara is a phenomenal talent, who interpreted the [costume] brief in such a collaborative fashion” Nick Collett Director Everyone Else Burns Ira Putilova Documentary editor/director // Freelance I ra Putilova was accepted to the London Film School in 2016 – but the journey there was anything but simple. The non-binary Russian refugee had been part of several art-activist groups in their native country, directing films that condemned state crimes, police brutality and violence against queer people. Forced to flee persecution by the authorities, they claimed political asylum in the UK in 2013, and would later supplement their film school placement with a food-delivery job. Putilova’s early work in the UK centred on the transgender and non-binary squatting community in London, highlighting life on the margins of both society and gender. This drew the attention of the Grierson Trust, which selected Putilova for the Grierson/ Netflix DocLab in Focus: Editing scheme, leading to assistant editor roles on high-profile productions including Channel 4 blue-light series Emergency, BBC/Netflix feature doc co-pro The Anthrax Attacks and Sky/HBO Bafta winner Chernobyl: The Lost Tapes. The latter’s editor, Rupert Houseman, describes Putilova as “a fantastic editor with flare and integrity, whose dedication to finding solutions is exemplary”. Putilova is assistant editor on an Insight Films documentary for a major streamer and is also developing a short doc, Bender Defenders, about a queer Muay Thai club in East London, which is shortlisted for the 2023 Iris Prize Fund. They are also directing and editing their debut feature doc, following an 18-year-old from St Petersburg who was forced to leave Russia with her parents due to their opposition to the invasion of Ukraine.

WRITERS & SCRIPT EDITORS // HOT SHOTS 55 AUGUST 2023 // broadcastnow.co.uk Writers & script editors Charlie Quinn // 30 "1ubr|;Š;1†ঞˆ;// Nolly (ITVX) When legendary scripted producer Nicola Shindler opened her new venture, Quay Street Productions, in early 2021, Charlie Quinn was one of her fi rst editorial hires. Quinn had been working as a junior script editor at Lime Pictures, but his maturity, nuanced notes and work ethic impressed Shindler, prompting her to give him the job. He continued to impress. Having been asked to carry out some research for Russell T Davies’ ITV1 series Nolly, about the 1970s Crossroads actress Noele Gordon, his work was so proactive and thorough that, Shindler says, “it felt entirely natural to ask him to script edit the series”. It was Quinn’s fi rst script editor credit and Davies is eff usive in his praise: “He’s one of those people who’ll be running the industry in a few years, and I hope he gives me work.” Davies says it wasn’t just Quinn’s work that made him stand out, it was also the personal qualities he brought to the job. “He did the hard work of plain old research, but way beyond that, he was sensitive to the needs of actors and production, with a kindness that few possess. He’s an absolute star.” Since Nolly, two projects that Quinn helped to refi ne in development have been greenlit: The Red King, a six-part folk-horror crime drama by Being Human creator Toby Whithouse, which has been picked up by UKTV’s Alibi; and another six-parter, yet to be announced. “Charlie showed such skill and commitment in leading the development of both, supporting the writers with storylining a complex plotted story, that it was only right that we promote him to script executive,” Shindler says. In addition to his production workload, Quinn is progressing a varied slate of his own development, she says, adding that he is “fantastic at identifying talent and enticing writers to work with Quay Street”. Nessa Wrafter // 43 Writer // KidnappedŐƊő I f Derry Girls creator Lisa McGee describes you as “an extraordinary talent”, there’s a good chance you’re going places. McGee chose to mentor Nessa Wrafter as part of the BBC/ITV Mentorship Scheme with Dancing Ledge Productions, based on her TV project, Reunion, which they’ve been developing since 2021. “I’m not the only one to have realised how talented Nessa is. In the past couple of years, her career has taken off ,” McGee notes. While dabbling in directing and short-form comedy, Wrafter’s fi rst paid writing commission was an audio drama concept for Storypunk in 2020. Since then, RTÉ and BBC Studios are among those to hire the emerging scriptwriter. Her fi rst project with the co-producers was an episode of crime drama Smother, which aired in March this year. She followed that up with an episode of new crime drama Blackshore, which is due to air in 2024. Next year is shaping up to be a big one for Wrafter as her episode of Kidnapped (the Chloe Ayling Story) will also air on BBC3. But here’s where things get really interesting: Wrafter is creator and showrunner of Blood & Water, currently in development with RTÉ and Treasure Entertainment. And she has another as-yet-unannounced project up her sleeve. A testament to her ambition, Wrafter has set up her own indie, Klick Productions, to develop original projects. “I truly believe Nessa has a unique and exciting voice,” says McGee. “Her writing is ambitious, truthful and hilarious, putting female stories front and centre.” “Nessa has a unique and exciting voice. Her writing is ambitious, truthful and hilarious, putting female stories front and centre ” Lisa McGee Writer Derry Girls

broadcastnow.co.uk // AUGUST 2023 56 Kim Tserkezie // 49 Writer // $(ņ;ѴbŠņu;-ঞˆ;& Kim Tserkezie will already be familiar as Penny Pocket in the Bafta-winning children’s series Balamory, and as a presenter on the BBC’s Disability Today and From the Edge. She’s known behind the scenes too – she’s been a full Bafta member since 2014, won the John Brabourne Award in 2016, and was deputy chair of the BFI’s Disability Screen Advisory Group. Adding to her established position, she’s also the founder of Scattered Pictures, set up in her home city of Newcastle in 2011 to focus on under-represented talent. As she approaches 50, Tserkezie proves that there’s no upper limit to becoming a Hot Shot, as her writing work takes a notable upward turn. Working with ITV and BBC Film, she is currently co-writing, co-producing and taking the lead roles in two upcoming fi lms. Tserkezie says: “As a working-class, disabled woman based in north-east England, maintaining a career as an actor/writer/ producer has not been without its challenges, but I’ve persevered and remained resilient.” Making it all the more challenging is her push for opportunities to portray disabled characters where their disability isn’t the central narrative. Creative UK associate regional director Carol Bell says she hopes that Tserkezie’s recent momentum will be an inspiration to others. “Kim inspires us that it’s possible to successfully forge a career in fi lm and TV… despite being from the north. She’s put diversity and inclusion into action for years.” “Kim inspires us that it is possible to successfully forge a career in fi lm and TV. She’s put diversity and inclusion in action for years” Carol Bell Associate regional director Creative UK Anna Costello // 33 Writer // -77†1-ࢼomŐƊő Asecondary school teacher-turned-sitcom writer, Anna Costello is going places. She has joined as a staff writer for the fi fth series of Bad Education, where she combines the experience of her former career with the craft of her new one. It’s already been quite the journey for Costello. Hailing from a working-class family from County Durham, she began writing scripts alongside her day job. The graft quickly paid off : she was nominated for the All3Media New Comedy Script Award in 2021, and her comedy pilot, Dead Canny, was broadcast on Dave in August 2022 as part of UKTV’s Underrepresented Writers’ Initiative. Her talent was also marked with the Royal Television Society’s Rising Star Award 2023 (North East and Borders), and she earned a nomination for The Writers’ Guild’s Best TV Situational Comedy Award 2023. Exciting things are on the horizon for Costello: her sitcom pilot has been commissioned by the BBC for development with Hat Trick Productions and Sea & Sky Pictures. She also has a comedy drama in development with Schnoobert Productions. Both are stories based in the north-east. Head of comedy for Tiger Aspect Productions David Simpson says: “Anna stands out as a real talent, not just because she is very funny, but because of how perceptive and considered she is. She has an innate ability to know where the right balance is and to see the bigger picture to create a robust, well-rounded show – that is a real skill. “I’ve no doubt Anna is going to go on to more and more successes.”

WRITERS & SCRIPT EDITORS // HOT SHOTS 57 AUGUST 2023 // broadcastnow.co.uk Imogen Greenberg // 29 Script editor // ff;orѲ;(ffov|flL1; (ITV) Having cut her teeth as a researcher at Forge, Imogen Greenberg has taken her thorough and careful investigative skills to the role of script editor at ITV Studios. Greenberg is currently working concurrently on two productions, both of them based on major true stories involving wild miscarriages of justice and abuse of power from major institutions – and one led by scriptwriting powerhouse Jack Thorne. She has been described as invaluable to both productions, processing vast amounts of information into digestible portions for the shows’ writers, who now lean on her to help guide them through the delicate real-world issues raised by the projects. Patrick Spence, managing director of indie Chapter One, says: “On both shows, she has often been the one who has broken through deadlocks and despair with ideas that have had us cheering. “She intuitively grasps the mechanics of story and understands the emotions behind the characters, so she is able to off er up ideas for all problems in ways that writers aren’t used to from someone so new to the process.” Due to her unique understanding of the script, Greenberg has been continually called to rehearsals to fi ne tune the scripts with the writers and directors. ITV Studios is looking at her as someone ready to move into producing as the next step. Thorne is full of praise for Greenberg: “Immy is a total joy. We are working together on a project that requires a lot of research and a lot of careful writing, and we have had to go deep in order to tell this story properly. She has thrown herself at every problem, making sure she knows everything so I don’t have to. But more than that, she has guided story direction and always been an incredible pair of eyes.” “Imogen intuitively grasps the mechanics of story and understands the emotions behind the characters” Patrick Spence Managing director Chapter One Nessah Muthy // 35 Writer // The Hunted Őƌő After plying her trade and gaining valuable experience in writers’ rooms for several high-profi le series, Nessah Muthy has secured her own show with Channel 5 and Story Films, The Hunted. Muthy is a multi-award-winning scribe and has been nominated for the Writers’ Guild awards three times. Her work on Channel 4 drama Cradled, which was nominated for Best Single Drama at the Broadcast Awards 2023, played a part in her being crowned Best Debut Writer at the 2022 Edinburgh TV Festival, after which she found herself in the writers’ room for the highly acclaimed Paramount+ drama A Gentleman In Moscow, for which she wrote an episode. Muthy attributes her rigour and discipline as a writer to her experiences as a current member of the Coronation Street team – she has written 30 episodes for the primetime behemoth so far. Showrunner Ben Vanstone describes Muthy as “the kind of exciting voice we should be cultivating in our industry”. He adds that above all, her work “is defi ned by its commitment to emotional truth, the tenderness and integrity with which she approaches her characters, and with great warmth, heart and humour”. Alexis Hood, showrunner for Entertainment One, lauds Muthy as an “exceptional talent whose writing has genuine heart, warmth and emotional depth”. She continues: “With an ability to work across multiple genres, she’s blessed with the rare gift of creating complex characters, and allowing them to lead the story, rather than having the plot dictate narrative. Nessah’s an absolute joy to work with, and I’m sure she’ll go on to have a long and successful writing career.”

broadcastnow.co.uk // AUGUST 2023 58 Researchers & assistant producers Nathalie Swain-Diaz // 30 Assistant producer //BBC Studios As an assistant producer on the BBC’s AP Accelerator Programme in 2022/3, Nathalie Swain-Diaz excelled far beyond everyone’s expectations, says Paul Williams, a series producer at the BBC Studios Natural History Unit. Starting out on the development team in 2017 before swiftly joining Springwatch as a researcher, Swain-Diaz has continued on her upward trajectory, and as an AP was integral to the success of the three-part BBC2 series Big Little Journeys. The series followed six tiny animals – including Labord’s chameleons, pangolins and golden-headed lion tamarins – as they travelled across rainforests, wetlands and mountains. Williams describes Swain-Diaz as “proactive, creative, reliable and hardworking”, “Nat cares deeply about her work, is fascinated by story and strives to meet the highest editorial and trust standards” Paul Williams Series producer BBC Studios Natural History Unit and says she amply demonstrated this while working on the series. When a storyline on which an episode was dependent had to be dropped for logistical reasons, it was Swain-Diaz who found a replacement. Together with the producer, she developed and pitched it to the commissioner, set it up and assembled a brilliant team within just a few weeks. “Without this action, the series would have been unable to deliver,” says Williams. Crisis management But her eff orts didn’t stop there – the replacement story took Swain-Diaz and the team to a remote part of Madagascar, the most challenging location in the series. Once on the ground, Swain-Diaz managed missing luggage, widespread illness across the team, fl ooding, hurricane evacuation and signifi cant editorial issues. “Despite this, she made the most of every moment, put the safety of the team at the forefront and always communicated with me and the production management team,” says Williams. “She directed shoots in the series’ most extreme locations and handled unpredictable challenges with professionalism and positivity. She ensured that the safety and wellbeing of the crew and contributors was paramount, and this ultimately resulted in success for the team.” In the event, the shoot was cut short due to a second hurricane, but Williams says it is a testament to the team and to Swain-Diaz that they still managed to fi lm enough material to tell a captivating and visually rich story that is one of the strongest in the series. “Nathalie is an invaluable member of our team at BBC Studios Natural History Unit,” Williams says. “She cares deeply about her work, is fascinated by story and how we engage audiences, and strives to meet the highest editorial and trust standards.” He adds: “Nat is an excellent ambassador for the industry – courteous and respectful of contributors, diff erent cultures and ways of working. She is a brilliant team player who spreads positivity wherever she goes.”

RESEARCHERS & ASSISTANT PRODUCERS // HOT SHOTS 59 AUGUST 2023 // broadcastnow.co.uk “With an encyclopaedic knowledge, Sarah combines eff ortless natural talent with diligent hard work” Jonathan Parker Head of development Sky Studios Factual Calum Leslie Assistant producer // bm;v|ubr;ffuo7†1ঞomv Having started out as a development researcher at Finestripe four years ago, Leslie has gone on to work across both development and production, even winning commissions for his original ideas. He was the mastermind behind This Is Our Land for BBC Scotland, for which he also became the programme’s researcher. Finestripe executive producer Lorraine McKechnie says he showed “incredible potential from the off ”, with “impeccable writing skills, tenacity and attention to detail.” Honing his editorial skills, Leslie made the step up to assistant producer, working up storylines and tracking down contributors, locations and archive. For his recent BBC Arena doc The Mysterious Mr Lagerfeld, he managed to bring the fashion designer Karl Lagerfeld’s niece (who had never spoken about her uncle before) on board, uncovered key pieces of unseen archive, dealt with notoriously guarded fashion house Chanel, and negotiated international clearance rights. “Calum was unfl appable and turned around a very demanding director’s request with speed, care and patience,” says McKechnie. “His investigative qualities have come to the fore several times in the six productions we have worked on together and have at times singlehandedly transformed them.” She also praises his “compassion” and duty of care towards contributors. “He manages to get people on board and to open up in a way highly experienced fi lm-makers struggle to do,” says McKechnie, citing ITV series Boris Becker: The Rise And Fall, for which Leslie persuaded two US lawyers to talk about Becker’s divorce from his fi rst wife. Sarah Masiyiwa // 27 Development researcher // Sky Studios Factual Sarah Masiyiwa is a graduate of the New York Film Academy’s post-graduate course, with an infectious love of documentary. But the fact that she’s seen just about every doc in town is merely one part of the package for Sky Studios Factual head of development Jonathan Parker. “As well as being a fanatical watcher of docs, with an encyclopaedic knowledge, Sarah combines eff ortless natural talent with diligent hard work,” says Parker. “She’s amazing at drilling down into the detail of a story to fi nd what really matters.” Masiyiwa joined the Sky Studios Factual development team earlier this year, having previously been at Violet Films as production co-ordinator then development researcher. She has had a production co-ordinator role on Heart Of Invictus (Netfl ix), about Invictus Games contestants, while a short doc she made got into the DOC NYC Film Festival a few years ago. Since joining the Sky unit, she has quickly made her mark, combining natural talent with a conscientious work ethic and an eye for the detail of factual storytelling. Masiyiwa has introduced a new technique for mapping out story beats for fi lms in development, which has helped the team to fi nd the shape of stories. She has also spotted several story ideas that have now made their way into further development. Masiyiwa is currently working on her own documentary short fi lm – for which she went fi lming in Uganda earlier this year.

broadcastnow.co.uk // AUGUST 2023 60 Dan Viner // 28 Assistant producer // True to Nature Dan Viner started in the industry in 2019 as a runner and he has not stood still since, progressing to assistant producer in the space of just two years, via a range of roles including researcher, aerial photographer, additional camera and shooting researcher. He developed his skillset on BBC Studios’ Countryfi le, where he began as a runner/ researcher and was quickly entrusted to travel as single unit and self-shoot entire VTs for primetime TX in 2020. He accumulated credits in seven diff erent roles over two years on the programme, including a full camera credit. Viner was also a key part of the team that ensured that Countryfi le stayed on air every week during the Covid-19 pandemic and was praised for his eff orts by the BBC’s senior leadership. Viner’s next career step was as a shooting AP for Spun Gold West’s Garden Rescue, where he was an editorial constant during a relentless shoot in which the team fi lmed 36 episodes back to back. He has worked across a multitude of genres, including true crime, children’s, ob doc, gardening, rural aff airs and daytime. His most recent foray was into natural history, which started with his role as a shooting researcher on True to Nature/CBBC’s One Zoo Three before progressing to assistant producer for spin-off series OZT Goes Wild In Britain. James Vale, producer and director, says Viner is a “real gamechanger”, bringing value to every series he has worked on, and an “unfl appable presence” during the production process. He adds: “Dan is a super-skilled drone pilot and camera op, with an artistic eye, backed up by strong technical knowledge. Keen to listen and learn, he has a great work ethic, his research is always thorough and precise. If only it were possible to clone him.” “Dan is keen to listen and learn and has a great work ethic. His research is always thorough” James Vale Producer/director Freelance Eloise Millard // 27 Assistant producer // BBC Studios Eloise Millard was selected for Grierson Trust’s DocLab in 2018 and since then has gone on to be involved in a variety of impactful, access-led documentaries for several major broadcasters. She has picked up credits on Lost At Sea for Channel 4 and Life And Birth for BBC1, cutting her teeth on gripping factual projects and forging valuable relationships with the emergency services. In 2021, she worked on More 4’s 999: On the Frontline, which documented the West Midlands Ambulance Service throughout the Covid-19 pandemic. Hannah Brown from the Grierson Trust describes Millard’s contributions to BBC2’s Cops Like Us as “key to its creation”, adding: “Her relationships with these constabularies has also been instrumental in the making of two sensitive true-crime series that covered cases of violence against women.” In 2021, Millard joined BBC Studios as a researcher and her strong ability to forge relationships with people with additional needs led to her becoming a key player on the series Inside Our Autistic Minds. This in turn landed her a place in BBC’s Elevate cohort for 2022. She recently fi nished working on a TV adaptation of the hit Radio 4 podcast Uncanny, alongside developing new ideas around neurodiversity. BBC Studios production manager Shiva Talwar says: “Eloise’s standards are always fi rst class, and she has shown a great ability to convince some of the best speakers in a particular fi eld to participate in our programmes.” He continues: “What makes Eloise a one to watch is her ability to take an editorial brief and challenge it. She will work tirelessly to get it right and is always thinking about the audience. This is what makes her exceptional.”

RESEARCHERS & ASSISTANT PRODUCERS // HOT SHOTS 61 AUGUST 2023 // broadcastnow.co.uk Katharine McCallum // 27 Assistant producer // ff†urѴ;ffuo7†1ঞomv Katharine McCallum joined Purple Productions as a researcher a couple years ago and has already risen through the ranks to assistant producer, impressing those around her in the process. With a passion for learning new skills and regularly working beyond her role, she has made her mark on several unscripted series. According to Purple Productions creative director Pam Cavannagh, McCallum was crucial to the success of Channel 4’s A Lake District Farm Shop and A Cotswold Farm Shop. She shot many of the key scenes and was “pivotal” in gaining access to key third parties. On the BBC2 series Villages By The Sea, she went far above and beyond her role, helping the small team stretch a tight budget as far as possible. While working on location with a presenter, McCallum took on responsibility for producing on the ground unprompted, leaving the PD free to focus on the camera work, something Cavannagh describes as an example of the “real teamwork that benefi ted the series”. For Channel 5’s Motorway Cops, McCallum started on the returning blue-light series as a senior researcher and has recently progressed to the role of compliance producer, meaning she now confi dently deals with the police force and Purple’s internal lawyers. “Katharine will one day be our boss,” says Cavannagh. “She has always stood out. She is bright, compassionate and fearless. She embraces new roles and duties and always excels. She will go on to have a long and successful career.” “Katharine will one day be our boss. She embraces new roles and duties and always excels” Pam Cavannagh Creative director Purple Productions Maria McCloskey // 23 Assistant producer // Stellify Media Maria McCloskey began her journey into the TV industry from the outside, as a 17-year-old contributor in a documentary about young carers. At the time, she was caring for her mother, who had cancer, and was intrigued by the working relationship of the crew on the documentary. After a spell of work experience with the production company behind the fi lm, McCloskey has built a career from the ground up, with credits spanning genres across documentary, fact ent and digital formats, as well as specialist factual. One of McCloskey’s fi rst roles in TV was a production assistant on A Great British Injustice (BBC2), after which she worked as a trainee assistant director on Line Of Duty (BBC1) and Conversations With Friends (BBC3). More recently, she has jumped from observational docs such as The Hotel People (BBC2) to digital formats like Second Hand Style Up (Channel 4.0). At the age of 23, McCloskey’s experience from development to delivery mean that she is already a vital team member at all stages of production, right through to the edit. As an assistant producer at Stellify Media, she is known by colleagues as a proven self-shooter and director who thrives on fast-paced work, from organising international shoots to handling sensitive subject matter with care and professionalism. Stellify Media chief executive and co-founder Kieran Doherty says: “Maria is too young to be this talented and experienced. She shoots, she directs, she edits, she even casts. I’m energetically supporting her full in the knowledge I’ll be working for her someday painfully soon. That, plus she’s a lovely human being.”

broadcastnow.co.uk // AUGUST 2023 62 Will Robbins // 35 Assistant producer// BBC Studios Will Robbins has worked on myriad high-profi le titles across numerous roles during his time in the industry, including Live At The Apollo, Russell Howard’s Good News, Strictly Come Dancing: It Takes Two and Evil Genius. On all these prime-time comedy and entertainment formats, Robbins has had some form of script input, something that is close to his heart as a stand-up comic, actor and writer outside of his TV work. He has scripted two full episodes of Strictly: It Takes Two, and recently developed and pitched Desert Island Clicks, a new take on a familiar format, designed with infl uencers in mind. A recent graduate of the highly competitive BBC Studios AP Accelerator Programme, Robbins has now added skills in self-shooting, editing, storytelling and commentary writing alongside production and development. His external performance work includes acting in a Jordan Gray sitcom for Comedy Central and another sitcom for the BBC, and his sketch group, The Lovely Boys, has garnered a sizeable following on TikTok and secured branded content work for Huel, Nintendo and Krispy Kreme. Robbins, who has a rare form of dwarfi sm, recently signed with a comedy agent, and has had a radio project commissioned by the BBC. “Over the past year, Will’s been a great asset to BBCS Entertainment & Music,” says BBCS managing director of entertainment and music Suzy Lamb. “Will is eager to learn and has proved himself to be creative and resilient when faced with new challenges. “He’s also a popular team player among his peers. Will has a solid comedic sensibility and an impressive knowledge of diverse and young comedy talent. He’s also super in tune with social media trends/TikTok, which has fed into the creative of shows and ideas.” “Will is super in tune with social media trends/TikTok, which has fed into the creative of shows and ideas” Suzy Lamb Managing director of entertainment & music BBC Studios Dion Hesson // 24 Assistant producer // BBC Studios Having moved to Bristol from Birmingham aged 18 to work as an apprentice journalist at BBC Bristol, Dion Hesson has become an established face in factual production. In the past year alone, he has contributed to two high-profi le documentary productions after securing a place on the BBC Studios AP Accelerator Programme. Hesson started his TV production journey as a development researcher, where he successfully pitched a documentary on AI – titled Computer Says No – for BBC3, and was equally successful pitching We Are England, a documentary about a black woman’s passion to increase the participation of the black community in swimming, to the BBC current aff airs strand. He also presented an investigation into multi-level marketing for BBC3 called Instatraders, before joining the AP Accelerator Programme. At just 24 years old, his dedication and loyalty to his work has earned enormous respect from his colleagues, with creative director at BBC Studios Kirsty Cunningham saying that his ability to “put people at ease, including anxious contributors, is remarkable”, and that he “seamlessly integrates into teams and establishes a rapport with contributors”. On one recent production, Hesson was solely managing more than 15 contributors, as well as sourcing archive material to support the edit. He also contributed to the creation of signifi cant sequences in the fi lm after being given the opportunity to direct certain shoots. “I’ve worked with Dion over the past year and am genuinely in awe at the passion, dedication and intellectual engagement he brings to everything he’s involved with,” says Cunningham. HOT SHOTS // RESEARCHERS & ASSISTANT PRODUCERS

TALENT MANAGERS // HOT SHOTS 63 AUGUST 2023 // broadcastnow.co.uk Talent managers Milly Bell // 26 Senior talent manager // InterTalent Milly Bell started her career seeking out undiscovered talent from the digital space for the agency Gleam Futures, helping the explosion of YouTube and digital-fi rst talent to build diverse commercial careers since before the term ‘infl uencer’ was as widely recognised as it is today. She supported the likes of Zoella, Joe Sugg, Caspar Lee and Victoria Magrath through managing live events, building talent-owned businesses, and securing licensing deals and face-of brand campaigns with companies including Rimmel, Tinder and L’Oreal. She also supported the sale of books, developed podcasts, booked comedy names onto Sky One shows and landed one client their own CBBC show. Now 26, Bell is a senior agent at InterTalent, moving seamlessly into representing TV talent. “Milly arrived as a top digital agent,” says InterTalent managing director Alex Segal. “She brought with her much-needed expertise, and spent the year meeting everyone in TV. She has since merged the two to become fantastic in both.” He adds: “Milly is loved by everyone and represents versatile talent.” Household names At InterTalent, Bell has used her eye for talent and persistence to sign a roster that includes household names such as food writer and podcaster Grace Dent, TV GP Dr Amir Khan and Love Island winner Amber Gill. She has also stayed true to her digital roots, signing up-and-coming comedians such as TikTok sensation Hayley Morris, whose book Me Vs Brain was a Sunday Times bestseller and Penguin Random House’s most pre-ordered non-fi ction book for 2023. She has directly sold a number of TV commissions, including World’s Most Expensive All-You-Can-Eat Buff et (Honey Bee), featuring Grace Dent for Channel 5, and Nicola Adams: Me And IVF (Rare TV/The Gold Studios) for ITV Be. Bell has been fundamental to the growth of InterTalent’s business, especially in terms of its digital off ering and new generation “Milly arrived as a top digital agent. She has since merged that with TV and is fantastic in both” Alex Segal Managing director InterTalent broadcast talent, contributing to InterTalent being named Best Agency for New Talent at the 2022 Edinburgh TV Festival New Voice Awards. She has also demonstrated a deep commitment to bringing new blood into the talent management industry, producing the InterTalent Rising event, which sought to provide opportunities to young up-and-comers. She has also mentored a number of junior agents from a range of backgrounds, and was asked by BBC Studios to host a duty-of-care masterclass for the cast of BBC3 dating format I Like The Way U Move. InterTalent chair Jonathan Shalit describes Bell as “one of the most impressive agents I’ve met”, adding that when he fi rst encountered her at age 24, she “told me where InterTalent was falling behind, and what needed changing to remain ahead of the curve”. He credits these changes with helping InterTalent secure its 2022 Edinburgh win.

broadcastnow.co.uk // AUGUST 2023 64 Heather Winstanley // 33 Senior talent manager // Insanity Talent Management Heather Winstanley’s initial involvement with the industry stemmed from her education, having trained at Rose Bruford College and worked as an actress for several years post graduation. Intent on staying in entertainment, she moved into talent management, specialising in factual and fact-ent. Her rapid ascension through the ranks at KBJ Management caught the attention of Insanity, which headhunted her to develop its fact-ent talent roster. Joining in 2020, she has become an integral member of the team over the past three years, building an eye-catching cadre of broadcast talent including Chris Bavin, Michelle Ackerley, Ruby Bhogal and Will Kirk. A central part of her ability stems from being able to see the route to career progression for her talent. With Kirk, she has managed his transition from furniture restorer to presenter of his own BBC Daytime series, and a Bafta winner for his involvement with BBC special The Repair Shop: A Royal Visit. Insanity general manager (entertainment) Neil Ransome says: “Heather is a tenacious and passionate talent manager. She has boundless energy and enthusiasm for her work, which she does to an exceptional standard. She has an impressive contacts list, with the ability to manage and build relationships with commissioning editors and producers alike. “Her commitment to her clients is secondto-none, working tirelessly for their careers.” “Heather is a tenacious and passionate talent manager. She has boundless energy and enthusiasm for her work” Neil Ransome General manager (entertainment) Insanity Nick Hitchcock // 30 Associate agent/talent manager // Lark Having spent six years working in agencies across London, Nick Hitchcock has entered a new phase in his career since joining talent agency Lark in May 2022. His roster of clients, which includes director Faraz Shariat, screenwriters Coline Abert and Shane Crowley and novelist Eimear McBride, is indicative of the unique creative voices he seeks out when onboarding writing and fi lm-making talent. Hitchcock takes pride in facilitating ‘fi rsts’ for his clients, from Shariat’s English-language debut to Crowley’s original TV series, as well as helping early-career fi lm-makers get their fi rst projects off the ground. These fl edgling talents have already had some success – director Musa Alderson-Clarke’s short fi lm Killing Boris Johnson went to Cannes last year and Rafael Manuel is now developing his debut feature fi lm with a UK team, after winning the Silver Bear at the Berlinale Film Festival in 2020 for his short Filipiñana. Another of Hitchcock’s clients is Liv Little, who published her debut novel Rosewater this year and is now working on signifi cant projects in fi lm and TV. Hitchcock attributes this success to the team at Lark, who he says have been “incredibly supportive” of his endeavours. Lark co-founder and agent Sophie Dolan describes Hitchcock as a “fundamental” part of the agency’s team, providing an “exceptional” level of support across the company’s client list, on top of building his own list. She adds: “Nick has taken on board our ethos of being a client-facing agency and has brought with him an excellent awareness of up-and-coming talent, adding some fantastic new writers and directors to Lark’s roster.”

TALENT MANAGERS // HOT SHOTS 65 AUGUST 2023 // broadcastnow.co.uk Ray Böhm // 30 Talent manager and producer // UTC Group Described by UTC Group co-founder Pollyanna McGirr as “the next-generation leader we need in this industry”, Ray Böhm has made it his mission to amplify diverse voices in the television industry. With extensive TV credits as a casting assistant, his experience spans Amazon Prime Video’s The Devil’s Hour to Nolly on ITV1, as well as Years And Years and Doctor Who for the BBC. Böhm’s ability to spot and showcase talent has been recognised by the Casting Directors’ Guild, where he won a CDG Award for his work on It’s A Sin. He also played a role in the groundbreaking casting of Jo Martin and Ncuti Gatwa in Doctor Who, the fi rst actors of colour to take on the iconic role of the Doctor. These accolades were collected after just fi ve-and-a-half years of working in TV casting before he was headhunted by talent management agency UTC Group, where he now serves as a talent manager and producer. Having grown up with a lack of representation of people who looked like him, Böhm says he has felt “compelled to fi ght for equality”. “This opportunity shows others that starting from humble beginnings doesn’t hinder your ability to achieve your dreams with hard work and supportive allies,” he adds. Having held his current role for 11 months, Böhm has devised, launched and produced a brand new showcase strand in collaboration with Soho Theatre, as well as a digital content strand focusing on promoting black and under-represented comedians. McGirr says that Böhm’s “kind and humble nature – from which comes his desire to elevate and support others from similarly underrepresented backgrounds – only makes talent, production and his peers love him more”. “Ray is the nextgeneration leader we need in this industry” Pollyanna McGirr Co-founder UTC Group Seb Jewell // 35 Senior talent manager // Insanity Talent Management Seb Jewell honed his talent for dealing with infl uential people as a professional rugby player for Harlequins, Wasps and London Welsh, with a sideline as assistant editor for DV8 Fulham & Chelsea magazine, where he interviewed business people and infl uencers across the entertainment industry. In 2017, he decided the time was right for a change and became a music management assistant, before transitioning into broadcast talent management. In the past year, Jewell has secured highprofi le projects for Radio 1 DJ and Help I Sexted My Boss host Jordan North, including a coveted spot on I’m a Celebrity… and a hosting gig on BBC3’s Go Hard Or Go Home – a job Jewell managed around North’s sold-out live podcast tour and Radio 1 presenting commitments. Jewell also managed the career transition of Made In Chelsea’s Sam Thompson, from reality TV star to Love Island: Aftersun co-host. Jewell recognised the value of using Thompson’s social media content to demonstrate Sam’s love for the show. Insanity director of legal & business aff airs Chris Parker says Jewell played a “pivotal role” in shaping the career progression of Thompson and North. He also manages YouTuber Chian Reynolds, who is set to be the host of a new series for Channel 4.0 later this year. Jewell likes to develop original concepts with clients, enabling them to retain the IP, and has ideas optioned with multiple indies. Parker says: “His likeable and warm personality allows him to build strong relationships with clients, commissioners and producers. He has a keen eye for developing and managing new talent, consolidating their careers and establishing them as key industry players.”

broadcastnow.co.uk // AUGUST 2023 66 BROADCAST INTELLIGENCE // INTERNATIONAL CO-PRODUCTION NHK, as well as viewers, because they always want more and more.” Another option for cross-language co-pros is subtitles. Commissioners credit streaming giants such as Netflix for the role they have played in revitalising and – as S4C’s England puts it, creating an “increased comfort” with – subtitles among global audiences. This has created opportunities for countries with less commonly spoken languages to showcase themselves. S4C drama Dal y Mellt (Rough Cut), which will be the first Welsh-language series on Netflix, demonstrates this effect is not limited to factual. “A lot of our social media content has text on screen and some of that is doing big numbers. Often it’s the quirky short-form content on TikTok,” says England. Subtitles are the “hard and fast rule” for Australian pubcaster SBS when entering international co-productions rather than versioning, according to commissioning editor for documentaries Bernadine Lim. Lim says that alongside the rise of subtitles through Netflix, there has been a downturn in dubbing. The streamer, she says, has “created a demand for authentic storytelling, which has meant dubbing isn’t as exciting”. But Shibasaki says the popularity of subtitles can be a double-edged sword, noting that since Netflix and Amazon Prime Video arrived in Japan, NHK has lost a lot of its viewership – and subtitles may be playing a role. “Some young audiences watch English programmes with Japanese subtitles and they learn English because of it. That’s a challenge for us, as our system is not multilingual,” he says. The Broadcast Intelligence Commissioner m7;Šo@;uv=†ѴѴruoCѴ;v-m7v|u-|;]‹ o†|Ѵbm;v=oulou;|_-mƋƌƇ 1ollbvvbom;uvĺ$ov†0v1ub0;ķˆbvb|Ĺ 0uo-71-vঞm|;Ѵĺ1olņr-1h-];v Broadcasters working with bm|;um-ঞom-Ѵr-u|m;uv-u;Ѵoohbm] |ovoѴ†ঞomvv†1_-vˆ;uvbombm]-m7 v†0ঞ|Ѵbm]ĺ$ol)bѴѴb-lvu;rou|v I n a global TV landscape that is experiencing rising production costs and inflated fees, factual commissioners are increasingly looking to co-productions with international broadcasters, hoping to pool resources and maintain that all-important ‘premium’ feel. But looking abroad for partners throws up a new conundrum: how can broadcasters whose audiences speak different languages work together to produce content that is accessible in both markets? Welsh public broadcaster S4C is one of those in the market for international co-pros. Head of unscripted Iwan England says its usual approach to the language barrier is versioning – producing two or more versions of a project in multiple languages. England says versioning is particularly useful when there are less commonly spoken languages involved, such as Welsh. Each co-producing broadcaster would receive a version of the show in their language, and it’s likely that an additional English-language version would be made for international sales, if the original broadcasters don’t operate in that language Creating multiple versions of a co-produced project allows each audience to feel a sense of ownership over their respective version and avoid it “feeling like an acquisition”, he adds. England argues that both editorially and financially, it is possible to produce multiple versions of a project – even in the current financial climate – as long as there is good planning from the outset “Producers need to go into it with their eyes wide open about the implications of the model on budget, but many of our producers are used to working in multilingual ways,” he says. Versioning is also the go-to for Japanese broadcaster NHK, which is well known for its high-end natural history documentaries. Chief of content programming and distribution Takeshi Shibasaki says the broadcaster will often look to take an international English-language version and insert its own footage and narration to make the programme feel editorially suitable for its audience. “Our audience want to watch blue-chip programmes and as a single broadcaster in Japan, we can’t do that. International co-pros are important for 0oˆ;ĹDal y Mellt (Rough Cut) is |_;Cuv|);Ѵv_Ŋ Ѵ-m]†-];v;ub;v om;ѴbŠ Overcoming the language barriers on global co-pros “Producers need to go into versioning with their eyes wide open and to think about the implications of the production model on budget”

TOP 100 JUNE +7 // 68-69 TOP 50 MAY +28 // 72-77 SPOTLIGHT // 78-79 GENRE TABLES // 80-81 MAY +28 DAYS / JUNE +7 DAYS Maryland, Without Sin and Malpractice all fi nished in May, but which of ITV1’s three female-led dramas came out on top? THREE WAY FIGHT

broadcastnow.co.uk // AUGUST 2023 68 Trips to the past do well for BBC1 TWO BBC1 PERIOD dramas ended their runs in June – one set in Wales, the other about as far away as you can get. Meanwhile, ITV1’s Britain’s Got Talent was back for its 16th outing, streaming simultaneously on ITVX. The launch of BBC1’s 1950s Australia-set drama Ten Pound Poms at 9pm on Sunday 14 May achieved an overnight rating of 4.6 million/ 34%. After seven days catch-up, it grew to 6.1 million/37%, rising to 6.3 million including 120,000 on devices. The six-part series then went straight to iPlayer. The second episode on Sunday 21 May picked up 3.8 million/24% on TV, 918,000 pre-TX and 47,000 on devices to total 4.8 million – 1.5 million fewer than launch. Over its six weeks, Ten Pound Poms averaged 4.7 million, including 1.2 million pre-TX from episode two onwards and 48,000 on devices. The series is BBC1’s second best new drama title this year so far behind The Gold, which from its 12 February launch averaged 5.2 million, including 1.7 million pre-TX and 69,000 on devices. The day after Ten Pound Poms debuted, BBC1 launched a drama based on the pioneering role played by DNA techniques in helping the investigators solve murders committed in and around Port Talbot. Set in the 1990s and 1970s, Steeltown Murders opened on Monday 15 May at 9pm with an overnight rating of 3 million/22%, rising to 4.6 million after seven days, including 82,000 on devices. The four-part series averaged 4.4 million, including 1.5 million pre-TX and 51,000 on devices – 387,000 shy of Ten Pound Poms. It was just ahead of BBC1’s previous Monday 9pm drama, the six-part Blue Lights, which from 27 March averaged 4.3 million, including 1.7 million pre-TX and 54,000 on devices. Ten Pound Poms opened with 3.5 million/41% for ABC1 adults, equal in volume with The Gold’s opener (3.5 million/31%). Steeltown Murders opened with 2.7 million/29% for the upmarket demographic, fractionally ahead of Blue Lights’ launch (2.6 million/26%). ITV1’s sixteenth series of Britain’s Got Talent ended on 4 June at 7.30pm with 6.27 million/38% after seven days catch-up, nudging Ten Pound Poms and Steeltown Murders put in solid performances, 0†|$(ƈĽvBGT is down on last year. Stephen Price reports up to 6.33 million including 63,000 on devices. Last year’s final mustered 7 million/37%, rising to 7.1 million including 77,000 on devices. Britain’s Got Talent averaged 5.9 million/35%, rising to 6 million including 66,000 on devices. That is 390,000 fewer than last year’s run (6.4 million including 77,000 on devices). The final week of this year’s live semi-finals averaged 5.3 million/ 31%, rising to 5.4 million including 48,000 on devices. That is just over 200,000 fewer than the equivalent week last year (5.5 million/30%, rising to 5.6 million including 56,000 on devices). The 2023 run averaged 709,000/ 46% for 16-34s with 620,000/46% for the live shows, behind the 2022 run (953,000/52% and 816,000/ 47% respectively). Stephen Price is a Broadcast adviser and consultant Above right: Ten Pound Poms; Steeltown Murders Seven-day series average for BBC1’s Ten Pound Poms (incl pre-TX and devices) 4.7m Seven-day series average for BGT (incl pre-TX and devices), 390k fewer than last year 6m Seven-day series average for BBC1’s Steeltown Murders (incl pre-TX and devices) 4.4m

TOP 100 JUNE +7 DAYS // RATINGS 69 AUGUST 2023 // broadcastnow.co.uk *ALL BARB RATINGS @broadcastnow SUPPLIED BY ATTENTIONAL SOURCE: BARB &!"! fl!fl" &   ƱƎ)!ffffĸfl+$"$ҁ!$ff"fl fl "fl)"&  $flffƈƇƇ$)fl!ff!fl!"Ґƍ҃ +fl"fl $ ķ&ƉƇƉƊґ RANK AND PROGRAMME DAY DATE START ()!"Ґґ "!Ґѷґ Ґґ Ґѷґ BROADCASTER/PRODUCER ƈ Glastonbury: Elton John Sun 25 Jun 21.00 8.26 45.99 0.94 12.77 ƈ Ɖ Britain’s Got Talent Sun 4 Jun 19.30 6.27 37.83 0.68 12.25 $(ƈņ"‹1oņ$_-l;v Ɗ ouom-ࢼom"|u;;| om 12 Jun 20.00 4.73 30.72 0.80 20.32 $(ƈ Ƌ $_;u;-|ubࢼv_";‰bm];; Wed 28 Jun 21.00 4.33 24.69 1.12 35.00 ƈņoˆ;ffuo7†1ঞomv ƌ Emmerdale Thu 8 Jun 19.30 4.24 30.80 0.56 15.15 $(ƈ ҙ $_;ƆѵѲ†0 "-| 3 Jun 20.30 4.16 29.45 0.52 14.39 $(ƈņ-]m†l;7bƍ mࢼt†;v!o-7v_o‰ Sun 11 Jun 20.00 4.15 28.63 0.17 4.26 ƈ Қ -ˆ;o|;‰v ou+o† Fri 16 Jun 21.00 3.94 23.08 0.93 31.05 ƈņ-|$ub1hffuo7†1ঞomv Ǝ Van Der Valk Sun 18 Jun 20.00 3.77 22.21 1.04 38.01 $(ƈ Ǝ $_; †r "-| 3 Jun 13.50 3.77 43.37 0.01 0.39 ƈ ƈƈ ;Ѳ;0ub|‹o]]Ѳ;0oŠ Fri 23 Jun 21.00 3.72 21.35 1.06 39.91 Ƌņ"|†7bo-l0;u| ƈƉ o]]Ѳ;0oŠ Fri 2 Jun 21.00 3.71 20.26 1.33 55.54 Ƌņ"|†7bo-l0;u| ƈƊ ;‰v|"bŠ Wed 21 Jun 18.00 3.60 33.91 0.00 0.07 ƈ ƈƋ EastEnders Wed 21 Jun 19.30 3.47 24.32 0.90 35.06 ƈ ƈƋ )_o o+o†$_bmh+o†u;Ĵ Thu 29 Jun 21.00 3.47 21.46 0.85 32.41 ƈņ)-ѴѴ|o)-ѴѴ ƈҙ m|;um-ࢼom-Ѳ oo|0-ѲѲ om 19 Jun 19.00 3.34 21.27 0.04 1.29 Ƌ ƈƍ "o11;ub7 ou&mb1;= Sun 11 Jun 18.30 3.32 24.10 0.05 1.39 $(ƈ ƈҚ "r‹m$_;fl1;-m Sun 4 Jun 19.00 3.26 23.87 0.31 10.50 ƈņo_m o‰m;uffuo7†1ঞomv ƈƎ -v|;u_;= Thu 1 Jun 20.00 3.23 20.35 0.73 29.14 ƈņ"_bm;$( ƉƇ $_;!;r-bu"_or Wed 28 Jun 20.00 3.17 20.23 0.43 15.82 ƈņ!b1o1_;| Ɖƈ om]ov| -lbѲ‹ثoum)b|_o†|$u-1; om 26 Jun 21.00 3.12 19.57 0.43 15.94 $(ƈņ)-ѴѴ|o)-ѴѴ ƉƉ o†m|u‹CѲ; Sun 11 Jun 18.00 3.08 30.59 0.10 3.27 ƈ ƉƊ Ten Pound Poms Sun 18 Jun 21.00 2.97 17.79 0.77 35.31 ƈņѴ;ˆ;m ƉƋ $_;ubࢼv_"o-r‰-u7v Tue 6 Jun 20.00 2.82 18.36 0.15 5.49 $(ƈņb[;7m|;u|-bml;m| Ɖƌ $_;-uࢼm;‰bvom;‹"_o‰bˆ; Tue 13 Jun 20.00 2.75 21.24 0.22 8.57 $(ƈņ†Ѵঞ"|ou‹;7bƉҙ &;=-_-lrbomv;-]†; "-| 10 Jun 18.00 2.74 22.36 0.01 0.34 $"rou|ƈ Ɖҙ $(ˆ;mbm];‰v Tue 6 Jun 18.30 2.74 23.53 0.00 0.00 $(ƈņ$ ƉҚ Casualty "-| 3 Jun 20.20 2.69 19.90 0.69 34.58 ƈ ƉƎ Best Interests om 12 Jun 21.00 2.68 16.97 0.66 32.45 ƈņ_-r|;uflm;ņ b[_";-vom ƊƇ The Chase Fri 30 Jun 17.00 2.57 27.48 0.06 2.35 $(ƈņffo|-|o Ɗƈ o|obm]fl†| Fri 23 Jun 21.00 2.53 14.30 0.49 23.74 ƈņˆ-Ѵom$;Ѵ;ˆbvbom ƊƉ Love Island om 5 Jun 21.00 2.51 15.64 1.00 65.99 $(Ɖņb[;7m|;u|-bml;m| ƊƊ $_;flm;"_o‰ Fri 30 Jun 19.00 2.50 21.41 0.02 1.00 ƈ ƊƋ ou;u"bmv om 5 Jun 21.00 2.48 14.24 1.08 77.56 ƌņ-†lom|& Ɗƌ $uoorbm]$_;oѲo†u "-| 17 Jun 10.30 2.44 41.44 0.06 2.48 ƈ Ɗҙ b1_-;Ѳ1m|‹u;Ļv$_;)_;;Ѳ "-| 10 Jun 18.35 2.43 23.69 0.10 4.25 ƈņ†m]u‹1;-u Ɗƍ ffobm|Ѳ;vv;Ѳ;0ubࢼ;v "-| 17 Jun 19.35 2.40 22.23 0.06 2.78 ƈņ!;l-uh-0Ѵ;$;Ѵ;ˆbvbom ƊҚ Litvinenko om 19 Jun 21.00 2.39 13.40 0.67 39.38 $(ƈņ$b];uvr;1| ƊƎ "|;;Ѳ|o‰m†u7;uv om 5 Jun 21.00 2.38 13.83 0.62 34.97 ƈņ";ˆ;um"1u;;m ƋƇ Annika "-| 3 Jun 21.10 2.22 16.80 0.62 38.61 ƈņѴ-1h-l;Ѵffb1|†u;v Ƌƈ The Hit List "-| 10 Jun 17.50 2.14 25.40 0.17 8.61 ƈņ$†;v7-‹Ľv_bѴ7 ƋƉ Pointless Wed 21 Jun 17.15 2.13 26.19 0.00 0.09 ƈņ!;l-uh-0Ѵ;$;Ѵ;ˆbvbom ƋƊ Taskmaster Thu 1 Jun 21.00 2.03 12.13 0.98 92.29 Ƌņˆ-Ѵom$;Ѵ;ˆbvbom ƋƋ †;vࢼom$bl; Thu 22 Jun 22.40 2.02 25.88 0.18 9.94 ƈņ;m|oum;7bƋƌ $_;_-v;;Ѳ;0ub|‹"r;1b-Ѳ "-| 3 Jun 19.30 2.01 18.07 0.05 2.49 $(ƈņffo|-|o Ƌҙ ;Ѳ;0ub|‹-|1_r_u-v; "-| 10 Jun 19.00 1.98 17.71 0.07 3.79 $(ƈņ"$("|†7bov Ƌƍ $omb]_| Thu 29 Jun 20.30 1.97 15.99 0.11 5.75 $(ƈ ƋҚ ou;mvb1vث-;!;_$Ѳ" Tue 6 Jun 21.00 1.93 11.23 0.56 41.17 ƉņѴ-v|Ĵ bѴlv ƋƎ Blankety Blank "-| 3 Jun 19.00 1.91 19.09 0.01 0.52 ƈņ$_-l;v ƌƇ Gardeners’ World Fri 30 Jun 21.00 1.90 11.75 0.36 23.48 Ɖ

broadcastnow.co.uk // AUGUST 2023 70 TOP 100 JUNE +7 DAYS // RATINGS *ALL BARB RATINGS @broadcastnow SUPPLIED BY ATTENTIONAL SOURCE: BARB &!"! fl!fl" &   ƱƎ)!ffffĸfl+$"$ҁ!$ff"fl fl "fl)"&  $flffƈƇƇ$)fl!ff!fl!"Ґƍ҃ +fl"fl $ ķ&ƉƇƉƊґ RANK AND PROGRAMME DAY DATE START ()!"Ґґ "!Ґѷґ Ґґ Ґѷґ BROADCASTER/PRODUCER ƌƈ Manhunt Wed 7 Jun 21.00 1.89 9.56 0.37 24.70 $(ƈņ†@-Ѵoffb1|†u;v ƌƉ ";1u;|vfl=$_;-‹b|‹!oѲѲ;uv Thu 29 Jun 21.00 1.88 11.48 0.47 33.34 $(ƈņ"†ll;u bѴlv ƌƊ Panorama om 5 Jun 20.00 1.86 12.63 0.29 18.75 ƈ ƌƋ "rubm]‰-|1_ Tue 6 Jun 20.00 1.84 13.50 0.15 9.21 Ɖ ƌƌ )o†Ѳ7b;$o+o†Ĵ Fri 30 Jun 20.30 1.82 12.43 0.15 8.80 ƈņ,;rro|uom ƌҙ bu u‹;uvثu;$_;‹)ou|_|Ĵ Fri 23 Jun 20.00 1.80 12.53 0.38 26.84 Ƌņ!b1o1_;| ƌƍ "b࣌m]flm ou|†m; Sun 25 Jun 19.00 1.75 13.36 0.08 4.60 $(ƈņffovv;vv;7ņffo|-|o ƌƍ ffoѲb1;ثb]_|"_b[ƌƌƌ om 12 Jun 21.00 1.75 11.06 0.22 14.46 ƌņu-1hb|ffuo7†1ঞomv ƌƎ ff-†ѲflĻu-7‹Ļvb‚Ѳ;;uo;v Tue 27 Jun 20.00 1.74 12.68 0.09 5.75 $(ƈņflѴ]-$( ƌƎ †;;mfl=flŒ Fri 16 Jun 21.30 1.74 11.79 0.37 27.30 ƈņbm]offb1|†u;v ҙƈ m ouff;mm‹ "-| 3 Jun 19.00 1.67 16.60 0.18 11.86 $(ƈņb[;7m|;u|-bml;m| ҙƈ &;=-†uor-om=;u;m1;;-]†; Wed 7 Jun 18.30 1.67 11.51 0.02 1.49 $"rou|ƈ ҙƊ $_;+ouhv_bu;(;| Tue 27 Jun 20.00 1.66 11.87 0.22 15.42 ƌņ -bv‹0;1h"|†7bov ҙƋ !b1_;v Fri 30 Jun 21.00 1.64 9.89 0.31 23.18 $(ƈņu;;m-1u; bѴlv ҙƋ -u7;m!;v1†; "-| 3 Jun 17.50 1.64 19.03 0.02 1.09 ƈņ"r†moѴ7 ҙƋ ffoѲb1;m|;u1;r|ouv om 12 Jun 20.00 1.64 10.72 0.31 23.32 ƌņ!-‰†|$;Ѵ;ˆbvbom ҙƍ "ou|+o†ub=;fl†| Tue 27 Jun 21.00 1.62 10.43 0.18 12.52 ƈņflr|ol;m ҙƍ -u]-bm†m| Tue 20 Jun 12.15 1.62 33.35 0.00 0.18 ƈ ҙƎ $brrbm]ffobm| Fri 30 Jun 16.00 1.60 21.15 0.02 0.96 $(ƈņ bŒŒ ƍƇ $_;"|;;Ѳ|o‰m†u7;uvث†mࢼm]";ub-ѲbѲѲ;u Tue 6 Jun 21.00 1.59 9.28 0.36 28.85 ƈņ$(‹lu†)-Ѵ;v ƍƇ oˆ;+o†u-u7;m Tue 27 Jun 20.30 1.59 10.84 0.36 9.70 $(ƈņ"r†moѴ7 ƍƉ ;=ou;); b; Sun 25 Jun 21.00 1.58 7.60 1.01 175.55 Ƌņ-]Ѵ;‹; u-lƍƉ (b1h‹1Ѳ†u;ث‹u-m7-7Ļv)-u om 5 Jun 21.00 1.58 8.72 1.01 14.34 $(ƈņ†bѴ7+o†ufl‰mņou|_flm; ƍƋ -‹Ѳ-7;vĻ-v|m7$_uo†]_$bl; Tue 13 Jun 21.00 1.54 9.72 0.14 24.13 ƌņ†m]u‹-‹;7bƍƌ "1-lm|;u1;r|ouv om 5 Jun 20.30 1.51 9.75 0.19 4.82 ƈ ƍҙ !ov;‹Ѳbm]ňѲѲbvث"b]mv ou_-m]; om 26 Jun 21.00 1.48 9.41 0.29 12.15 ƈņ!o]-mffuo7†1ঞomv ƍҙ +o†uol;-7;ff;u=;1| Tue 27 Jun 20.00 1.48 10.57 0.07 27.45 Ɖņ!;l-uh-0Ѵ;$;Ѵ;ˆbvbom ƍҙ "†m7-‹)b|_-†u-†;mvv0;u] Sun 25 Jun 09.00 1.48 31.65 0.16 1.10 ƈ ƍƎ o1|ouv om 19 Jun 13.45 1.46 23.81 0.02 11.31 ƈ ҚƇ u;-h=-v| Fri 23 Jun 06.00 1.45 41.85 0.00 0.00 ƈ Қƈ b|ˆbm;mhoث-=‹-;_$buffobvombm] Fri 23 Jun 21.00 1.37 7.73 0.14 28.98 $(ƈņ bu;1u-1h;u bѴlv ҚƉ u-m7 ;vb]mvث|";_$u;;|v Tue 13 Jun 21.00 1.36 8.79 0.00 13.88 Ƌņ-h;7 ҚƊ $_;-v|;] Fri 30 Jun 22.00 1.34 12.60 0.30 21.30 Ƌņflr;mbh;ffuo7†1ঞomv ҚƋ ƌƌƌثubࢼ1-Ѳom7bࢼom Wed 14 Jun 21.00 1.33 8.28 0.16 18.45 ƌņubmh‰ou|_ bѴlv Қƌ -ˆ;o|b|ou;;‰v ou+o† om 19 Jun 22.40 1.31 16.88 0.23 31.33 ƈņ-|$ub1hffuo7†1ঞomv Қҙ Ѳ;-m|Ķ bŠ| Tue 20 Jun 16.30 1.30 16.82 0.20 1.62 ƈņ†uˆ;;7bҚҙ o1-ࢼomĶo1-ࢼomĶo1-ࢼom Wed 21 Jun 20.00 1.30 8.17 0.31 26.00 Ƌņ!-bv;|_;!oo= ҚҚ "-u-_;;m‹(v-m1;u om 12 Jun 21.00 1.28 7.97 0.02 29.13 Ƌņfl†|Ѵbm;ņmo1h;uvuo†r ҚƎ !b1_-u7flvl-mĻvo†v;fl=-l;v Tue 27 Jun 18.00 1.27 11.30 0.26 5.80 Ɖņ!;l-uh-0Ѵ;$;Ѵ;ˆbvbom ҚƎ -uu‹ŝ;]_-mثvl;ub1-$†umbm]]-bmv|$_;lĴ "-| 3 Jun 21.10 1.27 9.63 0.29 18.25 ƌņ$ffuo7†1ঞomv Ǝƈ (bѲѲ-];v‹$_;";- Tue 13 Jun 19.30 1.26 9.33 0.07 3.79 Ɖņff†urѴ;ffuo7†1ঞomv Ǝƈ Jersey And Guernsey Thu 15 Jun 20.00 1.26 9.71 0.00 21.45 ƌņ -bv‹0;1h"|†7bov ƎƊ -m-7b-m Ɔff Sun 18 Jun 18.50 1.25 8.18 0.05 1.23 "h‹"rou|v ƈ ƎƊ $_;_ubvŝ!ovb;!-lv;‹"_o‰ Fri 9 Jun 22.40 1.25 16.53 0.22 36.91 ƈņˆ-Ѵom$;Ѵ;ˆbvbom Ǝƌ );u;m]Ѳ-m7 Fri 30 Jun 19.30 1.24 9.79 0.02 0.02 ƈ Ǝҙ m1b;m|]‹r|‹$u-bm)b|_Ѳb1;!o0;u|v "-| 3 Jun 21.10 1.23 9.26 0.33 33.60 Ƌņ"r-uh;7b-ff-u|m;uv Ǝƍ mࢼt†;v!o-7$ubr Fri 30 Jun 16.30 1.21 14.29 0.00 3.57 ƈņ"$("|†7bov ƎҚ †;vࢼomfl="rou| Fri 30 Jun 20.00 1.20 8.66 0.30 6.90 ƈ ƎƎ oumbm]bˆ; Fri 30 Jun 09.15 1.19 29.61 0.04 0.03 ƈ ƎƎ $_;(bhbm]v Wed 21 Jun 21.00 1.19 7.16 0.08 40.99 ƌņ "ff

2ɝFLDOVXSSOLHUWR NEXT GENERATION GENERATION GENERATION OVERNIGHT REPORTS

broadcastnow.co.uk // AUGUST 2023 72 *ALL BARB RATINGS @broadcastnow SUPPLIED BY ATTENTIONAL SOURCE: BARB &!"! fl!fl" &   ƱƎ)!ffffĸfl+$"$ҁ!$ff"fl fl "fl)"&  $flffƌƇƈņ$(ff!fl!"ҐƉҚ҃ +fl"fl $ ķ+ƉƇƉƊґ RANK AND PROGRAMME DAY DATE START ()!"Ґґ "!Ґѷґ Ґґ Ґѷґ BROADCASTER/PRODUCER ƈ $_;ouom-ࢼomfl=$$_;bm]m7 †;;m-lbѲѲ- Sat 6 May 10.15 12.04 58.93 0.10 0.81 ƈ Ɖ †uoˆbvbom"om]om|;v| Sat 13 May 20.00 10.12 60.57 0.27 2.72 ƈ Ɗ );;h;m7;‰v Sun 7 May 22.00 7.41 48.39 0.01 0.12 ƈ Ƌ $;mffo†m7ffolv Sun 14 May 21.00 7.39 39.06 2.75 59.23 ƈņѴ;ˆ;m ƌ ub|-bmĻvo|$-Ѳ;m| Sat 6 May 20.00 7.09 40.68 1.61 29.31 $(ƈņ"‹1oņ$_-l;v ҙ -u‹Ѳ-m7 om 22 May 21.00 6.11 27.44 2.73 80.87 $(ƈņom†l;m|-Ѵņ$;-l-h;uv ƍ "|;;Ѳ|o‰m†u7;uv om 15 May 21.00 5.57 27.08 2.51 82.16 ƈņ";ˆ;um"1u;;m Қ Ļl;Ѳ;0ub|‹ĸĸĸ"o†|_=ub1- om 1 May 21.00 5.38 24.27 1.54 39.97 $(ƈņb[;7m|;u|-bml;m| Ǝ !-1;1uovv$_;)ouѲ7 );7 10 May 21.00 5.06 25.63 1.94 61.98 ƈņ"|†7bo-l0;u| ƈƇ $_;ƆѵѲ†0 Sat 6 May 21.20 4.97 31.65 0.95 23.57 $(ƈņ-]m†l;7bƈƈ $_;u;-|ubࢼv_";‰bm];; );7 24 May 21.00 4.91 24.76 1.79 57.44 ƈņoˆ;ffuo7†1ঞomv ƈƉ ouom-ࢼom"|u;;| ub 5 May 20.00 4.86 30.57 1.10 29.08 $(ƈ ƈƊ mmbh- Sat 20 May 21.15 4.64 27.55 2.65 132.63 ƈņѴ-1h-l;Ѵffb1|†u;v ƈƋ )b|_o†|"bm om 15 May 21.00 4.39 21.08 1.96 80.45 $(ƈņ†bѴ7+o†ufl‰mņ;[-mh ƈƌ mࢼt†;v!o-7v_o‰ Sun 21 May 20.00 4.33 31.10 0.17 4.18 ƈ ƈҙ ll;u7-Ѳ; ub 12 May 19.30 4.21 32.02 0.68 19.16 $(ƈ ƈƍ -ˆ;o|;‰v ou+o† ub 26 May 21.00 4.05 22.28 0.99 32.38 ƈņ-|$ub1hffuo7†1ঞomv ƈҚ b7vol;u†u7;uv Sun 28 May 20.00 3.84 23.61 0.99 34.68 $(ƈņ;m|Ѵ;‹ffuo7†1ঞomv ƈƎ $_;flm;"_o‰ Sat 13 May 19.30 3.58 27.59 0.01 0.39 ƈ ƉƇ -v|;u_;= om 8 May 20.00 3.48 17.63 1.01 41.00 ƈņ"_bm;$( Ɖƈ o†m|u‹CѲ; Sun 21 May 19.00 3.42 28.10 0.11 3.39 ƈ ƉƉ -v|m7;uv );7 31 May 19.30 3.41 22.22 0.85 33.08 ƈ ƉƊ bm]_-uѲ;vث;_$ouom-ࢼom Sat 6 May 10.45 3.36 15.84 0.04 1.34 $(ƈ ƉƋ -Ѳru-1ࢼ1; Sun 7 May 21.00 3.33 13.92 2.09 167.85 $(ƈņ)ouѴ7ffuo7†1ঞomv Ɖƌ $_;_-v; om 1 May 18.30 3.14 23.22 0.08 2.70 $(ƈņffo|-|o Ɖҙ -|1_fl=$_; -‹ Sun 28 May 22.30 2.87 34.92 0.79 37.99 ƈ Ɖƍ $-m]Ѳ;7 Sat 6 May 15.15 2.84 25.59 0.24 9.02 ƈ Ɖƍ -v†-Ѳ|‹ Sat 6 May 20.30 2.84 16.40 0.78 38.06 ƈ ƉƎ $_;b|bv| Sat 13 May 18.40 2.82 24.16 0.22 8.40 ƈņ$†;v7-‹Ľv_bѴ7 ƊƇ -‚)bѲѲbvث b]_ࢼm]77b1ࢼom );7 17 May 21.00 2.80 15.70 0.83 42.10 ƈņ$‰o=o†u Ɗƈ !"_;Ѳv;- Ѳo‰;u"_o‰ Sun 21 May 18.00 2.79 26.47 0.19 7.38 ƈ ƊƉ $(ˆ;mbm];‰v $_† 4 May 18.30 2.76 23.03 0.00 0.00 $(ƈņ$ ƊƊ -[-$;Ѳ;ˆbvbom‰-u7v Sun 14 May 19.00 2.71 17.60 0.12 4.46 ƈ ƊƋ ff-†ѲflĻu-7‹ث ou$_;oˆ;fl= o]v $_† 4 May 20.30 2.62 15.82 0.50 23.38 $(ƈņ†Ѵঞ"|ou‹;7bƊƌ Ѳ-mh;|‹Ѳ-mh Sat 20 May 19.00 2.54 23.40 0.08 3.21 ƈņ$_-l;v Ɗҙ Ѳ†;b]_|v om 1 May 21.00 2.49 11.35 1.07 75.91 ƈņ-ѴѴ-]_;uņ$‰obঞ;v Ɗƍ -|1_fl=$_; -‹Ƈ Sun 7 May 22.35 2.45 25.34 0.45 22.70 ƈ ƊҚ m)b|_"_o†| Sat 6 May 19.00 2.43 17.92 0.10 4.16 $(ƈņŠr;1|-ঞom ƊƎ $_;_-v;;Ѳ;0ub|‹"r;1b-Ѳ Sun 21 May 20.00 2.41 17.35 0.12 5.06 $(ƈņffo|-|o ƋƇ ffobm|Ѳ;vv;Ѳ;0ubࢼ;v Sat 20 May 19.30 2.40 18.34 0.09 3.80 ƈņ!;l-uh-0Ѵ;$;Ѵ;ˆbvbom Ƌƈ m ouff;mm‹ Sat 6 May 18.30 2.37 16.86 0.21 9.82 $(ƈņb[;7m|;u|-bml;m| ƋƉ -]rb;†u7;uv Sat 6 May 21.15 2.35 14.55 0.90 61.96 ƈņѴ;ˆ;m|_o†u bѴlv ƋƊ $_;!;r-bu"_or );7 17 May 20.00 2.31 13.76 0.19 8.95 ƈņ!b1o1_;| ƋƋ -lbѲ‹ ou|†m;v Sun 14 May 18.40 2.24 18.01 0.09 4.34 $(ƈņ$_-l;v Ƌƌ $brrbm]ffobm| om 8 May 17.00 2.18 20.37 0.06 2.92 $(ƈņ bŒŒ Ƌҙ b1_-;Ѳ1m|‹u;Ļv$_;)_;;Ѳ Sat 20 May 18.00 2.17 22.00 0.10 4.89 ƈņ†m]u‹1;-u Ƌƍ oˆ;+o†u-u7;m $†; 23 May 20.00 2.14 15.35 0.30 16.03 $(ƈņ"r†moѴ7 ƋҚ ;-|$_;_-v;uv ub 26 May 21.00 2.06 12.07 0.11 5.81 $(ƈņffo|-|o ƋƎ "bm] ou$_;bm]ث-;";_$u1_ ou$_;ouom-ࢼom_obu ub 5 May 20.00 2.05 13.21 0.10 5.31 ƈ ƌƇ Ѳ-1hflrv ub 5 May 21.30 1.99 9.75 0.81 68.19 ƈņom7o ;Ѵ†Š;

BBC1/ITV1 MAY +28 DAYS // RATINGS 73 AUGUST 2023 // broadcastnow.co.uk Maryland tops trio of ITV1 launches THREE ITV dramas came to their conclusions in May this year – two stripped, one first shown on ITVX, and another airing weekly on Sunday nights, but all available on ITVX immediately. Elsewhere, BBC1 continued its recent strategy of launching sitcoms on Fridays at 9.30pm and then dropping the rest of the series on iPlayer. After landing on ITVX in its entirety on 28 December last year, four-part drama Without Sin launched on ITV1 at 9pm on 15 May and picked up 4.4 million/21% after 28 days. With 184,000 pre-TX and 48,000 on devices, the launch totalled 4.6 million. Without Sin, which played over consecutive nights from Monday to Thursday, averaged 3.9 million, including 170,000 pre-TX (data for the final episode unavailable) and 43,000 on devices. Like a relay, Without Sin handed the baton to Maryland, which opened its three-part run on Monday 22 May at 9pm and went straight to ITVX thereafter. The launch episode gathered 6.1 million/33% on TV, rising to 6.3 million including 204,000 on devices. Over three consecutive nights, Maryland averaged 5.8 million/28%, rising to 6.1 million including 171,000 pre-TX and 190,000 on devices. Maryland’s series average is the second best for a 9pm ITV1 drama series so far this year, behind the fifth series of Unforgotten, which averaged 7.9 million, including 2.5 million pre-TX and 105,000 on devices. ITV1’s other new spring drama, Malpractice, opened on Sunday 23 April at 9pm and went straight to ITVX after launch. The debut reached 6.7 million, including 195,000 on devices, but viewers fell away a little after that, with the fifth and final episode on 21 May totalling 4.1 million, including 1.3 million pre-TX and 30,000 on devices. Over five Sundays, Malpractice averaged 4.9 million, including 1 million pre-TX and 89,000 on devices. That makes it ITV1’s fourth best drama this year so far behind Unforgotten, Maryland and The Bay, which from 8 March averaged 6 million, including 1.4 million pre-TX and 74,000 on devices. Without Sin’s launch pulled in 2.1 million/20% ABC1s, fewer than Maryland (3.3 million/29%). The biggest of ITV1’s trio of new dramas for the upmarket demographic was Malpractice with 3.5 million/34% – second best this year so far behind Unforgotten (4.4 million/35%). Drama achieves highest series average, but -Ѳru-1ࢼ1;gets a 0;‚;uv|-u|-m7-‚u-1|vlou; ƈvĺ"|;r_;mffub1;reports BBC1’s new comedy Black Ops launched at 9.30pm on Friday 5 May with 2.1 million after 28 days, including 77,000 on devices. The last comedy in the slot was The Cleaner, which kicked off its second series on 24 March with a 28-day rating of 3.7 million, including 95,000 on devices – more than Black Ops, but fewer than the debut series of The Cleaner, which opened on 10 September 2021 with 5.2 million, including 272,000 on devices. BBC1’s previous Friday night sitcom, Am I Being Unreasonable?, kicked off at 9pm on 23 September 2022 with 3.1 million/18%, including 192,000 on devices. Black Ops opened with 224,000/11% for 16-34s, fewer than The Cleaner’s second series opener (418,000/29%) and nearly half its 2021 debut audience (808,000/35%). Am I Being Unreasonable?’s opener pulled in 493,000/28%. Above right: -rѲu-1ࢼ1;; )b|_o†|"bm ABC1 series average for Malpractice 3.5m Launch total for Without Sin (incl pre-TX and devices) 4.6m Series average for Maryland (incl pre-TX and devices) 6.1m

broadcastnow.co.uk // AUGUST 2023 74 *ALL BARB RATINGS @broadcastnow SUPPLIED BY ATTENTIONAL SOURCE: BARB &!"! fl!fl" &   ƱƎ)!ffffĸfl+$"$ҁ!$ff"fl fl "fl)"&  $flffƌƇƉņƋņƌff!fl!"ҐƉҚ҃ +fl"fl $ ķ+ƉƇƉƊґ RANK AND PROGRAMME DAY DATE START ()!"Ґґ "!Ґѷґ Ґґ Ґѷґ BROADCASTER/PRODUCER ƈ Gogglebox Fri 19 May 21.00 4.12 23.13 1.47 55.24 Ƌņ"|†7bo-l0;u| Ɖ Dalgliesh $_† 4 May 21.00 3.33 16.17 1.70 103.85 ƌņ;‰ffb1|†u;v Ɗ Snooker: World Championship om 1 May 19.00 2.76 14.48 0.04 1.49 Ɖ Ƌ University Challenge om 29 May 20.30 2.60 15.18 0.35 15.73 Ɖņb[;7m|;u|-bml;l| ƌ Taskmaster $_† 18 May 21.00 2.57 14.25 1.44 127.38 Ƌņˆ-Ѵom$;Ѵ;ˆbvbom ҙ RHS Chelsea Flower Show $†; 23 May 20.00 2.48 17.77 0.32 14.85 Ɖ ƍ The Gallows Pole );7 31 May 21.00 2.30 11.68 1.22 114.24 ƉņѴ;l;m|ffb1|†u;v Қ Forensics: The Real CSI $†; 30 May 21.00 2.27 12.32 0.86 60.83 ƉņѴ-v|Ĵ bѴlv Ǝ mࢼt†;v!o-7v_o‰ "†m 14 May 20.00 2.23 13.21 0.07 3.32 Ɖ ƈƇ Springwatch $†; 30 May 20.00 2.15 13.83 0.23 12.06 Ɖ ƈƈ Gardeners’ World Fri 19 May 20.00 2.00 12.50 0.57 40.13 Ɖ ƈƉ Inside The Factory $†; 2 May 20.00 1.89 11.83 0.26 16.01 Ɖņ(oѴ|-];$( ƈƊ Clive Myrie’s Italian Road Trip om 1 May 18.30 1.88 14.36 0.45 31.20 ƉņѴѴ;‹1-|v ƈƋ ouom-ࢼom$-bѲouvث b| oubm] );7 3 May 21.00 1.79 8.39 0.68 60.88 Ɖņ)-77;ѴѴ;7bƈƌ Andrew: The Problem Prince om 1 May 21.00 1.76 7.96 0.70 66.14 Ƌņ-m7Ѵ;$u†;"|oub;v ƈҙ ffoѲb1;ث†"vr;1|oĸƆ om 29 May 21.00 1.72 8.78 0.69 67.55 ƌņubmh‰ou|_ bѴlv ƈƍ o1-ࢼomĶo1-ࢼomĶo1-ࢼom );7 24 May 20.00 1.71 10.29 0.48 38.90 Ƌņ!-bv;|_;!oo= ƈҚ Match Of The Day "-| 13 May 22.00 1.66 9.57 0.35 26.45 Ɖ ƈƎ The Yorkshire Vet $†; 2 May 20.00 1.57 9.76 0.29 22.30 ƌņ -bv‹0;1h"|†7bov ƉƇ Ѳ†;ffѲ-m;| om 8 May 19.00 1.55 9.25 0.06 4.28 Ɖ Ɖƈ b77;m$u;-v†u;vfl=$_;-ࢼom-Ѳ$u†v| Fri 19 May 21.00 1.54 8.90 0.37 31.80 ƉņѴ-v|Ĵ bѴlv ƉƉ Police Interceptors om 29 May 20.00 1.50 9.04 0.36 31.28 ƌņ!-‰†|$;Ѵ;ˆbvbom ƉƊ ;Ѳ;0ub|‹†m|;7 $†; 2 May 21.00 1.48 7.12 0.81 119.88 Ƌņ"_bm;$( ƉƋ !b1_-u7flvl-mĻvo†v;fl=-l;v );7 31 May 18.00 1.44 13.65 0.09 6.55 Ɖņ!;l-uh-0Ѵ;$;Ѵ;ˆbvbom ƉƋ $u-L1orv om 8 May 20.00 1.44 7.11 0.46 47.35 ƌņ;m|oum;7bƉҙ Alexander Armstrong In Sri Lanka $_† 18 May 21.00 1.43 7.92 0.31 28.09 ƌņ†umbm]ub]_| Ɖƍ $_;b7m-rfl=m];Ѳ‹mm $†; 9 May 21.00 1.41 7.77 0.53 60.45 Ƌņ)om7;u_oo7"|†7bov Ɖƍ Villages By The Sea );7 31 May 19.30 1.41 9.19 0.04 2.57 Ɖņff†urѴ;ffuo7†1ঞomv ƉƎ $_;ouom-ࢼomfl=$$_;bm]m7 †;;m-lbѲѲ- "-| 6 May 10.15 1.40 6.85 0.02 1.67 Ɖ ƊƇ !b1_o†v;Ķffoouo†v; "†m 21 May 21.00 1.38 7.74 0.44 46.72 ƌņ-|$ub1hffuo7†1ঞomv Ɗƈ Motorway Cops: Catching Britain’s Speeders om 1 May 21.00 1.36 6.15 0.43 46.29 ƌņff†urѴ;ffuo7†1ঞomv Ɗƈ "†v-m-Ѳl-mĻvu-m7 -‹vfl†| Fri 12 May 20.00 1.36 8.25 0.36 35.90 ƌņ);7bƊƈ flm1;&rom$bl;mou|_;umu;Ѳ-m7 om 22 May 21.00 1.36 6.82 0.69 105.24 Ɖņ!-u;$( ƊƋ oul†Ѳ-Ɔ "†m 28 May 18.30 1.34 10.11 0.20 17.10 Ƌņ)_bvr;u Ɗƌ mvb7;oĸƌ $_† 18 May 22.00 1.33 10.08 0.98 281.14 Ɖ Ɗҙ -uh)-|;uث†;_$u7;ufl="_-mb)-uu;m );7 3 May 21.00 1.29 6.80 0.44 52.23 ƌņ$†ut†obv;$( Ɗƍ Cape Verde With Jane McDonald $_† 11 May 20.00 1.28 8.81 0.22 20.68 ƌņ(b-1olm|;um-ঞom-Ѵ"|†7bov ƊҚ Highland Cops $†; 2 May 21.00 1.24 6.11 0.28 29.51 Ɖņ bu;1u;v| bѴlv ƊƎ "blom!;;ˆ;Ļv"o†|_l;ub1- "†m 21 May 21.00 1.22 6.95 0.10 9.33 Ɖņ$_;-u7;m ƊƎ ff-;7or_bѲ;m‹ -lbѲ‹ث†"uˆbˆbm] -7 );7 31 May 21.00 1.22 6.03 0.44 57.07 Ƌņ u-mh bѴlv ƊƎ $_;"_-‰v_-mh!;7;lrࢼom "†m 7 May 22.00 1.22 12.23 0.17 15.86 Ɖ ƋƉ "|;;Ѳ|o‰m†u7;uv "†m 21 May 26.00 1.21 39.80 0.94 350.69 Ɖņ";ˆ;um"1u;;m ƋƉ $_;b]"|;-l7ˆ;m|†u; $†; 2 May 21.00 1.21 5.80 0.33 37.15 ƌņ "ff ƋƋ Depp V Heard "†m 21 May 21.00 1.20 6.80 0.50 71.88 Ƌņb|-1_omƊҙƌ Ƌƌ The Seychelles With Jane McDonald $_† 4 May 20.00 1.18 7.41 0.19 19.42 ƌņ(b-1olm|;um-ঞom-Ѵ"|†7bov Ƌҙ "-u-_;;m‹Ļv;‰b=;m$_;o†m|u‹ om 1 May 20.00 1.17 5.52 0.34 41.32 Ƌņfl†|Ѵbm;ffuo7†1ঞomv Ƌƍ ƌƌƌثubࢼ1-Ѳom7bࢼom );7 10 May 21.00 1.16 5.79 0.32 38.25 ƌņubmh‰ou|_ bѴlv ƋҚ -uu‹†lr_ub;v|$_; "†m 28 May 21.00 1.09 6.25 0.22 25.79 Ɖ ƋƎ The Stones And Brian Jones om 15 May 21.00 1.08 6.20 0.40 58.59 Ɖņ-=-‹;‚; bѴl ƌƇ -‰Ѳ|‹$o‰;uvثƊƅ+;-uvfl=-†]_v "-| 6 May 21.15 1.07 7.23 0.22 25.54 ƌņou|_flm;

BBC2/C4/C5 MAY +28 DAYS // RATINGS 75 AUGUST 2023 // broadcastnow.co.uk Dalgliesh makes a solid return CHANNEL 5’S DALGLIESH returned this spring with three two-part stories, but did not do quite as well as its first outing in 2021. Meanwhile, with one episode left to consolidate, BBC2’s imported Australian sitcom Colin From Accounts has been a consistent performer. The final of C5’s second series of Dalgliesh on Friday 12 May at 9pm pulled in 2.8 million, including 23,000 on devices – the lowest of the series. The launch on Thursday 4 May remains the best with 3.6 million, including 27,000 on devices. The series, which ran every Thursday and Friday for three weeks, averaged 3.2 million, including 28,000 on devices. That is the best of C5’s four drama series of 2023 so far, waltzing past the previous best, The Catch, which averaged 2.3 million/11% over four Wednesdays from 25 January, including 55,000 on devices. The first series of Dalgliesh debuted at 9pm on Thursday 4 November 2021 and achieved a 28-day rating of 4.9 million, including 57,000 on devices – the show’s best ever. The inaugural series, which aired in the same Thursday/ Friday pattern, averaged 4 million, including 40,000 on devices. This year’s second run averaged 2 million/18% for ABC1 adults – also the channel’s best for a drama this year so far. The next best, The Catch, averaged 1.1 million/12%. Dalgliesh’s first series averaged 2.5 million/20% for the upmarket demographic, including 3.1 million/24% for the launch – the best so far. BBC2’s latest comedy acquisition, Colin From Accounts, opened on 11 April with 2.1 million/15%, rising to 2.3 million including 131,000 on devices. With the full series available immediately on iPlayer, it ended on 30 May at 10pm with 751,000/6% on TV, rising to 1.43 million including 646,000 pre-TX and 34,000 on devices. The series averaged 1.7 million, including 684,000 pre-TX and 69,000 on devices. Colin From Accounts is BBC2’s best 10pm comedy-drama, original or commissioned, since last year’s The Witchfinder, which averaged 1.4 million/10% on TV over six weeks from 8 March 2022, rising to 2 million including 602,000 pre-TX and 59,000 on devices. The Witchfinder set off at a cracking pace, launching with While down on series one, the drama based on the books of ff -l;vbvƌĽv0;v|o=|_;‹;-u so far. "|;r_;mffub1;reports 3.6 million, including 165,000 on devices. However, episode two fell to 2.2 million, including 440,000 pre-TX and 76,000 on devices. Colin’s second episode dropped to 1.9 million, including 395,000 pre-TX and 93,000 on devices. Episode three of The Witchfinder slipped to 1.7 million, including 488,000 pre-TX and 46,000 on devices. Colin’s third episode, in contrast, rose to 2 million, including 587,000 pre-TX and 79,000 on devices. Colin remained ahead of The Witchfinder from then onwards. Colin From Accounts’ launch achieved 1.5 million/19% for ABC1 adults, the best BBC2 10pm comedydrama rating for the upmarket demographic since The Witchfinder’s launch (2.3 million/26%). Above right: Dalgliesh; Colin From Accounts Series average for Dalgliesh (incl devices), down from 4m for series one 3.2m Dalgliesh series average for ABC1s, down from 2.5m for series one 2m Series average for Colin From Accounts (incl pre-TX and devices) 1.7m

broadcastnow.co.uk // AUGUST 2023 76 *ALL BARB RATINGS @broadcastnow SUPPLIED BY ATTENTIONAL SOURCE: BARB &!"! fl!fl" &   ƱƎ)!ffffĸfl+$"$ҁ!$ff"fl fl "fl)"&  $flffƌƇfl҃$!!"$!ff!fl!"ҐƉҚ҃ +fl"fl $ ķ+ƉƇƉƊґ RANK AND PROGRAMME DAY DATE START ()!"Ґґ "!Ґѷґ Ґґ Ґѷґ BROADCASTER/PRODUCER ƈ Married At First Sight Australia Tue 9 May 19.30 1.77 10.54 0.86 93.73 Ƌ Ɖ Sister Boniface Mysteries Fri 26 May 21.00 1.21 7.00 0.52 74.50 Drama Ɗ Vera Thu 25 May 20.00 1.09 6.78 0.21 24.40 $(Ɗņ"bѴˆ;urubm|ffb1|†u;v Ƌ om-1o Ɔff "†m 28 May 13.50 1.05 15.95 0.05 4.97 "h‹"rou|v ƈ ƌ ffu;lb;u;-]†; "-| 6 May 17.00 1.04 7.77 0.00 0.01 "h‹"rou|v-bmˆ;m| ҙ Succession "†m 28 May 26.00 0.98 39.23 0.42 75.73 "h‹|Ѵ-mঞ1 ƍ b-lb Ɔff "†m 7 May 20.20 0.95 4.55 0.05 6.12 "h‹"rou|v ƈ Қ Canal Boat Diaries Tue 2 May 19.30 0.85 5.24 0.22 34.44 Ƌ Ǝ  ffѲ-‹ňfl@v "-| 27 May 16.30 0.73 6.56 0.00 0.01 "h‹"rou|v-bmˆ;m| ƈƇ McDonald & Dodds om 8 May 20.00 0.67 3.57 0.07 10.79 $(Ɗņ-llo|_"1u;;m ƈƈ King Arthur’s Britain: The Truth Unearthed Tue 2 May 21.00 0.66 3.21 0.09 16.45 Ƌ ƈƉ ffoh;u -1; Thu 25 May 26.00 0.64 34.19 0.53 481.10 "h‹-Š ƈƊ $_;!oohb; Thu 4 May 21.00 0.62 3.01 0.45 262.08 "h‹)b|m;vv ƈƊ The Equalizer Tue 16 May 21.00 0.62 3.37 0.47 307.26 "h‹)b|m;vv ƈƌ ouom-ࢼomffuo]u-llbm] "-| 6 May 11.00 0.59 2.77 0.02 4.38 "h‹;‰v ƈƌ Downton Abbey Tue 9 May 20.00 0.59 3.44 0.10 20.14 $(Ɗņ-umbˆ-Ѵ bѴlv ƈƍ Heartbeat );7 10 May 19.00 0.54 4.18 0.03 5.40 $(Ɗ ƈƍ ;‰bv );7 10 May 20.00 0.54 2.92 0.06 13.56 $(Ɗņ-llo|_v1u;;m ƈƎ Saving Venice om 22 May 21.00 0.51 2.71 0.08 18.97 Ƌ ƉƇ Blue Bloods om 8 May 21.00 0.50 2.79 0.31 159.29 "h‹)b|m;vv Ɖƈ Bangers & Cash: Restoring Classics Thu 25 May 20.00 0.48 2.96 0.19 64.46 +;v|;u7-‹ņbu$( Ɖƈ o1-uࢼm Fri 19 May 21.00 0.48 2.73 0.05 12.67 $(Ɗņ†@-Ѵoffb1|†u;v ƉƊ b7vol;u†u7;uv Tue 23 May 20.00 0.47 2.91 0.03 7.09 $(Ɗņ;m|Ѵ;‹ffuo7†1ঞomv ƉƊ CSI: Vegas );7 24 May 21.00 0.47 2.32 0.40 551.25 Ѵb0b Ɖƌ (b1|oub-)oo7ث;";_$1u;|bv| );7 17 May 21.00 0.45 2.54 0.04 10.18 Ƌ Ɖƌ David Fuller: Monster In The Morgue Tue 30 May 26.00 0.45 25.31 0.37 438.00 "h‹ o1†l;m|-ub;vņˆ-Ѵom Ɖƍ mmbh- "†m 14 May 27.10 0.44 41.12 0.43 3,635.29 u-l-ņѴ-1h-l;Ѵffb1|†u;v Ɖƍ $orfl=$_;fforv Fri 26 May 20.30 0.44 2.65 0.02 4.38 Ƌ Ɖƍ S.W.A.T. "†m 21 May 21.00 0.44 2.46 0.30 211.75 "h‹"_o‰1-v; ƊƇ Chicago Fire Fri 5 May 21.00 0.43 1.91 0.29 191.23 "h‹)b|m;vv ƊƇ Made In Chelsea om 29 May 22.00 0.43 4.04 0.35 423.64 Ƌņomh;‹ ƊƇ ub|-bmĻvo|$-Ѳ;m| "†m 7 May 13.00 0.43 7.17 0.21 96.19 $(Ɖņ"‹1oņ$_-l;v ƊƇ oѲѲ‹o-hv om 1 May 19.00 0.43 3.05 0.21 94.02 Ƌņbl;ffb1|†u;v ƊƋ The Coroner );7 31 May 21.00 0.42 2.05 0.03 7.82 Drama Ɗƌ Endeavour om 22 May 20.00 0.41 2.15 0.07 21.24 $(Ɗņ-llo|_"1u;;m Ɗƌ bv|ou‹fl=m1b;m|ub|-bm );7 10 May 21.00 0.41 2.09 0.04 10.37 Ƌ Ɗƌ Shanghai Noon "†m 14 May 21.00 0.41 2.26 0.01 3.36 $(Ɖ Ɗƌ bm]7ol );7 17 May 20.00 0.41 2.39 0.12 44.17 Drama Ɗƌ ‹Ѳ;Ķ‹Ѳ;Ķuo1o7bѲ; Fri 26 May 16.00 0.41 6.09 0.38 1,514.34 "h‹bm;l-ffu;lb;u; ƋƇ $b1h;|$off-u-7bv; Fri 5 May 14.15 0.40 7.46 0.31 326.33 "h‹bm;l-ffu;lb;u; ƋƇ Chicago Med Fri 5 May 20.00 0.40 2.53 0.24 143.70 "h‹)b|m;vv ƋƇ Fast & Furious: Hobbs & Shaw "†m 28 May 21.00 0.40 2.61 0.00 0.71 $(Ɖ ƋƊ Father Brown Fri 26 May 20.00 0.39 2.47 0.01 2.05 Drama ƋƊ ITV Racing "-| 6 May 14.00 0.39 2.92 0.00 0.41 $(Ƌ ƋƊ -v|fl=$_;"†ll;u)bm; Tue 16 May 19.20 0.39 2.87 0.00 0.65 Drama Ƌҙ Ѳ-vvb1ouom-ࢼom"|u;;| om 1 May 15.30 0.37 4.99 0.10 35.28 $(Ɗ Ƌҙ $_;"_-‰v_-mh!;7;lrࢼom Thu 11 May 21.00 0.37 2.63 0.01 3.12 Ƌ Ƌҙ Inspector Montalbano "-| 13 May 21.00 0.37 1.99 0.11 40.52 Ƌ Ƌҙ A Fish Called Wanda Thu 4 May 21.00 0.37 2.15 0.08 28.35 Ƌ ƌƇ Hell’s Kitchen (USA) Tue 2 May 21.00 0.36 1.75 0.23 177.91 $(Ɖ

NON-TERRESTRIAL MAY +28 DAYS // RATINGS 77 AUGUST 2023 // broadcastnow.co.uk Sky’s Succession leaves on a high AS THE final series of Succession came to its dramatic conclusion, the ratings show that it had a perfectly formed but relatively boutique audience. Meanwhile, Netflix’s Queen Charlotte: A Bridgerton Story landed in one great lump and did nicely, if not as well as the original. The final episode of the final season of the HBO series Succession aired on Sky Atlantic at 2am on 28 May and achieved 979,000/39% after 28 days, rising to 1.03 million including 47,000 on devices – the show’s biggest ever launch since its debut nearly five years previously. Always playing out as a weekly series, Succession took time to establish itself. The UK debut of the first series on 2 August 2018 at 2am reached only 127,000/8%, which would prove to be the highest-rating single episode of the series. Including repeats, the debut series averaged 173,000 (no device data available). ABC1 adults made up almost all of that, averaging 150,000. Adults aged 16-34 averaged just 16,000. Series two, which opened on 12 August 2019, improved on series one with an average of 213,000, including repeats and 5,000 on devices. ABC1 adults nudged up to 180,000, while 16-34s rose to 26,000. However, it was series three when Succession properly caught on. The series opened on Sky Atlantic at 2am on Monday 18 October 2021 – nearly two years after series two – with 664,000/36%, rising to 706,000 including 42,000 on devices. That is more than 500,000 better than the series two debut (178,000 including 9,000 on devices). The second series averaged 939,000 including repeats and 25,000 on devices, with 728,000 for ABC1s and 177,000 for 16-34s. With much anticipation, the final series launched on Sky Atlantic at 2am on 27 March 2023 with 720,000/ 37%. Three repeats and 29,000 on devices took that to 1.1 million. Over its 10 weeks, and with two of the finale’s three repeats achieving 28-day ratings at the time of writing, the final series averaged 1.2 million, including 44,000 on devices. It averaged 995,000 for ABC1s and 297,000 for 16-34s. All six episodes of Netflix’s Queen Charlotte: A Bridgerton Story landed on the platform on Thursday 4 May. According to Barb, episode one clocked up 3.04 million after 28 days – the biggest of the six episodes – while over the same period, episode six reached 2.66 million. Final series of the HBO drama is _b]_;v|Ŋu-ঞm]‹;|ķ‰_bѴ;;ѴbŠĽv †;;m_-uѲo‚; falls short of Bridgertonķ"|;r_;mffub1;reports In comparison, episode one of the second series of Bridgerton itself, which landed on Netflix on Friday 25 March 2022, achieved 5.24 million after 28 days, while episode eight clocked up 3.64 million. One of Netflix’s more recent dramas, The Night Agent, arrived in its entirety on the platform on Thursday 23 March. The opening episode reached 4.2 million after 28 days, while the 10th and final episode gathered 3.81 million. Queen Charlotte was a smidge behind the third series of The Mandalorian on streaming rival Disney+. Landing on Wednesday 1 March and dropping one episode a week, the launch reached 3.43 million after 28 days, while the final reached 3.01 million after landing on 19 April. To put these numbers into context, 17 million households subscribed to Netflix in the first quarter this year, nearly 10 million more than Disney+ (7.1 million). Above right: Succession; †;;m_-uѲo‚; Succession series average (incl repeats and devices), up from 706k for series three 1.2m Succession ABC1 average (incl repeats and devices), up from 728k for series three 995k 28-day rating for Queen Charlotte: A Bridgerton Story debut 3m

broadcastnow.co.uk // AUGUST 2023 78 The recipe for success with food formats COOKING HAS been a staple of the TV schedules since TV’s arrival in 1936. Today, the schedules are jam packed with competitive cooking formats – and they on keep coming. Channel 4 launched its latest cooking programme, Five Star Kitchen: Britain’s Next Great Chef, at 8pm on Thursday 8 June this year. After two episodes with seven-day consolidated ratings, it is averaging 659,000/5.1%, with ABC1s making up nearly half the audience (337,000/6%). In January 2022, the broadcaster launched another new format: The Great Cookbook Challenge With Jamie Oliver. The series, which opened on Monday 31 January at 8pm, averaged 703,000/4% over seven weeks, again with a strong ABC1 audience (448,000/5%). ITV1 has historically dipped its toe more gingerly in the competitive cooking market, but ad-funded Cooking With The Stars returned for its third outing this year. The series kicked off on Tuesday 4 July 2023 at 9pm with 1.3 million/10% in overnights, slightly fewer than the series two opener on Tuesday 7 June 2022 at 8pm (1.6 million/10%). The first series launched on Tuesday 13 July 2021 at 9pm with 2.4 million/12% before averaging 1.8 million/9.1% over six weeks (plus 11,000 on devices) and 910,000/9% for ABC1s. The second run averaged slightly fewer (1.7 million/11% plus 9,000 on devices; 783,000/11% for ABC1s). The second series of BBC1’s Gordon Ramsay’s Future Food Stars, which opened on Thursday 30 March 2023 at 9pm, averaged 1.3 million/ 8% (plus 24,000 on devices) and 773,000/10% for ABC1s. The first run debuted on Thursday 31 March 2022 with 2.4 million/15% at 9pm (plus 63,000 on devices) and averaged 2 million/ 12% (plus 47,000 on devices) and 1.2 million/13% for ABC1s. Staying power The oldest of the current crop of competition formats began in 1990 as MasterChef - The British Grand Prix For Amateur Chefs, hosted by Lloyd Grossman and with Michael Caine as one of the judges. Now all three peak-time variants are on BBC1. MasterChef’s latest series, which ended on Thursday 1 June 2023, averaged 3.1 million/18% plus 57,000 on devices, the lowest since at least 2010. The highest in the past five years is the 2020 series, which Cooking on TV is booming as broadcasters try to put together the ingredients for a long-running hit. Stephen Price reports averaged 5 million/21% plus 110,000 on devices and 3.1 million for ABC1s from 24 February to 17 April, during the first lockdown. The highest episode in that series aired the day lockdown was declared on Monday 23 March 2020 at 9pm (7.8 million/26% plus 118,000; 4.5 million/30% for ABC1s). Since 2018, with the exception of 2020, each series has declined year on year. The average for the 2023 run, for example, was 10% behind the 2022 series (3.4 million/19% plus 66,000 on devices). A 2023 series average of 1.9 million/23% for ABC1s is down 11% on 2022 (2.1 million/23%). The latest Celebrity MasterChef series averaged 3.4 million/20% plus 60,000 on devices from 10 August 2022, with 2.1 million/25% for ABC1 adults – the lowest for either audience since it returned to BBC1 peak in 2013. The 2017 series (4.9 million/22%; 3 million/ 27% for ABC1s) remains the best. Overnight rating for launch of Cooking With The Stars, down from 1.6m last year 1.3m Five Star Kitchen ABC1 average after two episodes, nearly half the total audience 337k Average for the last series of MasterChef, the lowest since 2010 3.1m Above right: MasterChef; Cooking With The Stars

SPOTLIGHT: COOKING SHOWS // RATINGS 79 AUGUST 2023 // broadcastnow.co.uk Having lost MasterChef to BBC1, BBC2 has kept hold of one longrunning cooking competition. Launched in 2006, the 18th series of The Great British Menu averaged 1.7 million/10% (plus 33,000 on devices) and 1 million/13% for ABC1s from 31 January to 31 March 2023 – almost par with 2022 (1.7 million/10% plus 36,000; 1.2 million/13% for ABC1s). The best in recent times is the 2020 series (2.2 million/10% plus 43,000; 1.4 million/14%) BBC2 has tried out many different competition formats in recent years. Launched on Thursday 17 May 2018 at 9pm, Million Pound Menu – a sort of Dragons’ Den meets MasterChef – averaged 979,000/4% across six weeks and 613,000/6% for ABC1s. Series two launched on Tuesday 8 January 2019 at 8pm and averaged 1.2 million/6% (plus 30,000 on devices) and 739,000/8% for ABC1s. In the summer of 2018, BBC2 debuted The Chef’s Brigade, in which chefs from pubs and cafes took a crash course in preparing fine dining across Europe. The series averaged 1.1 million/5% plus 22,000 on devices and 691,000/7% for ABC1s from Tuesday 30 July at 9pm. Meanwhile, BBC2’s Britain’s Top Takeaways played Monday to Thursday over two weeks from Monday 9 May 2022 and averaged 900,000/5%. None of these series has since re-emerged. Finding the next big thing is a notoriously hard thing to do in any genre, and this slew of recent cooking shows has so far produced mixed results. However, the brand leaders in the competitive cooking stakes still provide strong, reliable audiences week in week out – a rare and precious thing nowadays. Which means they’ll be probably be around for some time yet. TheGreat British Bake Off For SU2C series average, par with last year 3.3m Gordon Ramsay’sFuture Food Stars series average, down from 2m last year 1.3m Seven-day average for Five Star Kitchen after two episodes 659k *ALL BARB RATINGS @broadcastnow SUPPLIED BY ATTENTIONAL The latest series of MasterChef: The Professionals averaged 3.3 million/ 17% (2 million/21% for ABC1s) on BBC1 from Wednesday 2 November 2022 – the lowest of BBC1’s three series since the show moved over from BBC2 in 2020. The highest since then is the 2020 run (4.4 million/18% plus 86,000 on devices; 2.8 million/ 23% for ABC1s). Bake Off boost C4’s The Great British Bake Off remains the biggest of all the competitive cooking formats. Since defecting to C4 in 2017, the show has never quite hit the dizzying heights of its time on BBC1 (it’s last series on the channel in 2016 averaged 13.6 million/50%). But nonetheless, for 10 autumn weeks the show puts C4 in the same commercial arena as rival ITV1. C4’s most recent series of Bake Off averaged 7.6 million/35% from 13 September 2022 plus 198,000 on devices, the lowest for the channel so far. The best remains the 2020 run (10.6 million/40% plus 320,000 on devices). The 2022 series is the first to drop below 8 million. Bake Off has always been a slightly surprising hit among younger audiences – much of the reason why C4 bought it. The broadcaster’s debut season averaged 2.6 million/54% for 16-34s – the best for the channel and more than ITV1’s once mighty The X Factor that same autumn (1.5 million/39%). The 2022 Bake Off averaged 1.5 million/55% for 16-34s – C4’s lowest so far but more than ITV1’s The Masked Singer in the winter of 2022 (918,000/44%). This year’s charity spin-off The Great Celebrity Bake Off For SU2C averaged 3.3 million/18% plus 53,000 on devices from Sunday 19 March at 7.45pm, par with last year’s run (3.2 million/17% plus 46,000) from Tuesday 22 March at 8pm. Launched in March 2018, the joint best SU2C series are the debut (5.5 million/22%; no device data available) and the 2020 run (5.5 million/23% plus 140,000 on devices). The best for 16-34s is the 2018 run (1.5 million/38%), with the 2023 series gathering 503,000/32% – second lowest ahead of 2022 (467,000/24%). Above right: Five Star Kitchen: Britain’s Next Great Chef; Gordon Ramsay’s Future Food Stars

&!"! fl!fl" &   ƱƎ)!ffffĸfl+$"$ҁ!$ff"fl fl "fl)"&  broadcastnow.co.uk // AUGUST 2023 80 ƈ Ten Pound Poms Sun 14 May 21.00 7.39 39.06 2.75 59.23 ƈņѴ;ˆ;m Ɖ Maryland Mon 22 May 21.00 6.11 27.44 2.73 80.87 $(ƈņom†l;m|-Ѵņ$;-l-h;uv Ɗ Steeltown Murders Mon 15 May 21.00 5.57 27.08 2.51 82.16 ƈņ";ˆ;um"1u;;m Ƌ Annika "-| 20 May 21.15 4.64 27.55 2.65 132.63 ƈņѴ-1h-l;Ѵffb1|†u;v ƌ Without Sin Mon 15 May 21.00 4.39 21.08 1.96 80.45 $(ƈņ†bѴ7+o†ufl‰mņ;[-mh ҙ Midsomer Murders Sun 28 May 20.00 3.84 23.61 0.99 34.68 $(ƈņ;m|Ѵ;‹ffuo7†1ঞomv ƍ Dalgliesh Thu 4 May 21.00 3.33 16.17 1.70 103.85 ƌņ;‰ffb1|†u;v ƍ -Ѳru-1ࢼ1; Sun 7 May 21.00 3.33 13.92 2.09 167.85 $(ƈņ)ouѴ7ffuo7†1ঞomv Ǝ Casualty "-| 6 May 20.30 2.84 16.40 0.78 38.06 ƈ ƈƇ Blue Lights Mon 1 May 21.00 2.49 11.35 1.07 75.91 ƈņ-ѴѴ-]_;uņ$‰obঞ;v !ҐƉҚ҃ +fl"fl $ ķ+ƉƇƉƊґ RANK AND PROGRAMME DAY DATE START ()!"Ґґ "!Ґѷґ Ґґ Ґѷґ BROADCASTER/PRODUCER ƈ Eurovision Song Contest "-| 13 May 20.00 10.12 60.57 0.27 2.72 ƈ Ɖ Britain’s Got Talent "-| 6 May 20.00 7.09 40.68 1.61 29.31 $(ƈņ"‹1oņ$_-l;v Ɗ I’m A Celebrity... South Africa Mon 1 May 21.00 5.38 24.27 1.54 39.97 $(ƈņb[;7m|;u|-bml;m| Ƌ $_;ƆѵѲ†0 "-| 6 May 21.20 4.97 31.65 0.95 23.57 $(ƈņ-]m†l;7bƌ Gogglebox ub 19 May 21.00 4.12 23.13 1.47 55.24 Ƌņ"|†7bo-l0;u| ҙ Have I Got News For You ub 26 May 21.00 4.05 22.28 0.99 32.38 ƈņ-|$ub1hffuo7†1ঞomv ƍ The Chase Mon 1 May 18.30 3.14 23.22 0.08 2.70 $(ƈņffo|-|o Қ The Hit List "-| 13 May 18.40 2.82 24.16 0.22 8.40 ƈņ$†;v7-‹Ľv_bѴ7 Ǝ University Challenge Mon 29 May 20.30 2.60 15.18 0.35 15.73 Ɖņb[;7m|;u|-bml;m| ƈƇ Taskmaster Thu 18 May 21.00 2.57 14.25 1.44 127.38 Ƌņˆ-Ѵom$;Ѵ;ˆbvbom $!$$ҐƉҚ҃ +fl"fl $ ķ+ƉƇƉƊґ RANK AND PROGRAMME DAY DATE START ()!"Ґґ "!Ґѷґ Ґґ Ґѷґ BROADCASTER/PRODUCER ƈ Bluey $†; 9 May 07.20 ƒѶƕķƑƏƏ 62.06 265.90 219.21 ;;0b;v Ɖ Numberblocks $†; 9 May 08.15 ƑƓƓķѵƏƏ 48.47 155.50 174.52 ;;0b;vņѴ†;,oo Ɗ Hey Duggee $†; 9 May 07.05 ƑƑƏķƑƏƏ 53.33 158.50 256.89 ;;0b;v Ƌ ;|";|-Ѳ-1ࢼ1 Sun 14 May 10.40 ƑƏƒķƔƏƏ 54.67 101.00 98.54 ;;0b;vņ;ѴѴo-Ѵo ƌ Supertato $†; 30 May 16.40 ƐƔƓķƑƏƏ 40.17 91.30 145.15 ;;0b;v ҙ Octonauts Mon 29 May 08.05 ƐƔƒķƔƏƏ 40.23 105.50 219.79 ;;0b;vņuo‰m-]ņ"bѴˆ;u]-|; ƍ Spidey And His Amazing Friends Sun 14 May 10.00 ƐƔƏķƔƏƏ 52.35 47.90 46.69 ;;0b;v Қ Vegesaurs Thu 18 May 10.50 ƐƔƏķƔƏƏ 83.61 101.80 209.03 ;;0b;v Ǝ Bing Mon 1 May 09.00 ƐƓƏķѵƏƏ 39.77 36.40 34.93 ;;0b;vņ1-l-u bѴlv ƈƇ Jojo & Gran Gran );7 17 May 17.35 ƐƒѵķƒƏƏ 32.43 24.40 21.81 ;;0b;v  !Ľ"ҐƋ҃ƈƌķƉҚ҃ +fl"fl $ ķ+ƉƇƉƊґ RANK AND PROGRAMME DAY DATE START VIEWERS "!Ґѷґ GAIN Ґѷґ BROADCASTER/PRODUCER ƈ Race Across The World );7 10 May 21.00 5.06 25.63 1.94 61.98 ƈņ"|†7bo-l0;u| Ɖ $_;u;-|ubࢼv_";‰bm];; );7 24 May 21.00 4.91 24.76 1.79 57.44 ƈņoˆ;ffuo7†1ঞomv Ɗ mࢼt†;v!o-7v_o‰ Sun 21 May 20.00 4.33 31.10 0.17 4.18 ƈ Ƌ The One Show "-| 13 May 19.30 3.58 27.59 0.01 0.39 ƈ ƌ MasterChef Mon 8 May 20.00 3.48 17.63 1.01 41.00 ƈņ"_bm;$( ҙ o†m|u‹CѲ; Sun 21 May 19.00 3.42 28.10 0.11 3.39 ƈ ƍ -‚)bѲѲbvث b]_ࢼm]77b1ࢼom );7 17 May 21.00 2.80 15.70 0.83 42.10 ƈņ$‰o=o†u Қ RHS Chelsea Flower Show Sun 21 May 18.00 2.79 26.47 0.19 7.38 ƈ Ǝ ff-†ѲflĻu-7‹ث ou$_;oˆ;fl= o]v Thu 4 May 20.30 2.62 15.82 0.50 23.38 $(ƈņ†Ѵঞ"|ou‹;7bƈƇ The Repair Shop );7 17 May 20.00 2.31 13.76 0.19 8.95 ƈņ!b1o1_;| $&ҐƉҚ҃ +fl"fl $ ķ+ƉƇƉƊґ RANK AND PROGRAMME DAY DATE START ()!"Ґґ "!Ґѷґ Ґґ Ґѷґ BROADCASTER/PRODUCER SOURCE: BARB

GENRE MAY +28-DAY // RATINGS 81 AUGUST 2023 // broadcastnow.co.uk *ALL BARB RATINGS @broadcastnow SUPPLIED BY ATTENTIONAL SOURCE: BARB &!"! fl!fl" &   ƱƎ)!ffffĸfl+$"$ҁ!$ff"fl fl "fl)"&  ƈ Black Ops ub 5 May 21.30 1.99 9.75 0.81 68.19 ƈņom7o ;Ѵ†Š; Ɖ mvb7;oĸƌ Thu 18 May 22.00 1.33 10.08 0.98 281.14 Ɖ Ɗ Colin From Accounts $†; 2 May 22.00 1.01 7.87 0.67 195.93 Ɖ Ƌ Ghosts US $†; 30 May 22.40 0.81 9.80 0.08 11.33 ƈ ƌ Dad’s Army "-| 13 May 19.35 0.75 5.50 0.05 7.08 Ɖ ҙ Detectorists ub 26 May 22.00 0.68 5.84 0.13 24.45 Ɖņ_-mm;Ѵ* ƍ ol;7‹Ѳ-vvb1ثffouub7]; "-| 6 May 19.45 0.67 4.06 0.04 6.02 ƌ Қ ol;7‹Ѳ-vvb1ث);_$b1-ufl= b0Ѳ;‹ "-| 20 May 18.55 0.53 4.51 0.05 9.81 ƌ Ǝ (b1|oub-)oo7ث;";_$1u;|bv| );7 17 May 21.00 0.45 2.54 0.04 10.18 Ƌ ƈƇ Last Of The Summer Wine Mon 8 May 19.20 0.37 2.30 0.00 0.90 u-l- fl +ҐƉҚ҃ +fl"fl $ ķ+ƉƇƉƊґ RANK AND PROGRAMME DAY DATE START ()!"Ґґ "!Ґѷґ Ґґ Ґѷґ BROADCASTER/PRODUCER ƈ "bm] ou$_;bm]ث-;";_$u1_ ou$_;ouom-ࢼom_obu ub 5 May 20.00 2.05 13.21 0.10 5.31 ƈ Ɖ When Tina Turner Came To Britain );7 24 May 22.40 1.14 16.48 0.10 9.15 ƈ Ɗ The Stones And Brian Jones Mon 15 May 21.00 1.08 6.20 0.40 58.59 Ɖņ-=-‹;‚; bѴl Ƌ Tina Turner At The BBC "-| 27 May 21.10 0.86 5.69 0.07 8.31 Ɖ ƌ !-7boƆĻvb]);;h;m7 "-| 27 May 22.20 0.76 8.69 0.04 5.50 ƈ ҙ Lionel Richie At The BBC "-| 6 May 20.30 0.69 4.05 0.05 7.88 Ɖ ƍ Later... With Jools Holland "-| 27 May 22.10 0.62 6.17 0.11 20.66 Ɖ Қ Sounds Of Liverpool At The BBC "-| 6 May 21.30 0.56 4.13 0.10 20.57 Ɖ Қ Pet Shop Boys At The BBC "-| 20 May 19.35 0.56 3.97 0.03 6.21 Ɖ ƈƇ $bm-$†um;uث"blrѲ‹$_;;v| "-| 27 May 23.00 0.51 7.11 0.04 8.56 Ɖ &"ş!$"ҐƉҚ҃ +fl"fl $ ķ+ƉƇƉƊґ RANK AND PROGRAMME DAY DATE START ()!"Ґґ "!Ґѷґ Ґґ Ґѷґ BROADCASTER/PRODUCER ƈ Match Of The Day Sun 28 May 22.30 2.87 34.92 0.79 37.99 ƈ Ɖ "mooh;uث(ouѲ7_-lrbomv_br Mon 1 May 19.00 2.76 14.48 0.04 1.49 Ɖ Ɗ -|1_fl=$_; -‹Ƈ Sun 7 May 22.35 2.45 25.34 0.45 22.70 ƈ Ƌ Uefa Champions League );7 17 May 19.00 1.43 9.71 0.01 0.83 $"rou|ƈ ƌ oul†Ѳ-Ɔ Sun 28 May 18.30 1.34 10.11 0.20 17.10 Ƌņ)_bvr;u ҙ Final Score Sun 28 May 17.00 1.12 11.86 0.00 0.02 ƈ ƍ om-1o Ɔff Sun 28 May 13.50 1.05 15.95 0.05 4.97 "h‹"rou|v ƈ Қ Premier League "-| 6 May 17.00 1.04 7.77 0.00 0.01 "h‹"rou|v-bmˆ;m| Ǝ Women’s FA Cup Sun 14 May 13.50 1.01 14.81 0.00 0.10 ƈ ƈƇ b-lb Ɔff Sun 7 May 20.20 0.95 4.55 0.05 6.12 "h‹vrou|v=ƈ "fffl!$ҐƉҚ҃ +fl"fl $ ķ+ƉƇƉƊґ RANK AND PROGRAMME DAY DATE START ()!"Ґґ "!Ґѷґ Ґґ Ґѷґ BROADCASTER/PRODUCER ƈ $_;ouom-ࢼomfl=$$_;bm]m7 †;;m-lbѲѲ- "-| 6 May 10.15 12.04 58.93 0.10 0.81 ƈ Ɖ bm]_-uѲ;vث;_$ouom-ࢼom "-| 6 May 10.45 3.36 15.84 0.04 1.34 $(ƈ Ɗ †;vࢼom$bl; Thu 4 May 22.40 1.80 24.62 0.11 6.49 ƈņ;m|oum;7bƋ Tonight Thu 18 May 20.30 1.56 9.96 0.25 19.35 $(ƈ ƌ Panorama Mon 15 May 20.00 1.39 8.70 0.25 21.79 ƈ ҙ Sunday With Laura Kuenssberg Sun 28 May 09.00 1.25 28.86 0.00 0.24 ƈ ƍ !brfl@ub|-bm ub 19 May 09.15 1.15 31.53 0.02 1.89 ƈ Қ ouom-ࢼomث;&;_$Ѳ;0u-|;v Sun 7 May 12.30 0.88 15.16 0.00 0.41 ƈ Ǝ Amol Rajan Interviews Thu 11 May 19.00 0.74 6.12 0.08 12.51 Ɖ ƈƇ ffoѲbࢼ1vbˆ; ub 5 May 13.45 0.65 12.03 0.00 0.56 ƈ &!!$ !"ҐƉҚ҃ +fl"fl $ ķ+ƉƇƉƊґ RANK AND PROGRAMME DAY DATE START ()!"Ґґ "!Ґѷґ Ґґ Ґѷґ BROADCASTER/PRODUCER

Passion outside TV Swimming and scuba diving. I always hoped to create a show ‰_;u;‰;_-7|oCѴl underwater and would then o@;u|o0; the camera assistant deep down. Earliest memory Aged three, at nursery, seeing my mum coming to pick me up with my new baby sister in a buggy and feeling genuinely confused and scared that my sister was growing quickly and was going to overtake me in age. -v|ঞl;1ub;7 Watching the There She Goes ƉƇƉƊvr;1b-Ѵĺ_-ˆ;v;;m every episode of this show -m7|_o†]_|b|‰-v0;-†ঞ=†Ѵĺ I loved the ending. My big break Hat Trick asking me to interview to script edit the second series of Bodies. Not only was it my Cuv|v1ubr|;7bঞm]fo0ķ0†|b| was a show I adored and felt 0Ѵ;vv;7;ˆ;u‹ঞl;u;-7-m;‰ script – absolutely brilliant. broadcastnow.co.uk // AUGUST 2023 82 END CREDITS // EMILY FELLER Scuba diving, netball and a large G&T Emily Feller Chief creative off icer Warp Films Ľl_-rrb;v|‰_;mĺĺĺ I’m playing netball. v_o†|-||_;|;ѴѴ‹ If someone says something they should be thinking, not saying out loud. ol;m|o=1Ѵ-ub|‹ When I was researching on Holby City and a heart surgeon Ѵb|;u-ѴѴ‹|oohl‹ļ†u];m|t†;vঞomĽ call as he was doing a bypass. I realised in that moment that -Ѵ|_o†]_‰;_-ˆ;|_;0;v|fo0bm|_; world – where we get to create characters and chat about their lives – we are not saving lives. I promised myself then that I would keep everything in r;uvr;1ঞˆ;ĺ];m;u-ѴѴ‹ keep to that lesson. ;-Ѵ‰b|_v|u;vv I go for a walk, and if there is a ş$‰-bঞm]-||_; ;m7ķ;ˆ;m0;‚;uĺ ;v|-7ˆb1; |Ľv-ѴѴf†v|‹o†uorbmbom at the end of the day. oѴb7-‹7;vঞm-ঞom My dream holiday is to go to the Galapagos on a live-aboard dive trip.

Open for Entries 29 NOVEMBER 2023 | THE BREWERY, LONDON BroadcastTechAwards.co.uk FOR SPONSORSHIP ENQUIRIES: &ĺ)җĺfl fl ƳƓƓҐƏґƑƏƓƔƓƏƕƔƓƒ FOR ENTRY ENQUIRIES: "ĺ&!ff+җĺfl fl ƳƓƓҐƏґƑƏѶƐƏƑƏƖƑѵ @BroadTechAwards #BTIA2023 ;Ѵ;0u-ঞm]|_;;Š1;rঞom-Ѵ|;-lv0;_bm7|_; lov|o†|v|-m7bm]0uo-71-v|ruo7†1ঞomvo=|_;r-v|‹;-u "romvou;70‹Ĺ ENTRY DEADLINE 15 September