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Nature calls: Innovation in wildlife shows

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AHEAD OF THE CURVE: Natural history

Channel21 International | Fall 2023

Call of the wild Natural history content makers have embraced innovation and drawn inspiration from other genres as maverick programme makers put the ‘wild’ into wildlife. By Neil Batey

My Best Friend’s an Animal

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The natural history space has been in a bubble for a while and needs content that stands out. People are tired of habitat-based docs filmed in Africa, because we’ve done all that before.

Stephen Dunleavy Humble Bee

nce upon a time, natural history programming was simple and somewhat predictable: a camera crew descends on the plains of the Serengeti to film a group of wildebeest being stalked by ravenous lions. And we all know what happens next. But those days are long gone. Now, pioneering next-generation producers are finding innovative ways to engage audiences with fresh twists on wildlife filmmaking. Taking inspiration from other genres, natural history content now boasts elements of high-octane adventure, horror, animation and shortform. Hollywood directors are signing up to bring their own vision to premium projects, while A-list actors are suddenly keen to volunteer for presenting or narration duties. Meanwhile, new voices are challenging the long-entrenched dominance of natural history studios based in the UK city of Bristol. One example is Ample Nature, a recently launched division of US prodco

Ample Entertainment, which claims to be LA’s first dedicated natural history unit. Its manifesto is to marry the awe of wildlife content with the storytelling techniques of Hollywood. Its debut offering, the Emmy-nominated Kangaroo Valley, was picked up by Netflix and boasts narration from Succession actor Sarah Snook, plus a writing credit for Gorillas in the Mist scribe Tab Murphy. The series tells the story of Mala, a female Joey growing up in the wilds of Australia. “I would frame it as a coming-of-age film,” says Ample co-founder Ari Mark. “I feel that natural history has been begging for character-driven storytelling, which a veteran screenwriter like Tab understands and makes accessible for a broader audience. “The wildlife space is 100% a monopoly of the production companies coming out of Bristol. The reason for that is because they’re so damn good at it, so we don’t have a choice but to try to bring something new to the table.

“We’re aiming very high with Ample Nature, not just bringing things to the market for the sake of it. If I can’t surprise people with a pitch, I probably won’t even bother trying.” Another US-based newcomer to this space is horror specialist Blumhouse (Insidious, The Purge), which is partnering with ITV Studios (ITVS)-owned and Bristol-based Plimsoll Productions to develop Nightmares of Nature. It spotlights the true-life terrors of the animal kingdom, such as zombie snails, vampire fish and even trees that bleed. Blumhouse’s in-house horror experts will bring the fright factor by incorporating jump scares, a creepy music score and slasher movie plotting. “The natural world is as creepy, freaky and strange as anything the best minds in horror can imagine,” says Gretchen Palek, Blumhouse’s head of alternative. “We’re pitching Nightmares of Nature as a dark fairy tale. “I believe natural history and horror are two disciplines that 

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AHEAD OF THE CURVE: Natural history

Channel21 International | Fall 2023

braid together well. Both genres are known for immersive storytelling, transporting viewers to unfamiliar worlds and pitting predators against the prey. “Blumhouse is focused on opening up its aperture and broadening the scope of the types of unscripted shows we’re making. I have a background in natural history from my time working at Discovery, so playing in this space was one of my first suggestions and we hope to do more in the future. “The feedback we’ve had from buyers is that Nightmares of Nature is refreshing and innovative. Everyone in natural history wants to evolve beyond the tried-and-tested genres.” Plimsoll, acquired by ITVS last year, produces acclaimed blue-chip titles such as A Year on Planet Earth for ITV, Tiny World for Apple TV+ and Patagonia: Life on the Edge of the World for CNN. Plimsoll recently widened the scope of its natural history pipeline by promoting its veteran executive producer James Smith to the newly created position of head of adventure. His remit is to develop a slate of highoctane programming to meet buyer demand for this suddenly on-trend genre. Examples include the two shows Smith made recently with US rock climber Alex Honnold, star of Free Solo, for National Geographic and Disney+: Alaskan expedition epic The Last Frontier and Arctic Ascent. “In TV, producers are often accused of creating false jeopardy,” says Smith. “But rock climbing is one

of the most dangerous things you can do, so when we see Alex try to summit a 3,750-foot rock wall in Greenland that’s never been climbed before, it just amps up the danger. “That kind of action hooks a different audience, yet we’re travelling through beautiful landscapes with glaciers and ice caps on a journey of discovery, learning about threatened environments and vulnerable species at the same time. It helps to have a contrast and mix up genres. “Plimsoll is established as a global leader in premium natural history, but we became aware of a lot of buyers interested in complementing bluechip content with alluring stories that have thrills, adventure and a relatable human dimension to them.” For many filmmakers, the huge advances in technology over the last 20 years have revolutionised the way wildlife content is produced, allowing previously unrecorded behaviour to be captured. That’s certainly the case for Humble Bee’s recently announced Secret World of Sound with David Attenborough (3x60’), coproduced with Canada’s Infield Fly Productions for Netflix and Sky in the UK, in which the iconic naturalist explores how animals hear and produce sound. “There’s a lot of hidden sounds that we don’t necessarily hear,” says Stephen Dunleavy, founder and CEO of the Bristol-based prodco. “So, we used specialist kit such as laser vibrometers – which are usually used to check for faults in aeroplanes –

plus acoustic cameras, which I don’t believe have been used in this context before. “This kind of technology allowed us to capture how grey owls use vibrations to hunt for voles hidden in snow, as well as the very different sounds made by treehopper insects, frogs, bees and the midshipman fish. “The natural history space has been in a bubble for a while and needs content that stands out. People are tired of habitat-based docs filmed in Africa, because we’ve done all that before. So at Humble Bee we always try to create a niche for ourselves, because the market is changing dramatically now.” The BBC claims that its Natural History Unit (NHU), founded in 1957, is the “best known and most loved producer of natural history content in the world,” creating classics such as the Planet Earth and Blue Planet docuseries for the UK pubcaster. Over the years the NHU has innovated through the use of CGI technology in Prehistoric Planet, green screen techniques for Andy’s Wild Adventures and immersive multi-camera filming in Springwatch, and also created a special department that creates digital-first content 

Streamer WaterBear’s short ﬁlm The Black Mermaid about freediver Zandile Ndhlovu

Ample Entertainment’s Kangaroo Valley (below) was picked up by Netﬂix. Inset: James Smith and Gretchen Palek

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AHEAD OF THE CURVE: Natural history

for YouTube and social media platforms. Recently, the unit has leveraged its considerable international clout to attract A-list Hollywood talent to premium projects such as the upcoming Ocean Xplorers (working title), a coproduction with OceanX Media and Titanic director James Cameron for National Geographic and Disney+; and last year’s Prehistoric Planet for Apple TV+, which tapped US filmmaker and actor Jon Favreau as its showrunner. Next, Oscar-winning actor Tom Hanks will narrate The Americas, a tentpole 10part event series for NBC in association with Universal Television Alternative Studio. “Working with Hollywood directors and actors like that helps us tell the most engaging stories,” says Jonny Keeling, head of the NHU. “We’re always looking at new ways to produce in perhaps non-traditional ways as the audience for natural history evolves. Innovation is key for us.” Keeling sounds a word of caution, however, suggesting natural history producers need to be mindful not to sacrifice factual and scientific integrity in the name of wilfully quirky entertainment. “I love the natural world and sometimes these stories stand up for themselves, so it’s important not to alienate viewers with super gimmicky concepts,” he says. So what are commissioners and buyers looking for in this space? WaterBear, the first streaming platform dedicated to the future of the planet, has been nicknamed the ‘Netflix of nature.’ When launched in 2020, it specialised in content based around the themes of natural history, conservation and biodiversity. This has since been expanded to a wider, impact-driven remit of docs and films detailing climate change, social justice and humanitarian crises. An example of this is the short film The Black Mermaid, about South African freediver Zandile Ndhlovu. “It’s a beautiful short about an amazing woman, which also shows how incredible the oceans are,” says Poppy Mason-Watts, WaterBear’s chief growth and impact officer. “We try to make sure our stories are human-focused, because viewers can relate more to that kind of content. We champion shortform

Channel21 International | Fall 2023

Plimsoll’s Arctic Ascent for National Geographic and Disney+. Left: Love Nature’s Orangutan Jungle School for NHNZ

content which showcases the work of next-gen filmmakers and we recently started experimenting with animated environmental films to engage younger audiences on subjects such as deep-sea mining. We’re always on the lookout for content to acquire, spanning micro-shorts to featurelength docs.” Blue Ant Media-owned Love Nature is an international wildlife network headquartered in Toronto. Its programming includes My Best Friend’s an Animal (Big Wave Productions), Macaque Island (Beach House Pictures), Orangutan Jungle School (NHNZ), Evolution Earth (Passion Planet) and Wildlife ER (Wild Bear Entertainment). “We’re a premium wildlife channel with a global audience, so we’re looking for creative, innovative content with universal appeal,” says Alison Barrat, senior VP of production and development, who commissions content for Love Nature. “Traditional natural history is in the rear-view mirror, so as a genre, we’ve got to be creative, fresh and forward thinking. “We commission from production companies all over the world. Sometimes we fully finance projects,

and sometimes we work with other broadcasters to coproduce.” With the economic challenges faced by US-based streamers recently, there have been fears that those platforms may no longer open their chequebooks to greenlight new wildlife content. “The streamers are tightening their belts,” says Ample Nature’s Mark. “Natural history tends to be one of the more expensive genres and budgets have come way down. “That can be an opportunity for Ample because we’re hungry to produce more cheaply than our competitors. If a buyer says, ‘We want to do your show, but we need you to hit this number,’ it’s our job to figure out a way to do that.” Indeed, while the natural history space is clearly booming and demand for content is at unprecedented levels, concerns about funding remain. “It’s more competitive than ever, but also there’s less money,” says WaterBear’s Mason-Watts. “It’s an underfinanced space and everyone I speak to is facing the same issues: getting content commissioned and financed. We’re all having to be savvy because it’s a real struggle to find budgets.”

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Working with Hollywood directors and actors like that helps us tell the most engaging stories. We’re always looking at new ways to produce in perhaps nontraditional ways as the audience for natural history evolves. Innovation is key for us. Jonny Keeling BBC NHU

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THOUGHT LEADERSHIP: John King

Channel21 International | Fall 2023

King of the news

John King at News Xchange

and stronger, sometimes by simplifying. People want trusted places to go,” said King, who was succeeded as solo anchor of Inside Politics by his colleague and ex-wife Dana Bash in June. King joined CNN in 1997 after 12 years at The Associated Press (AP), the last six as its chief political correspondent. He has reported from all 50 states and more than 70 countries. Other CNN duties King has taken on include 10 years NN anchor and chief national correspondent John King may come across as unﬂappable on air, but covering the White House, serving as CNN’s senior White speaking to RTÉ journalist Áine Lawlor at the House correspondent from 1999 to 2006. King’s duties News Xchange conference in Dublin earlier this year, he consisted of reporting on the Iraq war and the September 11 admitted he is “very worried” about what he calls a “tsunami terrorist attacks. His AP tenure included stints in Providence, Boston and Washington D.C., as well of misinformation” that will accompany as covering major international events next year’s US presidential election. Change is scary. like the Gulf War. King said state actors from Russia, So whether it’s King is a native of Boston and earned China and other nefarious groups a bachelor’s degree in journalism from are priming a wave of misinformation migration issues, the job the University of Rhode Island. to confuse and mislead US voters climate and factories For the 2024 presidential cycle, the between now and November 5, 2024. closing, gay rights, veteran journalist will lead a new voter And it’s not just the US. With general transgender rights – all and battleground state project designed elections in India, Mexico and the European Union parliament, as well this change is happening to cover the campaign through the eyes of everyday Americans. as presidential elections in Venezuela all at once. Trump stokes King will also play a prominent role and Taiwan, a significant proportion of people’s grievances, and in CNN’s coverage of major events, the global population will go to the polls he’s very good at it. including debates, primary and caucus next year. nights, the nominating conventions “I’m very worried. There’s going to John King and election night. He will continue to be a tsunami of this misinformation, CNN lead the CNN ‘Magic Wall’ coverage, whether it’s artificial intelligence [AI]generated or just traditional misinformation from within,” an innovation first introduced in 2008 and central to the said King, who believes Europe will be way ahead of the network’s election coverage since. King will engage with voters in battleground states during US when it comes to regulating AI. King wants journalists and editors both in the US and the 2024 presidential election, moving around the country further afield to redouble their efforts to shore up trust speaking to those disaffected, disillusioned and mistrustful among audiences who are set to face what he called the of the mainstream media. Finding common ground will be King’s mission out on the most sophisticated and targeted disinformation campaigns road in swing states such as Pennsylvania, where he will we’ve ever seen on both the left and the right. “What do we do in that situation? Your brand is critical. be reaching out to listen to those who likely will respond to How far out is your next election? Make your brand better him with hostility. 

With hugely significant elections coming up around the world, CNN anchor and chief national correspondent John King has called on news organisations to shore up trust among their audiences as he prepares to meet disenfranchised voters across the US. By Nico Franks

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THOUGHT LEADERSHIP: John King President Joe Biden

Ex-president Donald Trump

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What is our job? Is it to only cover the honest people? [Trump] is the leading candidate for the Republican nomination by far. It is not our job to ignore him. Did we learn lessons from it? Of course we did. But it’s not our job to take sides.

John King CNN

Since then, Chris Licht has stepped down as chairman King hopes an in-person conversation might change minds and draw people back to mainstream news and away and CEO of the Warner Bros Discovery-owned newscaster from the rabbit holes online that lead them to conspiracy after a chaotic 13 months in charge, which saw him axe theories. “I want Trump voters to say, ‘Well maybe I should streaming service CNN+ just a month after it was launched listen to this guy,’” said King, who is keen to learn more and embark on a wave of staff cuts after a six-month review. In late August the global news network named former about why people are so disaffected, disillusioned and disconnected from the traditional political system. He BBC and The New York Times boss Mark Thompson as its new chairman and CEO, succeeding Licht. Thompson, who already has an inkling. “Change is scary. So whether it’s migration issues, the was previously director general of the BBC (2004-2012) job climate and factories closing, gay rights, transgender and president and CEO of The New York Times (2012rights – all this change is happening all at once. Trump 2020), will assume the position on October 9. Since Licht’s departure, an interim leadership team stokes people’s grievances, and he’s very good at it. “Trump is right that the government doesn’t understand comprising Amy Entelis (exec VP of talent and content you, to a degree. He’s also right that some of these development), David Leavy (chief operating officer), changes – immigration, economic changes – are scary to Virginia Moseley (exec VP of editorial, CNN US) and Eric people. I would argue he does it in a nativist, xenophobic Sherling (exec VP of US programming) has steered the news organisation. They will continue in their way sometimes that is not helpful to trying to roles, reporting to Thompson, who reports to figure out what we do about it.” David Zaslav, CEO of Warner Bros Discovery. King got a sense of the kind of welcome Trump, meanwhile, is the first former or he can expect during last year’s midterm serving US president ever to be indicted after elections, when he visited a diner in northern facing various criminal cases in the US following Pennsylvania. “It was delightful. No one knew charges of election interference. who we were because they only watched King admitted the cable news network Fox. Then I identified myself and the woman “probably” covers the former president “too – literally after I paid my bill and left a very much,” but adds CNN cannot ignore the fact generous tip – told me to get the hell out of her Trump, at the time of writing, is currently the establishment,” said King, whose family has faced threats as a result of his profile. CNN’s Mark Thompson front-runner for the 2024 Republican White House nomination ahead of the election. “I sent the camera and the producer outside “What is our job? Is it to only cover the honest and said, ‘Can I just talk to you over a cup of coffee?’ and she said, ‘I have no interest in talking to you. people? He is the leading candidate for the Republican You helped Joe Biden steal the election.’ And then some nomination by far. It is not our job to ignore him. Did we people in the diner started using more profane language. learn lessons from it? Of course we did. But it’s not our job to take sides. I trust people’s common sense. For the So I want to go back there.” King defended CNN’s controversial Republican people who say we cover him too much? Probably true. But Presidential Town Hall with Donald Trump in May, pointing the man is a global phenomenon. You spend more time on to the need to hear from those you may not agree with, no the fascinating stories,” he said. “The problem in American media, and media around matter how abhorrent you may find their views. CNN came under fire earlier this year after the broadcast the world, is if you want to wake up in the morning and saw Trump repeat lies about the 2020 election being stolen; read or listen to only things that tell you you’re right, you abuse E Jean Carroll, the writer against whom he has been can. I would argue that’s a mistake. Even if you’re right, found liable for sexual assault and defamation; and insult you should study the other side and listen to all views. CNN anchor Kaitlan Collins. We need to.”

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AHEAD OF THE CURVE: Travel programming

Channel21 International | Fall 2023

Dash Pictures’ Fantastic Friends

Changing course A

longside cooking and quizshows, travel series are the perennial favourite of the commissioner looking for a reliable half-hour, with the extra benefit that they’re often likely to travel themselves, with distributors selling thousands of hours around the world every year. We all wondered how travel shows would be produced during the pandemic and the past year has seen the genre return with a vengeance, with plenty of twists on the triedand-tested format pioneered by Wish You Were Here on UK commercial broadcaster ITV in 1974. While the trend for domestic travel programmes born out of the pandemic has continued – including UK shows such as A Wright Family Holiday (BBC One), Rosie Jones’ Trip Hazard (Channel 4) and Bargain Wonders of the World I Can’t See is fronted by blind comic Chris McCausland

Travel habits are changing and so too are TV travel shows, with more environmentally friendly ways of seeing the world being encouraged and diverse presenting talent getting some overdue screen time. By Nico Franks

Loving Brits by the Sea (Channel 5) – we are also seeing the return of shows featuring the kind of international city breaks and ambitious long-haul trips many were deprived of at the height of Covid-19. But do travel programmes on TV and streaming accurately reflect what it has been like to travel in 2023? “Traditional travel programmes, such as The Travel Show on the BBC, whereby the broadcaster dumps a presenter in a location and has them report about many general aspects of the destination,

have had their day,” says Saul Taylor, founder and editor-in-chief at recently launched travel media brand Sablos. “The most relevant travel programming of late is heavily focused, and usually towards food. If you look at something mainstream such as Somebody Feed Phil [Netflix], the formula is close to perfect: film a likeable presenter with a true fondness for food and for people as he makes his way in seemingly haphazard fashion

around the world. The results are admirable. The key to its success is Phil [Rosenthal]’s affinity with the locals,” says Taylor. In recent years the TV travel genre has evolved to focus on more authentic representations of typical vacations, with shows like All3Media International-distributed Travel Man: 48 Hours In…, produced by North One for Channel 4 (originally presented by Richard Ayoade and now by Joe Lycett) encapsulating the “Airbnb-ification” of weekend city breaks, where tourists want to feel like locals. “We’re travelling in a smarter way – away from aspirational luxury travel and towards achievable travel, focusing on stories that are relatable. Today’s travellers are curious about the world and other cultures. Of course, there’s still that element of luxury occasionally. It exists in real life and we show it from time to time, but it’s always showcased as a treat,” says Daniel Sharp, founder and exec producer at Dash Pictures. The London- and LA-based prodco was behind the travel series Fantastic Friends, Friends fronted by James and Oliver Phelps and distributed by Off the Fence, which sees the Harry Potter stars go on adrenaline-fuelled adventures with magical themes, accompanied by famous faces. Speak to any TV exec about travel programming and it’s only a matter of time before the word ‘escapism’ pops up. But how does that square with the travel genre’s newfound 

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AHEAD OF THE CURVE: Travel programming

Channel21 International | Fall 2023

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We’re travelling in a smarter way – away from aspirational luxury travel and towards achievable travel, focusing on stories that are relatable. Today’s travellers are curious about the world and other cultures.

Ottoman Empire by Train follows Professor Alice Roberts to lesser-known places. Below: Somebody Feed Phil on Netﬂix

Daniel Sharp Dash Pictures

pursuit of authenticity, not to mention the impact of the cost-ofliving crisis on the audience’s interest in ostentatious display? “There’s often an appetite for a range of different types of escapism. Shows like Inside Dubai: Playground of the Rich, Inside Monaco: Playground of the Rich, with the absolutely unobtainable, gaudy wealth elements – that stuff is not going away,” says Tom Edwards, creative director at London- and Manchester-based Red Sauce Productions, part of UK factual powerhouse Zinc Media Group. “But there’s interest across the space for the different sort of price points that the audience might prefer,” adds Edwards, a former commissioning editor at the BBC who set up Red Sauce in late 2020. Red Sauce is enjoying success on Channel 5 in the UK thanks to the Paramount-owned broadcaster’s volume commission for its travel docuseries Bargain Loving Brits in the Sun. Having made a 6x60’ season two years ago, Red Sauce made eight hours of the show every week this summer after C5 ordered a whopping 136x60’ episodes last year. The show charts the lives of the

Brits who have swapped the damp and grey of the UK for a new life in the country’s most popular holiday destination, Spain. Meanwhile, with Bargain Loving Brits by the Sea, which is filmed in UK seaside destinations Skegness, Scarborough and Blackpool, Red Sauce is tapping into the trend for domestic travel programmes. Edwards believes this is driven by a mix of concerns over costs, the environment and, following Covid-19, “people realising the genuine wonders in their own backyard with ‘staycations.’” Simon Cox, executive VP of content and acquisitions at Banijay Rights, agrees the trend for domestic travel programming isn’t going away. “The pandemic forced us all to explore and appreciate amazing places closer to home and with greater meaning to us, and that attitude has, without doubt, transferred over into our travel programming,” says Cox. “Domestic travel content has continued to grow through exploring close-by hidden gems and amazing eateries, often with domestic talent at its centre, seen in shows such as Susan Calman’s Grand Week by the Sea, Best of Britain by the Sea, Robson Green’s Weekend Escapes and Rick Stein’s Cornwall.” But clearly, airport check-in queues suggest passports are still being put to use around the world and travel expert Taylor believes that while economic woes may mean people go on fewer trips, they are keen to make the ones they do embark on as unforgettable as possible. “There will always be those with the capacity for big spending. In fact, those with lots of money are going larger than ever before. If we look at the more realistic end

of the scale, people are still desperate to travel, even though the cost-ofliving crisis is biting hard. Travel has always been viewed as an escape in both the literal and symbolic sense,” says Taylor. But with global temperatures the hottest on record for three days in a row in July, there’s growing awareness that we need to change our habits to avert climate catastrophe, with fewer short- and long-haul flights being among the sacrifices we’re encouraged to make in favour of train travel. Rachel Job, senior VP of non-scripted content at All3Media International, believes the TV travel genre is evolving accordingly. “More environmentally conscious programming is definitely connecting with audiences. Studio

Lambert’s ratings-winning travel series Race Across the World taps into how our desire to explore the planet has never been stronger,” she says. “One of the key points that has especially connected with young audiences is by travelling over somewhere by plane we are missing the joys of travelling through that place. So the series promotes a more slow, sustainable way of travelling that has proven really inspiring and compelling viewing,” says Job. So how are producers and distribution companies navigating issues around sustainability in TV travel programming and its impact on the environment? “Using local crews can be a very impactful way of navigating issues of sustainability.  Stanley Tucci: Searching for Italy shows the actor’s close connection to the country

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Channel21 International | Fall 2023

Studio Lambert’s Race Across the World taps our desire to explore

It reduces travel but also offers the production unprecedented knowledge about how the local environment works and how to respect it,” says Job. “We’ve just wrapped production on a series which very much focuses on the environment and sustainability,” says Dash Pictures’ Sharp, referring to Go Gently, based on the book of the same name by Bonnie Wright, who played Ginny Weasley in the Harry Potter films. Meanwhile, Paul Heaney, CEO at UK-based BossaNova Media, is benefitting from what he calls a “seemingly inexhaustible desire for train series around the world,” with recent deals for shows such as Ottoman Empire by Train, itself a follow-up to historical travelogue Ancient Egypt by Train, from prodco Spark Media. Co-financed by BossaNova and Channel 4 and pre-bought by SBS in Australia and SVT in Sweden, the series follows academic and presenter Professor Alice Roberts to locations ranging from Adana to Konya, Ankara to Istanbul, where she meets local experts to learn about the Ottomans. “The producers travel light, staying in low-cost and modest accommodation and filming quickly, fly-on-the-wall style, which not only keeps the costs down but captures a place more naturally. Also, they don’t film ‘exclusive’ locations that only the very wealthy can go to. Quite the opposite, they show the off-the-beaten-track, lesser-known places that would be ideal for the budget traveller,” says Heaney. Other series tapping into the rising interest in rail travel include The World’s Most Scenic Railway Journeys on Channel 5, produced by BriteSpark East, part of Argonon Group, and narrated by Bill Nighy, who also lends his voice to the prodco’s forthcoming Norfolk & Suffolk, again for C5. While the ever-present Nighy, Alexander Armstrong and Joanna Lumley are likely to continue being popular hosts of UK travel programming, there’s a growing list of presenters getting work who differ from the white, middle-class talent that so much TV travel content has been fronted by in the past. This dovetails with programming such as Stuff the British Stole from pubcasters the CBC in Canada and Australia’s ABC, coproduced

they genuinely become immersed in the culture or history of their destination,” says Cox. “Stanley Tucci: Searching for Italy and Eva Longoria: Searching For Mexico are examples of really strong travel-based series that have had real success in the international market, where there are personal, genuine explorations for our hosts as they set about experiencing the food, culture, art and people from their ancestral regions in depth and not at arm’s length.” The pandemic forced us all to explore and “Diversity is a priority across appreciate amazing places closer to home and all our shows, on- and offscreen. We want to reflect the with greater meaning to us, and that attitude has world we aspire to live in. We transferred over into our travel programming. are always on the lookout for Simon Cox, Banijay Rights diverse talent and our most recent documentary series, Go in the travel genre as the series is with Channel 4 leading the way with Gently, focuses on inclusivity and almost exclusively female-led. The shows such as Wonders of the World I advocacy for both the planet and series is presented by the wonderful Can’t See, hosted by blind comedian people who identify as minorities,” Sandi Toksvig, who is joined by her Chris McCausland, and Rosie Jones’ adds Dash Pictures’ Sharp. As some of the names mentioned well-known female friends as they Trip Hazard, fronted by comic Jones, in this article demonstrate, the level explore the UK and Ireland’s best who has cerebral palsy. “The type of programming of talent being drawn to TV travel holiday destinations,” says All3Media that’s getting the most traction shows is rising, as Cox highlights. International’s Job. “Travel content generally used Edwards at Red Sauce says A internationally has a host who has a Wright Family Holiday, made by truly authentic, natural connection to be fronted by travel presenters, Twenty Twenty Productions for to the place they’re travelling to, or critics, comedians and credited chefs, BBC One, is an example of a travel has something to say. As a result, but as media boundaries continue to become more and more blurred – and celebrity talent fluidly moves between scripted and non-scripted projects – we’ve seen an influx of A-list actors stepping in front of the cameras and guiding audiences. Hosts of this calibre, where there is a true connection to the destinations they’re travelling to, bring a charming magnetism to the travel genre and pull in audience numbers,” says Cox. And following a summer of writers and actors’ strikes in the US, perhaps A-listers like Tom Cruise and Scarlett Johansson have been tempted to use all that free time to make their own Rosie Jones’ Trip contributions to the increasingly Hazard for Channel 4 popular travel genre. by Wooden Horse, WildBear Entertainment and Cream Productions and distributed internationally by Fremantle. The series explores some of the most remarkable treasures acquired during the years of the British Empire and is hosted by journalist Marc Fennell. “In our catalogue, the likes of Extraordinary Escapes do feel like a move away from male dominance

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show fronted by a working-class TV personality, in Mark Wright, as well as one tapping into the staycation trend. “We’re seeing more workingclass characters going on holiday. It’s an underrepresented part of the audience and it’s refreshing to see different voices given a chance,” says Edwards. Meanwhile, as Banijay Rights’ Cox points out, disability is also no longer seen as a barrier to travel,

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NEXT BIG THINGS: AI and journalism

Channel21 International | Fall 2023

Helping hand? Rather than take journalists’ jobs, could the use of AI liberate them from time-consuming tasks, allow them to focus on getting better stories and give them greater relevancy? By Nico Franks

rom the outset, it’s probably best mentioned that this article wasn’t written using artiﬁcial intelligence (AI). But then again, how could you know? With regulation lagging well behind technological developments, we are in uncharted territory when it comes to knowing what rapidly improving AI can offer to journalism and what it could take away, be it jobs or trust. The biggest fear for journalists is that their jobs could be among the 300 million full-time roles AI has been predicted to replace, while everyone should be aware of and concerned about the role AI has played so far in the spread of fake news. But some believe that rather than getting bogged down in the economic fears and public anxiety over AI, journalists should instead focus on the potential positive impact of the tech on their work. Mark Little, founder and CEO of Spotify-owned Kinzen, says generative AI could liberate journalists from time-consuming tasks and allow them to focus on getting better stories. Rather than take their jobs, it could make journalists better at them, he argues. Discussing how generative AI will change the news business, Little says journalists should focus less on what he calls the “moral panic” over the tech and more on how it could be used to assist with tasks such as subediting and translating. Little, whose latest venture Kinzen

uses AI and human expertise to detect dangerous misinformation, admits he has an optimistic view of generative AI, which refers to the ability of an AI system to generate new content such as text, images, video and music. But he adds that he isn’t blind to its dangers and warns that “transparency and accountability” are key to ensuring content created with the assistance of AI is both high quality and trustworthy. “We’ve lived in an unconscious cloud of AI for years, in the ways we shop, for example. Then we had this ‘holy shit’ moment with ChatGPT,” says Little. “We can discount a lot of the moral panic, which is actually coming from the AI community themselves. The end of the world is not coming. “The ﬂood of misinformation into the system is a huge challenge to the news business. But think about the assets the news business has that the AI generators don’t. They have tons of venture capital, but they’ve run out of data. “News companies have data. You are not powerless. Come to terms with a contradictory set of thoughts: if you’re not scared, you’re not paying attention. But if you’re not excited then you have no imagination. The task is to hold those two contradictory thoughts in their brain without going mad.” A recent deal that highlights how this market for data – frequently referred to as the new oil of the 21st century – is evolving is the tie-up between ChatGPT creator OpenAI and the Associated Press (AP) for the AI company to

license AP’s archive of news stories. Financial terms of the deal, struck in July, were not disclosed. “We are pleased that OpenAI recognises that fact-based, nonpartisan news content is essential to this evolving technology, and that they respect the value of our intellectual property,” said Kristin Heitmann, AP senior VP and chief revenue ofﬁcer. “AP ﬁrmly supports a framework that will ensure intellectual property is protected and content creators are fairly compensated for their work.” Responsible news media organisations must ensure human involvement in generative AI to avoid factual inaccuracies and costly mistakes, says Ariane Bernard, a CMS, data and analytics product leader and consultant. 

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Come to terms with a contradictory set of thoughts: if you’re not scared, you’re not paying attention. But if you’re not excited then you have no imagination. Mark Little Kinzen

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Channel21 International | Fall 2023

The use of generative AI in journalism must be approached with caution to avoid harming trust, says Bernard, who is the author of the International News Media Association’s recent report on generative AI, which found that the opportunities outweigh the threats. “The place where we need to see some improvement to make the technology more useful is reliability when it comes to knowledge. It currently makes mistakes, which we call hallucinations,” says Bernard, who emphasises the importance of ensuring a “safety-first” approach to generative AI. But are journalists right to be concerned about their job security? “I don’t think there’s going to be a mass level of unemployment coming with generative AI,” says Little. “There’s going to be so much more potential to liberate journalists from the stuff that was never that valuable anyway.” “There’s a possibility that generative AI will result in a potentially very positive rebalancing, so that we actually do what we should be doing: finding out what unique insight our journalists can give on the smell and feel of what it means to be in a situation that deserves to be reported on.” Meanwhile, Kirsten Dewar, senior global director at Dataminr, agrees it’s vital that a human is always “kept in the loop” when using generative AI in the newsroom, and believes there are far greater threats in the shorter term to journalists’ jobs than AI, pointing to recent cuts at Vice and Buzzfeed. “Some of the best ways to manage an AI system is keep it humanmachine-human, so there is factchecking by skilled journalists who make sure it can be published and it is verified. That is essential,” says Dewar, who believes Google’s activities in AI are “far more controlled and managed

NEXT BIG THINGS: AI and journalism

than things have to persuade everybody what like ChatGPT, they’re saying is the truth, just that which feel a bit everything is a lie. “That’s the biggest danger in the like the Wild West. Human coming year,” says Little, who calls on news organisations to “get your supervision is key. “There’s a unique opportunity own houses in order. Make sure you here in the face of cheap, can detect synthetic media and that crap content to re-become you’re transparent around how you’re that bastion of truth and creating synthetic media.” Little and Dewar praise initiatives authority on specific subject matters. But if news organisations such as the BBC’s Verify for “fighting miss that opportunity and give in too hard Kirsten Dewar and fast to generative AI in its infancy, mistakes could be made and more newsrooms could go out of business. Keep coming back to that trust factor.” Little agrees that keeping every technological development in human hands is key and “safety by design” is a hugely important philosophy to Ariane Bernard hold on to. “If you use bad data, you’re going to have a bad outcome,” he says. “If people fire with fire” in the battle to retain, who have quality information at the or regain, audience trust in the social core of their business are involved, we media age. Finally, as Bernard points out, as have a better chance of pushing the the world becomes more complex, lever in a positive direction.” Bylines, media literacy and deciding there could actually be more need for what disclaimers are necessary for the journalists, while Little believes the user to understand providence are key rise of platforms such as Substack as news organisations use generative will see people’s relationships with AI more frequently while AI-generated journalism continue to shift to a more deepfakes spread far and wide on direct-to-consumer model. “Journalism as a personal service to social media. “There is a very real war being raged people who need something – where online in regard to people’s data, people have an individual connection national security and vulnerabilities to a particular writer who serves a online. One of the things I have a niche – will thrive, but maybe not in an feeling is going over people’s heads institutional form. I worry about public is that ransomware and cyber-attacks service journalism as a public utility,” are people stories and a huge area Little says. “There, our battle is not with AI or where people are going to be directly impacted. It’s going to get worse,” technology, it’s about establishing that public information is a public utility like says Dewar. Little picks up: “My big fear is defence or education. The big battle is we face a wave of cheap sludge, to persuade the public that they need generated by these bots, that is going to support public service journalism to cheapen everything. We have 65 as a way for them and their kids to elections next year, including in the UK survive in a society so complex.” and US, the most since the internet was born. I worry about people waking Based on the session The Digital up in a year’s time and not knowing Frontline: How Generative AI will change the news business – threats what’s true anymore.” The Kinzen boss namechecks and opportunity from News Xchange what’s known as the liar’s dividend – Dublin in June 2023, moderated by the idea that conspiracy theorists and Sara Gillesby, director of global video those who want to spread them don’t at The AP.

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Lana Salah, creative director at Zinc Media Group-backed factual and formats label Rex, talks about the company’s strategy to focus on the US market, exploit the current trend for social experiment content and diversify into true crime docs. By Neil Batey

Channel21 International | Fall 2023

Three-Year Plan Rex

t wouldn’t be an exaggeration to suggest that this is a scary time to launch a start-up prodco. With both broadcasters and streamers cutting back on commissioning, production costs soaring and budgets being slashed, the climate within the content industry is challenging to say the least. It is to London-based label Rex’s considerable credit, then, that within its first 18 months in business, it has already delivered three shows for UK public broadcasters. Although Rex is a plucky newcomer, the company is steered by experienced hands. Backed by Zinc Media Group, the label is headed by First Dates and SAS: Who Dares Wins executive Lana Salah, in the role of creative director. A former executive producer at Shine TV and freelance programme maker, Salah’s CV boasts dozens of shows from the formats, docs and factual entertainment spaces – from The Write Offs and Diamond Dealers, Cockney Geezers, both for Channel 4, to Britain Underwater (ITV), and Mary Berry’s A Berry Royal Christmas (BBC on the other side of the Atlantic, Rex One). currently has two projects already She is joined by former Plimsoll receiving funded development from Productions executive Chris Reindorp, US streaming companies, including who was appointed development one access-led series set in the world producer at Rex in June of last year. of junior motor racing. Together, they have worked up a “After proving our reputation in the slate of programming that has so far UK we’re now looking to expand into yielded 3x60’ BBC Two travelogue the US,” says Reindorp. “Obviously Rob & Rylan’s Grand Tour, 4x90’ there are great opportunities with the factual series Scandals for Channel 5, streamers, but they’re very careful and 1x209’ highlights show Get Your with what they pick and we feel there Eurovision On for BBC iPlayer. are a lot of US linear channels that “People told me that if Rex got one are slightly neglected by UK indies. commission from a standing start “I’d love for NBC to become a we’d be doing well, so we’re really preferred buyer, as well as TLC, and chuffed to have got so much traction Roku is a relatively new streaming from different channels at this early platform which is commissioning stage,” says Salah. “It is a tough content that really chimes with the time now, with former colleagues out kind of shows we like to make. of work, advertising down and even Rex execs Lana Salah and “Commissioners in the States are the streamers cancelling shows, but Chris Reindorp also looking for social experiment you’ve got to find the opportunities content, which Lana has a strong within that.” background in, so we’re pitching some headlineIndeed, instead of consolidating its success in grabbing concepts out there at the moment.” the UK, Rex’s three-year plan is based around a There are also plans to diversify Rex’s focused strategy to target the potentially lucrative programming offering beyond the genres that fall within Salah and Reindorp’s comfort zones – with US market. Taking advantage of Reindorp’s strong contacts the true crime space firmly in their sights.

Get Your Eurovision On

“Our golden rule in business is to give the buyers and the audience what they want,” says Reindorp. “True crime is really booming and it’s been fun to develop new ideas within this genre. We’re determined to crack it.” Rex joined a stable of five other TV prodcos at Zinc Media Group: factual label Atomic Television, investigative docs maker Brook Lapping Productions, unscripted label Supercollider, formats-focused Red Sauce and Scottish outfit Tern TV. The hope is that working with other producers within the group will enable Rex to maximise its potential. “The infrastructure at Zinc is really collaborative and cohesive,” says Salah. “We have access to edit suites and post-production, plus teams which specialise in branded content, podcasts and corporate videos. It’s a great environment to bounce ideas around, find ways to get alternative funding and tap into each other’s contacts. “By 2026, we’d like to expand our development team, grow within Zinc and collaborate with the other labels more. I’d also like to have delivered a highend, big-budget show for a streamer and more great UK programming. “I always want to bring heart and humour to any content that I produce. If we continue to do that with our slate at Rex, that will be a good place for us to be in.”