Broadcast 9 August 2013 by Media Business Insight

www.broadcastnow.co.uk

9 August 2013

STEVEN D WRIGHT

GREENLIGHT

IN FOCUS

Page 16

Page 18

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Why a producer’s lot is not a happy one

Who has been the busiest broadcaster?

Quirke: Capturing Dublin’s dark side

GME: TV’s new powerhouse GroupM Entertainment eyes drama and entertainment as influence over British TV grows BY ALEX FARBER AND PETER WHITE

GroupM Entertainment has revealed it is working with a “large section of the production community” as its influence in the commercial TV sector snowballs. The company has been working with Channel 5 for some time but has invested in its first entertainment projects with Channel 4, including a magic format from Zig Zag called Troy. It has also increased its involvement with ITV to include drama series, such as the forthcoming Lord Lucan biopic. Broadcast understands GME has also begun conversations about working with other broadcasters, including Sky and UKTV. GME managing director Richard Foster said its focus is to provide funding for genres on which cashstrapped broadcasters want to spend more. “We are looking to work with broadcasters more as their budgets come under pressure or if they, or the producers, need an alternative source of finance beyond the substantial original commissioning budgets in place. “Producers have seemed to criticise broadcasters for not having the money to invest in shows, so we thought producers would welcome an additional source of potential investment. The number of producers that have approached us suggests the majority do,” he added. GME’s main partner to date has been C5, meaning it has largely worked in the factual and fact ent genres. But it is likely to move further into drama with ITV and C5, which is eyeing scripted projects, as well as investing in more enter-

Poison Tree: STV Productions’ thriller for ITV last year marked GME’s first venture into scripted drama

Do we influence the editorial view of the commissioners? Absolutely not Richard Foster, GME

tainment shows with C4. Foster said it would look at all genres except news and current affairs. GME fully finances all of its projects via the broadcaster and in return receives undefined corporate assets. But Foster refuted claims that broadcasters would order projects just because they were fully financed. “We have a commercial deal with broadcasters around the financing we provide and while it is

not appropriate to give details of those arrangements, it is important to stress that GME-backed shows are not free to broadcasters.” Foster told Broadcast the company does not get involved in the editorial process and that head of programming Tony Moulsdale, who receives an exec producer credit on the majority of series, oversees the company’s investment in its shows – particularly delivery of finished projects. “Does our money influence the editorial view of the commissioners? Absolutely not,” he added. GME offers all producers the same overall framework, whether they are a small indie like Middlechild Productions, which produces The Dog Rescuers, or part of a super-indie like Shine-owned

Dragonfly Productions, which produces World’s Toughest Truckers. GME shares joint control of international rights to each show with the producer and they work together to decide on an international sales strategy. In some territories, GME will work directly with one of its sister companies, particularly in Asia, while in others it will work with international distributors such as BBC Worldwide, Shine International and Paul Heaney’s TCB Media Rights, to sell its programming to global broadcasters. “We want to maximise the commercial deal to the benefit of all participants, so we exercise joint control with the UK producer over international distribution rights,” said Foster.

Editor’s Choice

Broadcast, 101 Finsbury Pavement, London EC2A 1RS or email lisa.campbell@broadcastnow.co.uk

Online this week www.broadcastnow.co.uk

Chris Curtis, deputy editor

Top News

TV types: it’s time to start talking Indies and commissioners must iron out issues once and for all

few months ago, Broadcast’s publisher sent me on a course that was rather euphemistically called Performance Conversations. It might have been better titled Telling People to Pull Their Socks Up. The idea was that it is useful to provide people with the framework and skills to have tricky conversations. It is a good one. Broadcast’s team is excellent at the moment, so I haven’t had to use what I

‘For all its reputation for tough talking, the TV industry often shies away from difficult conversations’ learned (if anything, Lisa Campbell is probably planning a little Performance Conversation with me). But in scoping out the remit for our joint survey with the Edinburgh TV Festival, it has become clear that the TV industry, for all its reputation of tough talking, often shies away from difficult conversations. As well as hearing the usual anecdotes, we spent time talking to both producers and commissioners about how they interact, and asked about the strains that can exert themselves on the creative process. Indies, we heard, are fed up of receiving contradictory notes from myriad commissioners and controllers, while channel execs complain that the leading producers who convinced them to order the show are nowhere to be seen when production kicks off. 2 | Broadcast | 9 August 2013

Commissioners also told us they tend to work with indies again even if the last show they delivered was not what was expected – good ideas remain scarce and you can’t afford to alienate top creatives with a dressing down. Meanwhile, indies complained that more and more commissioners are acting like executive producers, overstepping the mark with heavy-handed interventions in the creative process. Ah, countered commissioners, we often have to. Shows can lack guidance, and we’re hardly going to sit by, are we? Unless the industry gets better at fronting up with one another, these problems are here to stay. But at the moment, no one seems to be prepared to start talking, hence the survey. It’s great that Danny Cohen, Stuart Murphy, Jay Hunt and Peter Fincham have agreed to discuss its findings, which should prompt an informed, grown-up debate – more Question Time than Jeremy Kyle. The session takes place in the Pentland at 3.15pm on Friday 23 August. It’s called We Need To Talk About Commissioning – and we clearly do. ➤ Broadcast is taking a one-week break from its print schedule next week, so there will be no issue of the magazine on 15 August. Instead, all the industry news and opinion will be available at broadcastnow.co.uk, and we will return to print on Thursday 22 August with a bumper issue for the Edinburgh TV Festival. Expect some hot stories and the first results from our survey. See you in Scotland.

è Channel 4’s features division has ordered home remedies series Health Freaks from Outline Productions and Kirstie Allsopp’s Best Of Both Worlds from Raise The Roof Productions.

è A sequel to The Inbetweeners Movie (below) is in production and will be released in cinemas next summer. The film is produced by Bwark Production, which will co-finance with C4/Film 4.

è The BBC has commissioned Make My Dream, the first project to come out of its staff crowdsourcing platform iCreate.

Ratings Top Five 1 BBC1’s launch of Peter Capaldi (below) as the 12th Doctor peaked with an audience of 6.9m on Sunday. 2 How To Get A Council House found a home for 2m on Thursday. The threepart doc was well ahead of Channel 4’s slot average for the previous 12 months. 3 C4’s latest music pilot, That Music Show fronted by Nick Grimshaw, failed to hit the right notes with viewers on Friday, pulling in just 512,000.

BBC1’s new sports quiz show I Love My Country failed to unite viewers on Saturday, with just 3m viewers. 4

5 C4’s Dispatches exposé about celebrity endorsements on Twitter – Celebs, Brands And Fake Fans – was followed by 1m on Monday.

Team Tweets è Geek Tweet Alert: Capaldi a good choice as the Doctor. His performance as Torchwood’s Frobisher in series 3 was that show’s high point. @ChrisMCurtis

www.broadcastnow.co.uk

News & Analysis

Indies split over GME terms Some producers question the funding model, but others welcome opportunity to make shows BY ALEX FARBER AND PETER WHITE

GroupM Entertainment has been the co-production partner in at least seven commissions in the past eight weeks, and its growing influence has been one of the hottest topics in the industry. The company has many more projects in the pipeline, but the large number of indies that have flocked to GME is balanced by some that have questioned its business model and intentions. The main concern from indies is the terms, particularly those around international rights, they must agree to in order to receive funding. Following Broadcast’s report in May that GME was working with Channel 4 for the first time, anonymous commenters suggested that the relationship between the producer and GME was similar to that of turkeys and Christmas, and that GME was benefiting on the back-end of shows without sweating through any of the development process. However, GroupM Entertainment managing director Richard Foster said that all parties have to benefit from its deals, otherwise they fall apart. “Producers have a need for investment, so we have devised a way to give them money that works for both them and us. We want to take something out in exchange for putting something in.” The company has standard frameworks in place with both producers and broadcasters, designed to allow them to give quick answers on projects. Foster added that many producers have been knocking down its doors. “The vast majority of these arrangements have been instigated by producers looking to work with GME,” he said. Pact chief executive John McVay added: “Anyone bringing money to help originate British content is good. I have some concerns over the terms you have to accept if you take the money, but that’s a private negotiation between the www.broadcastnow.co.uk

GME co-pros: Magaluf Weekender; New Lives In The Wild; My Secret Past; Jodie Marsh: Can We Beat The Bullies

The bottom line is, if you don’t like GME’s terms, don’t do the deal John Nolan, North One

producer and whoever is offering the money.” And indies that have worked with GME were happy to speak up for it. John Nolan, head of commercial programming and digital content at All3Media-owned North One, said: “The bottom line is, if you don’t like GME’s terms, don’t do the deal. No one is forcing anyone to work with anybody. If you don’t like ITV’s or Channel 4’s business terms, you don’t have to work with them either. My job is to look at alternative methods of funding shows and GME is one option. It’s one of a wealth of different funding models.” However, one super-indie told Broadcast it had ruled out working with GME until the terms are more flexible. GME is aware that its deal is less suited to production companies that are part of vertically inte-

grated super-indies as a result of the way the international distribution and production terms are arranged. “Our experience shows that the vertically integrated distribution model isn’t always the best option as it depends on the suitability of the distributor for the specific show,” said Foster.

Alternative funding Gravity Road is yet to work with GME, but founder Mark Eaves said: “The deal is well suited to mid-sized indies that are commercially astute but not big enough to pull the levers of a global production business. It is part of a third way, after yes or no, in which broadcasters like something but can’t afford it.” GME has worked with producers of all sizes, from small indies such as Lambent Productions (C5’s Pet Hoarders)) and Electric Sky (Teen Teen Amnesia)) through to the larger producers, including Shine, The Garden and ITV Studios. Middlechild Productions is working with

GME on The Dog Rescuers for Channel 5 and boss David Sumnall said it had been a great experience. “Maybe it’s because we’re a new and small indie, but it hasn’t been complicated for us. Obviously they want a share of the back-end, but if it means that we can make these programmes, that is great for us.” The other, more controversial, concern is that GME is using its investment to buy airtime via the back door. “They don’t tell you what the deals they have with the broadcasters are, so as far as everybody knows, they’re bartering airtime,” said one producer that has worked with GME. But the airtime charge was categorically refuted by Foster, and one super-indie producer backed GME’s model. “Anyone that doesn’t like them is romanticising the market; broadcasters are money-making machines. People wish the world was like it used to be, but it isn’t any more.” 9 August 2013 | Broadcast | 3

News & Analysis

Liberty chief sets out Virgin growth plans BY PeTer WHiTe

Liberty Global founder John Malone has addressed rank-andfile Virgin Media employees and Chellomedia content staff at a town hall meeting in London. Malone, who rarely travels by plane, made a trip from the US to rally staff at the meeting and cement plans to grow the cable business over the next few years. During an open question-andanswer session at the Queen Elizabeth II Conference Centre, Malone talked about his history in the UK – he was previously a shareholder in Telewest – and how the market has changed over the past 10 years. Malone also talked through growth opportunities, particularly around innovations for Virgin Media’s television service and quad-play offer. Liberty Global acquired Virgin Media in February for £10.2bn and Malone reiterated that the deal was designed to quickly add significant scale in Europe’s largest and most dynamic media market. The buyout means that Liberty Global has more than 25 million customers in 14 countries.

Malone: rallied Virgin Media and Chellomedia staff at London meeting

Malone hired former BSkyB executive Tom Mockeridge as chief executive in May, after former chief exec Neil Berkett decided to step down following the sale. In addition to Mockeridge’s appointment, there have been a number of changes to the Virgin Media management in the past few months, including the departure of Cindy Rose, executive director of digital entertainment, and the promotion of long-term Liberty Global European program-

ming executive Stephane David to VM executive director of content. This week, Liberty Global restructured the management of its Central and Eastern European division to drive further international co-operation following the Virgin Media deal. The meeting was attended by more than 200 employees of Virgin Media, Liberty Global and its content arm Chellomedia, which operates dozens of channels worldwide and was recently put up for sale.

BBC orders social experiment and Paramedics series A social experiment that will relocate 100 unemployed youngsters to an ageing Dorset town and a series from the team behind Junior Doctors are the latest commissions for BBC Entertainment North. BBC3 has ordered No Country For Young Men, a 6 x 60-minute series set in Christchurch, where more than a third of the population are over 65 years old. The town’s elderly residents will interview the newcomers before whittling them down to the most deserving. Sandi Scott is series editor and David Williams, creative director for Entertainment North, is executive producing. BBC3 is also evolving medical series Junior Doctors to focus on paramedics working for the Ambulance Trust. Junior Paramedics: Your Life in Their Hands is a 7 x 50-minute series that will examine how young staff cope with being thrown in at the deep end. Ceri Aston is executive producing. The shows were commissioned by BBC3 controller Zai Bennett and Sean Hancock, executive producer, entertainment commissioning. “Junior Paramedics and No Country For Young Men promise to be thought-provoking series about young people trying to find their place in the world,” said Hancock.

Producers join forces to launch factual indie Brown Eyes TV We have all made it in our own ways and are now looking to do the projects we are passionate about

BY aLex FarBer

A founder of Flame TV and a former chief executive of XYTV have joined forces to launch indie Brown Eyes TV. Barbara Altounyan and Diane Myers have established the business with producer/director Wendy Homewood. It will focus on factual and fact ent programming aimed at the primetime and daytime schedules. The three creative directors, who each have more than 20 years’ TV experience, plan to establish offices in York and London after the indie wins its first order. 4 | Broadcast | 9 August 2013

Barbara Altounyan, Brown Eyes

Heir Hunters: produced by Flame TV

Since forming the business in July, they have secured two paid developments: a series for Discovery and one-off doc for Channel 4. Altounyan founded Flame TV with Roger Bolton in 1999 before

selling it to Avalon in 2009. She left the company 12 months ago. Myers, who specialises in securing access for ob-docs with sensitive issues, produced and directed C4 criminal reconstruction series Partners In Crime and left XYTV in

2005 to become head of broadcasting for Leeds University. Homewood’s career has included working on BBC1 shows Georgia’s Story: 33 Stone At 15 and Amanda Holden: Really Wild At Heart for ITV. Altounyan said the trio’s experience meant broadcasters would see them as“a safe pair of hands”. “We have all made it in our own ways and are now looking to do the projects we are passionate about,” she said. “We also want to replicate the success achieved by Yorkshire’s True North. There is a lot of production and on-screen talent we plan to nurture.” www.broadcastnow.co.uk

News Sky keeps its options open on Bravo relaunch Sky has paved the way for resurrecting one of the former Virgin Media TV brands by registering Sky Bravo as a trademark. Male-skewing Bravo was the second-biggest brand in the VMTV portfolio, which the satellite broadcaster bought for £160m in June 2010. The most highprofile, Living, was rebranded as Sky Living later that year, but Sky chose to close Bravo on 1 January 2011 after 25 years on air. A Sky source said the company had no plans to launch Sky Bravo imminently but that it likes to be able to be nimble when shaping its channel portfolio. The source also confirmed that the name had been registered at the Intellectual Property Office. “We often register trademarks for things we might want to use in the future. We wouldn’t want the option taken away and are safeguarding our IP.” The Sky Bravo name was registered across six classes, which comprise a broad range of potential uses. Bravo’s previous content included blue-light programming, Danny Dyer-fronted series and US imports. The highest-profile show on the channel when it was pulled was Spartacus: Blood And Sand, which transferred to Sky 1.

True North wins first Chinese series order BY Alex fArBer

True North is planning for a major expansion into China after securing a three-part series with state broadcaster CCTV9. Designed In China, a 3 x 60-minute co-production with French broadcaster France Ô, was brokered by agency China Intercontinental Communication Center (CICC). The series, due to be delivered in early 2014, features nine talented young Chinese designers who are at the cutting edge of fields including architecture, fashion and product design. Designed In China is being exec produced by Rob Slater, who is based in China and is recruiting a local production team. The editing and cutting will take place at the indie’s Leeds headquarters. The English-language show will be re-voiced in French for France Ô, while a distribution deal, likely to be with a UK firm, is currently being finalised. The indie has a further six projects under consideration with CICC for the Chinese market. It has made the gains following the recruitment last June of ITV

Designed In China: series will feature nine cutting-edge designers

Studios exec producer Liz McLeod, who has specialist knowledge of the region. True North creative director Glyn Middleton said China had the potential to be a valuable new territory for the indie and that broadcasters there are interested in high-quality shows produced in a traditional style. “You have to earn the trust of the people that commission there. They are very demanding about what they want – it’s vital to deliver the kind of show they are

looking for,” he said. “They also have one eye on making shows that will appeal to an international market, which is where working with a UK indie can help.” Middleton added that he would consider establishing a Chinese base if business continues to grow. “The level of international competition, particularly in the US, is fierce,” he said. “If we can continue to develop the right relationships, it could potentially open up to become a fantastic opportunity for us to grow.”

Shine and Barcroft strike distribution and development deal We want the opportunity to turn great access into many more hours of TV

BY PeTer WhITe

Shine International has trumped a raft of rival distributors to ink a first-look development and distribution deal with Barcroft Productions, producer of Channel 4’s Girl With Eight Limbs and Nat Geo’s My Child Is A Monkey. The distributor will work with the indie on popular factual entertainment programming, starting with Channel 5 doc Pistorius Trial: The Key Questions. The show recorded 1.13 million (7.09%) overnight viewers when it aired in June, plus 233,000 timeshifted viewers. www.broadcastnow.co.uk

Sam Barcroft, Barcroft Productions

Pistorius Trial: 1.13 million viewers

Barcroft Productions was set up by Sam Barcroft in 2011 as a sister company to Barcroft Media, an international news and photo company that provides content to

newspapers, including The Guardian and The Sun, as well as footage for US shows such as Inside Edition. The indie has previously struck development deals with Zig Zag, with which it produced 11 series such as C5’s World’s Smallest Muscleman and C4’s Aged Eight And Wanting A Sex Change, and Darlow

Smithson, where it worked on a number of docs for US network TLC, including My Kid Survived. Barcroft said the deal with Shine would give it the resources to grow quickly. “Essentially, we want the opportunity to turn great access into many more hours of television,” he said. The company, which also counts Caspar Norman as head of production and recently hired ex-C5 commissioner and Cineflix exec Ian Russell, is particularly eyeing growth in Asia. The deal was struck by Barcroft and Shine International director of acquisitions Georgia Brown. 9 August 2013 | Broadcast | 5

News & Analysis

Impossible Pictures’ factual arm goes solo BY Alex FArBer

Impossible Pictures’ factual division has been spun off as a standalone producer in the aftermath of creative director Tim Haines departure to ITV Studios. Jonathan Drake, managing director of Impossible, has completed a management buyout of the division and established Impossible Pictures Factual with execs Paul Wooding and Steve Maher. All three will sit on the management board. Impossible Pictures Factual will fulfill all orders placed before the restructure, including Channel 4’s Human Swarm and AETN UK and History Canada’s Great Martian War, and has already secured a sixpart series with a US broadcaster. It is operated by newly established parent company Three River Studios. Drake explained the management buyout would give him more control over the direction of the content. He said: “We like the series we are working on, have a great slate and a really strong brand name. The company has strong roots, a good pipeline of paid development and we are

Primeval: exec produced by Tim Haines, who joined Impossible in 2001

taking an unfettered, ambitious view of our direction.” He added that he is considering establishing a scripted division later this year. Primeval co-creator Haines, whose departure to ITV was revealed last week, will continue to operate Impossible Pictures and multiplatform indie 360 Productions. The two businesses have an array of projects to deliver, including a live experience and YouTube channel Head Squeeze. Both will continue to operate, along with Impossible Pictures Factual, out of the company’s Goodge Street offices. Haines said: “Impossible will fulfill all the projects it is working on and then

take stock. But the company has a great name and will be managed as a going concern.” Haines and Impossible exec producer Katie Newman will head a new drama unit at ITV Studios, separate to its existing divisions. This will include Francis Hopkinson’s team, which produced twopart drama Lucan, Kate Bartlett’s London-based team and Kieran Roberts’ Manchester-based arm. All four report into ITVS managing director Denise O’Donoghue. Haines, who joined Impossible when it was founded in 2001, has executive produced series including ITV’s Primeval and Sky 1’s Sinbad.

Twenty Twenty’s Wagstaffe joins C4 features team Channel 4 has bolstered its features team with the appointment of former Undercover Boss USA exec producer Stef Wagstaffe. An experienced features and factual entertainment developer and producer, Wagstaffe is joining the broadcaster as a features commissioning editor from Twenty Twenty, where she exec produced The Choir spin-off Sing While You Work for BBC2. A former vice-president of current projects and development at Studio Lambert, Wagstaffe developed and executive produced Wife Swap for ABC, along with CBS’s Undercover Boss, for which she was awarded an Emmy in 2012. She will report into C4 head of features Gill Wilson and will work alongside Nick Hornby and Kate Teckman, as well as former Channel 5 and BBC exec Alex Menzies, who joins the broadcaster next month having been hired in June. The appointments follow the departures of features commissioners Karoline Copping and Katie Boyd in June. Commenting on Wagstaffe’s appointment, Wilson said she had a “proven track record in developing and producing big formats to deliver audience growth”.

BBC commissions first crowd-sourced format from iCreate Creativity exists right across the BBC, just waiting to be unlocked

BY PeTer WHITe

The BBC has commissioned factual format Make My Dream, the first project to come out of its fledgling staff crowdsourcing platform iCreate. The broadcaster’s in-house production arm launched the online service in December to encourage all of its 2,500 employees to post suggestions for new shows. It has ordered Make My Dream as a segment within The One Show and is exploring the possibility of launching the wish-fulfilment show as a full series. The format was created by BBC Bristol editor 6 | Broadcast | 9 August 2013

Ailsa Orr, iCreate

The One Show: to showcase format

of learning Matt Walker and Neil Churchill from the BBC’s political unit at Millbank. They were introduced to the factual formats lab by development executive Kathy

Myers and worked with the team to secure the commission. BBC Production Innovation Unit head Ailsa Orr is responsible for iCreate. She said: “The roles of the key builders of Make My Dream prove that creativity exists right across the BBC, just waiting to be unlocked.

“BBC iCreate now gives us the ability to bring staff from different parts of the BBC together, source initial programme ideas from a wider pool and win more business. I am delighted to have made this kind of progress in just six months.” BBC controller of factual production Natalie Humphreys added: “This is win-win result, which positions BBC iCreate as a sound resource to support and grow the brightest ideas in partnership with our in-house teams.” BBC iCreate uses software from Wazoku to connect staff based in London, Bristol, Salford, Cardiff, Belfast and Glasgow. www.broadcastnow.co.uk

Commissioning News

Animal Clinic set for C5 return Ben’s background and love of animals make him the natural choice to present the second series

BY Peter White

Channel 5 is bringing back Animal Clinic and has replaced host Rolf Harris with Countryfile star Ben Fogle. The Northern & Shell-owned broadcaster has renewed the programme, produced by Special Edition Films, for a second series despite Harris’s arrests as part of Operation Yewtree. The show was being repeated in April, at the time of the first arrest. Animal Clinic will continue to follow the work of the University of Liverpool’s Vet School, one of the world’s leading veterinary institutions. Presenter and adventurer Fogle will shadow the professionals at the university’s three state-ofthe-art animal hospitals on the Leahurst Campus. The series will follow cardiologist Hannah Stephenson as she treats a bearded collie with a tumour-like mass on its heart, as well as specialist farm vets who act as emergency midwives for ewes during lambing season. Veterinary surgeon Neil Townsend

ITV takes the plunge with Tom Daley gap year series Splash! star Tom Daley continues to make waves after ITV2 ordered a six-part series from Twofour and GroupM Entertainment. The digital broadcaster has commissioned Tom Daley Takes On The World (w/t), which will follow diver Daley (pictured) and his best friend Sophie as they head around the world. The pair, who will rough it in hostels and on night trains, will visit countries including Thailand, Japan, Australia, Morocco and New Zealand on the student backpacking tour. The 6 x 60-minute series was ordered by ITV entertainment commissioner Kate Maddigan and director of digital channels and acquisitions Angela Jain. It will 8 | Broadcast | 9 August 2013

Ian Dunkley, Channel 5

Ben Fogle: taking over from rolf harris as host of Animal Clinic

will also be shown treating a horse with a potentially fatal case of gut complaint colic. C5 has increased the series’ length from 6 x 60 minutes to 8 x 60 minutes for the new run. The first series performed well for the channel, opening with an

audience of 1.9 million (7.5%) and averaging 1.6 million (6.35%) over the run, well above C5’s Tuesday 8pm slot average of 1.1 million (4.8%). The second series was ordered by outgoing commissioning editor Ian Dunkley, who is moving to

be exec produced by Twofour’s Juliet Rice and GroupM Entertainment’s Tony Moulsdale and Melanie Darlaston.

of the Nutopia board, is also an exec producer.

Nutopia explores story of great ideas for BBC

Channel 4’s features division has ordered a health series from Outline Productions and a Kirstie Allsopp-fronted show from Raise the Roof Productions. The 6 x 30-minute Health Freaks will put traditional home remedies to the test to discover whether they have any medicinal value. The series was ordered by commissioning editor for features Nick Hornby and will air in the autumn. C4 features has also ordered 8 x 60-minute Best Of Both Worlds, in which Allsopp hunts for properties that offer prospective buyers a taste of country living within easy reach of the city. The series was ordered by C4 head of features Gill Wilson. It will air in 2014 and will be exec produced by Raise the Roof creative director Sarah Walmsley.

The BBC has ordered a six-part science series from Nutopia exploring the legacy of great ideas. How We Got To Now is a co-production with US public broadcaster PBS. The series, which is presented by science and technology writer Steven Johnson, will be produced by Secret Life Of Twins producer Diene Petterle and exec produced by Nutopia boss Jane Root and Peter Lovering, who also worked on Nutopia’s The 80s: The Decade That Made Us. Former C4 chief exec Michael Jackson, a member

C4 features examines home remedies and country living

Channel 4 to join Liam Humphries’ fact ent team. Dunkley said: “We are delighted to have Ben on board. His background and love of animals make him the natural choice to present the second series.” This is Fogle’s second series for C5 – he previously presented Renegade Pictures’ 4 x 60-minute New Lives In The Wild, which launched earlier this year and averaged 1.5 million (5.4%) across its run.

For details of all commissions, see

http://greenlight.broadcastnow.co.uk

Third time lucky for BBC1’s The Syndicate Kay Mellor’s Rollem Productions has been commissioned to make a third series of The Syndicate, which will return to BBC1 in 2015. The 6 x 60-minute lottery winners drama, ordered by BBC drama

controller Ben Stephenson, will be shot in Yorkshire and exec produced by Mellor and BBC head of independent drama Polly Hill. The second series (pictured) averaged 6.3 million viewers. The new series will focus on staff working in a stately home in a Yorkshire coastal town. www.broadcastnow.co.uk

For more projects in development and the latest commissions, visit

http://greenlight.broadcastnow.co.uk

Q&A gwAwr mArThA lloyD Gwawr Martha Lloyd Content Commissioner, S4C

What’s your most recent commission and why? A film called Y Syrcas (The Circus) about the first time a circus comes to town in 19th century rural Wales. I was looking for a family film and this project takes a well-known Welsh tale as its inspiration and creates a really magical world. How much has the programme changed from what was initially pitched? Well, it’s now a multilingual film with Welsh, English, Spanish, French, Irish Gaelic, German and Yoruba, which is probably more true of the period. What was it that grabbed you? The fact that it was an inherently Welsh story with a universal coming-of-age theme, and the challenge of how to recreate a fully functioning Victorian circus in the Welsh countryside.

What’s the worst line you’ve heard in a pitch? “Tell us what you want and we’ll do it.” What’s your riskiest commission and why? An adaptation of a site-specific multiplatform promenade theatre production by Theatr Genedlaethol Cymru (Welsh-language national theatre) into an one-hour, one-off drama for a prime-time slot. Which TV character/personality would you most like to be? Sara Lund from The Killing. She is instinctive and fearless. What’s your guilty pleasure? I follow Victoria Beckham on Twitter. What is the most important lesson life as a commissioner has taught you? Go with your gut instinct – I always kick myself when I don’t, whether things work out in the end or not. How quickly do you aim to respond to an idea? Within six weeks. Who has final sign-off? Dafydd Rhys, S4C director of content.

What would you like more of? Big ideas that place Wales in a world context. Also, co-pros similar to what we’ve done with Y Gwyll/Hinterland, our new detective drama, filmed back to back in Welsh and English.

How should producers pitch to you? Send a short, clear pitch via email and, if I like it, I’ll set up a meeting. If I’m still keen, I’ll ask for a more detailed document that really focuses the idea.

What’s a definite no for you? Nothing. As long as the ideas are ambitious.

What’s your top pitching tip for producers? Believe in your idea and know why you want to tell that story. It’s obvious if your heart isn’t really in it.

What’s the best line you’ve heard in a pitch? It’s not a line, but I was recently sent a pitch – written in character – scrawled on a brown paper bag. It was very intriguing and after I breathed into the bag a few times I realised it was a good idea. We’re looking into it.

Further information and programming tariffs available at: http://greenlight.broadcastnow.co.uk

reCeNT CommISSIoNS

Y GWYll/HinTerland

Crud Yr aWel (WorkinG TiTle)

Indie Fiction Factory production for S4C in partnership with All3Media, Tinopolis and BBC Wales Length 4 x 120 minutes TX Autumn 2013 on S4C and 2014 on BBC Wales and BBC4 Summary Ceredigion-set crime thriller starring Richard Harrington, shot back to back in Welsh and English.

Indie Apollo, part of Boom Pictures Length 8 x 60 minutes TX Spring 2014 Summary Set in an ordinary cul-de-sac, the discovery of a dead body causes the seemingly quiet suburban world to unravel.

www.broadcastnow.co.uk

9 August 2013 | Broadcast | 9

International

BBCW cooks up series for Khoo BY PeTer WhITe

BBC Worldwide has ordered two 10-part cookery series fronted by chef Rachel Khoo as part of its move to commission 150 hours of original content by 2014/15. London Food Diary and Cosmopolitan Cook, slated to air in spring 2014, will be hosted by the pastryspecialist-turned-TV-chef, who is best known for the BBC2 series The Little Paris Kitchen. For London Food Diary, the English chef, who lives in Paris, will return to the UK capital and immerse herself in the city’s culinary tastes through blogging and sketching in her notebook. In Cosmopolitan Cook, Khoo will travel to cities including Naples, Barcelona and Stockholm to find inspiration for her own supper club. The two series, both of which are 10 x 25 minutes, are produced by BBC Bristol, which also makes Nigellissima and The Hairy Bikers, and will be fully funded by BBC Worldwide Channels. They will be shown across Africa, Asia, the Middle East, Poland and Scandi-

Rachel’s multi-ethnic recipes will have appeal across our international audiences Tracy Forsyth, BBCW

rachel Khoo: Paris-based chef to host two cookery series for BBCW

navia on BBC Lifestyle and on BBC HD in Latin America, Poland, Scandinavia and Turkey. The commissions, ordered by vice-president of commissioning

Tracy Forsyth, come after BBC Worldwide Channels, BBCW’s international division, hired UKTV commissioner Julie Swanston and former C4 programming exec

Lucy Pilkington ahead of extending its original commissioning. Forsyth said: “Rachel’s signature style and creative, multi-ethnic recipe ideas will have wide-ranging appeal across our international audiences. She’s inspirational but accessible and her food is stylish but deliciously simple. “BBC Bristol has produced some of Britain’s best food series, exactly the type of high-quality programming that I’m seeking for the BBC’s channel portfolio.” BBCW’s other original commissions include Mox Productions’ Best In Town, Furneaux and Edgar Productions’ Bill’s Kitchen: Notting Hill and 360 Production’s Really Cool Stuff.

ITV Studios to take Coach Trip to Germany BY PeTer WhITe

Factual entertainment formats Coach Trip and May The Best House Win are to be remade in Germany after ITV Studios closed deals with two broadcasters. RTL has ordered a local version of 12 Yard Productions’ Coach Trip, while ProSiebenSat.1’s Kabel Eins has commissioned a version of ITV Studios’ May The Best House Win. ITV Studios Germany, which is run by managing director Jan Kromschröder, will produce both series. The German version of May The Best House Win, called Mein Zuhause, Dein Zuhause – Wer Wohnt Am Schönsten, will be a 20 x 33-minute series, stripped across the week in a daytime slot. Coach Trip, to be known in Germany as Der VIP Bus – Promis Auf Pauschalreise, will be a 10 | Broadcast | 9 August 2013

These two series are ITVS’s most popular entertainment formats internationally Jan Kromschröder, ITVS Germany

Der VIP Bus: German drag queen Olivia Jones to host Coach Trip remake

6 x 60-minute series. German drag queen Olivia Jones will present the show, which will be shot on location in Italy. Kromschröder said: “May The Best House Win and Coach Trip are

two of ITV Studios’ most popular entertainment formats internationally and we anticipate that they will prove as successful with German viewers as they have with audiences worldwide.”

May The Best House Win, in which four homeowners compete to win £1,000 by showing off their homes, originally aired on ITV in 2010. It was produced by ITV Studios-owned Shiver and was narrated by Guy Porritt. Coach Trip, in which teams compete to stay on the coach as it travels across continental Europe, began in 2005 and ran on and off on Channel 4 for more than 300 episodes. It starred tour guide Brendan Sheerin. www.broadcastnow.co.uk

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Paramount steps up TV push

The Shield’s Shawn Ryan was on board as writer. Many more remakes and original projects are now likely to be pitched to US networks and could end up on the shopping lists of British buyers at next year’s LA Screenings. “Next fiscal year, we’ll see several projects enter the pipeline at Paramount Television,” Viacom

chief executive Philippe Dauman told investors at the company’s quarterly financial results announcement last week. Paramount has in the past produced hugely successful shows including Star Trek, Cheers and Frasier. However, the company moved out of TV production in 2005 when owner Sumner Red-

stone spun out Viacom, which owns Paramount, and CBS into two separate divisions. The new strategy could be good for both the creative community and international broadcasters keen to find new retailers of highquality US content. Powell remains head of digital at Paramount and has experience and contacts from working with partners such as Netﬂix and Amazon. She also runs microbudget film division Insurge Pictures, which last year released supernatural horror film The Devil Inside, as well as documentaries on Katy Perry (Part Of Me) and Justin Bieber (Never Say Never). This could give Paramount Television an advantage in the TV space by working with independent feature film talent keen to move into TV. “Amy’s skill and experience working across all platforms, at engaging audiences and, most recently, her work at Insurge, will be instrumental as we build a versatile TV operation,” said Paramount chief executive Brad Grey.

The NBC Universal-owned cable broadcaster is working on Rich Kids Of Beverly Hills, loosely based on the Tumblr blog Rich Kids of Instagram, in which a group of wealthy kids show off online. It is the latest series to be based on a blog following Sh*t My Dad Says, which ran for one season on CBS, and I Suck At Girls, which has been picked up by Fox and retitled Surviving Jack. Tumblr blogs Fuck I’m In My Twenties and Hollywood Assistants were both developed for TV but not picked up by the networks. Rich Kids is produced by ITV Studios America, the division run by Paul Buccieri, and Leepson Bounds Entertainment. The latter is the US indie set up by Kentucky Bidders producer David Leepson and has an overall deal with the US division of ITV Studios.

Russia takes Shipwrecked and Don’t Forget formats

NBCU hires Fever exec for non-scripted development

Reality series Shipwrecked (pictured) and Sky 1 karaoke show Don’t Forget The Lyrics are to be remade in Russia. The remakes follow a deal between Zodiak Media and Russian broadcaster NTV. Mastiff Russia, the production company owned by Zodiak Vostok, will produce both shows locally. Shipwrecked has been ordered as a 13 x 90-minute series and Don’t Forget The Lyrics has been commissioned as a 19 x 60-minute run. Both will air later this year. Don’t Forget The Lyrics, which aired on Sky 1 in 2008, featured contestants competing to win up to £250,000 by recalling song lyrics. Shipwrecked ran for 112 episodes over eight series on Channel 4 between 2000 and 2011.

NBC Universal International has hired Fever Media’s Jack Burgess as head of development for its non-scripted programming. Burgess will develop shows for the UK and major international markets with NBCU’s production companies Monkey Kingdom and Chocolate Media. He will also work closely with the network’s Australiabased indie Matchbox Productions and Canada’s Lark Productions. Burgess, who took on the head of development role at Fever in January 2012 following the departure of Tim Harcourt, has worked across shows including ITV’s 71 Degrees North and BBC3’s The Year Of Making Love.

BY PeTer WhITe

Paramount Pictures is aggressively expanding into television, in a move that could result in the creation of another major TV player in Hollywood. The Viacom-owned film company has hired independent feature film executive Amy Powell to run its TV operation and plans to produce big-budget broadcast network series, as well as cable and digital content. Paramount is likely to start by going through its library to identify movies it can adapt for the small screen. Potential titles include The Godfather, Rosemary’s Baby, Saturday Night Fever, Grease, Friday The 13th and Paranormal Activity. The company dipped its toe in the TV market earlier this year with a deal to co-produce a remake of Beverly Hills Cop in association with Sony Pictures Television. CBS ultimately passed on the project but Paramount had lined up Eddie Murphy to star in it and act as executive producer, and

MTV unveils unscripted slate US cable network MTV has ordered a range of unscripted series including new projects from Endemol and the creator of Jersey Shore (pictured). The Viacomowned youth broadcaster has ordered two food series – House Of Food and Snackdown – marking its first move into the genre. It has also commissioned dating formats The Ex And The Why, by SallyAnn Salsano, the creator of MTV hit Jersey Shore, and Untitled Virgins Project, from Endemol USA.

ITV Studios develops Rich Kids Tumblr blog for E! US cable network E! is developing a reality series about a group of rich kids from Beverly Hills, produced by ITV Studios America. www.broadcastnow.co.uk

Beverly hills Cop: Paramount mooted TV remake of ﬁlm with Sony

9 August 2013 | Broadcast | 11

Multiplatform News IN brIEf Spring arrives at Yahoo! Spring Films has delivered its first online series, My Family And Other Recipes, to Yahoo!. The indie has produced 10 shows of three-to-five minutes in length. Each episode features people from around the UK who invite a film crew into their kitchens to showcase their prized family recipes.

Bradbury takes on robots The Gadget Show host Jason Bradbury is launching a YouTube channel, Supa RobotAttack, dedicated to robot fighting. Produced by ChannelFlip, the channel, which launches this week as part of YouTube’s Geek Week, will feature a variety of walking robots programmed with individual fighting styles, including karate, boxing and Mexican wrestling.

Portal streams riot doc VoD portal Dailymotion is exclusively streaming documentary Riot From Wrong, which aims to tell the unreported story of the London riots from the point of view of young people affected by them. The hour-long Fully Focussed Productions doc follows 14 Londoners frustrated by the police and the way the media covered the events. Dailymotion head of international content March Eychenne said: “The deal highlights how independent content creators are increasingly looking to social media to distribute their content.”

Lovefilm in NBCU deal Lovefilm has beefed up its kids’ service in the UK through a deal with NBC Universal. The streaming service will launch series including Rastamouse, Curious George and Barbie: Prin cess Charm School as part of the agreement. Other NBCU series covered by the deal include The Land Before Time, based on the animated adventure film, and animated series Maisy, based on the books by Lucy Cousins.

For the latest breaking news www.broadcastnow.co.uk 12 | Broadcast | 9 August 2013

ITNP to deliver EPL clips to mobile ‘within minutes’ BY alex farBer

ITN Productions is preparing to deliver more than 9,500 VoD highlights of this season’s Barclays Premier League to The Sun and The Times mobile apps minutes after the live action occurs. The producer, which also delivers content to the Sports News Television website and ITV Sport, will for the next three seasons provide the News UK mobile apps with in-game goals highlights and key moments such as red cards. The online and mobile highlights were previously held by Yahoo! and ESPN respectively, with ITN aiming to deliver the clips “within minutes” – quicker than was previously achieved. Depending on the number of incidents, around eight mobile highlights from each game will be available on the day of the match and then replaced at midnight with a five-minute package, which will also be made available online. Highlights of Saturday games will not be available until 5.15pm in accordance with Uefa regulations. Teams comprising an editor and editorial assistant will be responsible for producing each match, with commentators John

The Sun app: video highlights will be available ‘within minutes’

Champion, Nigel Adderley and Dave Farrar among those who have been signed. Sports editor Raj Mannick said it was the first time live commentary had been used to support VoD highlights, offering a much more emotive viewer experience. He added that sports production is a key part of ITN’s future. “ITN has grown so much in the past three years and has invested heavily in the infrastructure to produce fast-turnaround content across all areas,” he said. “We hope to build on this deal

We hope to build on this deal and build a wider relationship with News UK Raj Mannick, ITN Productions

and generate a wider relationship with News UK.” The highlights will be supported by two online football shows produced internally by News UK, which will air daily on The Sun site and weekly on The Times site.

WEb WaTch S4c YouVIEW aPP

elsh broadcaster S4C is to launch a YouView app and extend the range of content it offers via BBC iPlayer and YouTube, as it beefs up its digital distribution. The S4C YouView app will offer a range of on-demand programming, including Cwmni Da’s Wrexham – Save Our Town and soap Rownd A Rownd (pictured), across BT and TalkTalk’s YouView platform by the end of the year. The broadcaster will offer a live stream of the channel to Welsh homes, with VoD content available across the rest of the UK. A partnership deal has also been struck with Google to enable S4C to feature a live stream on YouTube, together with a range of short-form on-demand programming. S4C also plans to make its entire portfolio of shows available via iPlayer from autumn 2014. The 18-month trial builds on the small number of the broadcaster’s shows that are currently available. S4C chief executive Ian Jones said it was vital to build wider digital distribution from the existing VoD service Clic.

URL YouView, YouTube, iPlayer

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Technology & Facilities CREATIVE REVIEW

SOUTHCLIFFE

THE MIDWIVES (SERIES TWO)

THE MILL

Post Deluxe 142 Client Warp Films Brief Provide picture post-production on the four-part drama set in an English market town, about a loner ex-soldier who embarks on a killing spree after being persecuted by the local community. How it was done The team comprised colourists Rob Pizzey and Trevor Brown, who graded the project using Da Vinci Resolve. Adam Eddy onlined the series. Using Avid DS, Eddy was able to add television screens of news reports with the necessary branding in some shots, as well as removing satellite dishes and branding from other shots. Some of the trickier objects required a planar tracker, such as Mocha, which was then composited in After Effects. Senior post-producer Alice Geenland supervised the project throughout the post process. Watch it Sunday 11 August, 9pm, C4

Post Flix Client The Garden Brief Picture and audio post-production for the second series of the documentary about a group of midwives. How it was done The challenge was to portray the environments without being insensitive or losing the heart and realism of the stories being told. Flix dealt with the challenging audio environment through careful balance and consideration. The series was mixed by Hannah Fairclough using Avid Pro Tools. As lots of births take place with the lights off, one of the challenges for the grade was balancing footage that was shot in low light with footage shot under fluorescent lights, which often gave a ‘dirty-green’ cast. Liam Shanagher completed the grade using DaVinci Resolve. Mark Stokes completed the online edit using Avid Symphony DX. Two episodes were offlined at Films@59. Watch it Tuesday 20 August, 9pm, BBC2

Post Technicolor Client Darlow Smithson Brief Complete colour grade and VFX for the four-part historical drama set in 1833, based on events at the Quarry Bank Mill in Cheshire. How it was done The drama was shot using an Arri Alexa and the grade was completed by senior colourist Paul Ensby using Autodesk Lustre. With a rural-industrial setting, the brief was to be as cinematic as possible to ensure a gritty, authentic look. Ensby selected a filmic-style curve to provide a nice black with plenty of highlight detail. Set mostly in the winter months, Ensby kept a cool feel for the exterior shots but with plenty of colour saturation to enhance the tones of the costumes when they appear on screen. Simon Giblin was online editor. Dolores McKinley completed the VFX, and Dan Mulligan provided on-location services. Watch it Sundays, 8pm, C4

You can view clips at broadcastnow.co.uk/techfacils/creative-review To include your work email george.bevir@broadcastnow.co.uk

Nativ launches Mio Cloud service for platform access Nativ has launched Mio Cloud, a modular way for content owners and broadcasters to access the firm’s asset management and collaboration platform. Users will be able to pay a monthly fee to access Mio, with the price varying according to the volumes ingested, stored and distributed. Nativ chief executive Jon Folland said the system would offer to a wider audience a flexible solution that can be scaled up or down according to need.

Reseller ERA appoints head of business development IT and media technology reseller ERA has appointed David Fowler 14 | Broadcast | 9 August 2013

(pictured) as head of business development. Based at the company’s Soho office, Fowler will head up ERA’s creative solutions and work with clients to deliver ITbased media and VFX systems. Fowler joins the company from Reliance UK, where he was managing director and head of technology. ERA commercial director Sean Baker said: “David is a great addition to our team as we increase our focus on providing technology and support to studios and production facilities.”

iBurbia opens media lab on return to MediaCityUK iBurbia Studios has opened a media lab at MediaCityUK. Located in the Greenhouse

building on the Salford campus, the interactive lab will provide access to a suite of UK TV systems for software developers, researchers and industry managers. It follows iBurbia’s decision at the end of last year to pull out of The Landing at MediaCityUK due to a row over connectivity. iBurbia managing director Lizzie Newman said: “It was always our intention to add a MediaCity facility as it is fast becoming the focal point of TV and device innovation in the north-west.”

Blackmagic delays delivery of 4k Cinema Camera Deliveries of Blackmagic Design’s 4K Cinema Camera (above) have been delayed by about a month. The camera, which was unveiled at NAB earlier this year, was due to ship in July but Blackmagic chief

executive Grant Petty said the company needed more time to complete the software for the device. He said: “We expect to start shipping in about three to four weeks time, once the final software work and testing has been completed.” Blackmagic has also dropped the price of its 2.5K Cinema Camera from £1,955 to £1,325.

DTG launches standards forum for digital TV The Digital TV Group (DTG) has launched the UK UHD Forum to drive interoperability standards for the nascent technology. The www.broadcastnow.co.uk

For the latest technology and facilities news, updated daily, visit www.broadcastnow.co.uk/techfacils

Ex-Sumners staff link up to launch Salford post facility BY GEORGE BEVIR

A group of ex-Sumners employees have teamed up to launch a new post-production company in Salford. Former Sumners head of sound Tony Greenwood, senior editor Matt Brown and finance director Kate Mather are joint shareholders in Core Post, which is due to open at the end of September. Greenwood and Brown will be joint managing directors of the company, while Mather will take on the role of finance director. Lucy Swann, who was front-ofhouse manager at Sumners, will be facility manager, while dubbing mixer Emily Nuttall is also set to join the company. All were made redundant by Sumners earlier this year when its Manchester operation closed. Builders are currently fitting out Core Post’s premises in a twostorey, 15,000 sq ft building on the Metroplex Business Park, just outside MediaCityUK. “It’s as near as we could get without actually being in Media-

DTG said it was “vital that the technology be understood before the implementation of an ‘UltraHD Ready’ logo, to avoid the confusion still experienced by consumers over ‘HD Ready’”. The group will be co-chaired by BSkyB broadcast strategy chief engineer Chris Johns and BBC head of technology for BBC HD and UHDTV Andy Quested.

TVOne launches two HD transmission products Video-processing equipment manufacturer TVOne has launched two products for the transmission of uncompressed, 1080p high-definition signals over a single Cat.5e or Cat.6 cable. The system comprises the recently launched 1T-CT653 transmitter and the 1T-CT-654 receiver (pictured). www.broadcastnow.co.uk

Peter Kay: BBC1 sitcom Car Share will be one of Core Post’s first projects

CityUK, which wasn’t financially viable. It took several months to sort out the lease but we were determined to have this building,” Greenwood said. The facility will contain two online suites equipped with Avid Symphony and Da Vinci Resolve, as well as two dubbing suites, which will be kitted out with Pro Tools and Icon D mixing desks with Genelec monitors. Four offline suites will run Media Composer 6.5.

Greenwood said the installation of a dedicated grading suite would depend on demand. He also raised the prospect of collaborating with other post facilities at MediaCityUK to share talent and resources. “We’re very keen to work with other facilities; so far we have had conversations with The Farm, Dock10 and Flix and they are keen to build a relationship.” One of Core’s first projects will be picture and audio post work for Peter Kay’s BBC1 sitcom Car Share.

HDMI v1.4 signals, including 3D and 4K formats, are supported and the system will allow DVI signal transmission. Embedded 7.1 channel LPCM, Dolby TrueHD and DTS-HD Master Audio capability is also included.

community has a need for larger, scalable DSP systems to achieve their creative objectives.”

Pro Tools usage exceeds expectations, says Avid Avid has sold 7,500 Pro Tools HDX systems worldwide since the software launched in October 2011. Avid vice-president for worldwide audio, sales and professional services Tim Carroll said: “Adoption for HDX has exceeded our expectations and clearly shows that the professional audio

Adobe launches Creative Cloud single-app plan Adobe has launched a new version of its Creative Cloud service that enables users to purchase a single desktop application. The singleapp plan is available for £22.23 per user, per month. Existing customers with CS3 or later can pay £14.29 per user, per month. It will be available from 15 August and is in addition to the original option, which delivers 14 Adobe desktop applications.

Megahertz to take two new trucks to IBC Megahertz Broadcast Systems will show two new vehicles on its stand at this year’s IBC. One will be a traditional uplink truck that the systems integrator will deliver

Dock10 upgrades HQ1 with hoists in £1m refit Dock10 is investing £1m in a new system of hoists for its largest studio, HQ1. Systems integrator LSI is supplying and installing the kit, which includes a new range of De Siti lights. Work on the 12,500 sq ft studio is expected to be completed in early September. “Until now, we have used trusses in HQ1, which can result in a slower turnaround of studios,” said Dock10 head of studios Andy Waters. “It can take a couple of days to build a set for a programme like [CBBC show] The Slammer, which has walkways all the way up to the third floor. Using hoists rather than trusses allows us to put in sets and lights overnight.” Meanwhile, Dock10 has appointed former Sunset + Vine head of production technology Emma Riley to the newly created role of head of business development. Dock10 commercial director Ian Munford said: “Emma is well known in the industry for her detailed knowledge of the production process and insight into new ways of working.”

to NBC; the other has been built by Megahertz as a showcase for low-cost, high-performance IP capabilities. It will feature the latest IP and Ka-band technology. Megahertz technical director Steve Burgess said: “We want to move the conversation on from what broadcasters have traditionally bought, to what they really need to meet their operational requirements.”

Box TV brings in Red Bee for broadcast services Red Bee Media has signed a multiyear deal with Box TV to provide broadcast services for the network’s portfolio of music channels. Red Bee will provide playout, media management and postproduction services for all seven of Box TV’s music channels, including 4Music, The Box, Smash Hits, Kiss, Heat, Magic and Kerrang!. 9 August 2013 | Broadcast | 15

Comment

The best writers are now in TV. I think you’ll see an awful lot more actors moving in that direction Gabriel Byrne, In Focus, page 22

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Grim reality of life at an indie Battle for commissions is getting depressing, says Stephen D Wright

magine the scene: it’s Monday morning at my gym. I’m resisting the urge to vomit, defecate or sob, as I strain to push a 150kg weight across the floor amid an unfriendly crowd of preening narcissists, bullies and junkies. But no matter how hard I try, I just can’t think of an accurate simile to convey the atmosphere of working in TV this summer. My exhausted body simply can’t think of a way to truly convey how agonisingly hard it is to get a commission at the moment. And I’m not just talking about the fact that in early August, all the commissioners are “out of the office” taking meetings on yachts in the Med or popping up to Edinburgh early “to see some comedy” (I refuse to accept that most are actually cleaning up sick, watching Spongebob Squarepants cartoons on repeat or changing nappies at Centre Parcs). Ask any of the ashen-faced independent producers huddled in every corner of every network’s foyer, all silently hoping like those sad supplicants in a medieval monastery for the chance to touch the Godlike controller and, while fellating his ring, to adroitly push a crumpled-up treatment into his hand. Or to use a more TV-friendly image – its exactly like a scene from Sky Atlantic’s The Borgias, where Jeremy Irons’ cruel and hypocritical Pope dispenses ‘favours’ to his favourites while condemning others to death. It’s no surprise that we entertainment producers are having such a hard time, as all the channels seem to want is depressing dramas like C4’s The Mill and the even grimmer Southcliffe. The last big hit on ITV1 was all polite paedos and child murder in Broadchurch, and

even Corrie is a tough ask as viewers watch Hayley (née Harold), the world’s best-loved but least-convincing transgender character, slowly die from pancreatic cancer. I’m no medical expert, but I do understand the dark art of scheduling – and confidently predict she is due to snuff it on Christmas Day around 7.30pm. While the channels will argue that they choose scripts to reflect the hardships of recessionary Britain, I am beginning to wonder if, maybe, it’s a yin & yang universe karmic balance thingy. Thus we have unremittingly miserable mini-series to balance out the entertainment genre going batshit crazy with I Love My Country on BBC1 (the only public service element in this show is that it reminds everyone not to buy shitty Euro entertainment formats). Then it hit me: forget searching for a drama on which to base my column, what would a drama based on my life be like? Would it be like Jobs, the new hagiography of Apple boss Steve Jobs, in which he is portrayed as a Messianic figure by Ashton Kutcher? Or one of those Adam Sandler movies full of smiling losers who are constantly thwarted by life? Or would it be dark, torturous and full of evil monsters who ultimately destroy everyone’s happiness and crush the human spirit? Sounds like the new series of Doctor Who. Well, what do you think it’ll be like with Malcolm ‘fucking’ Tucker in charge? ➤ Stephen D Wright is creative director at Whizz Kid Entertainment

‘I am beginning to wonder if, maybe, it’s a yin & yang universe karmic balance thingy’

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Your SaY

Copper: pre-sales and tax credits

Cineflix will continue to support Buccaneer Contrary to your report ‘Cineflix steps back from drama’ (Broadcast, 02.08.13), we want to state that Cineflix Media remains committed to Buccaneer Media in the long term, which has several exciting projects in the pipeline for broadcasters in the UK, US and Canada. Furthermore, the article incorrectly stated that Cineflix Studios’ series Copper was “largely deficitfinanced”. In fact, Cineflix Rights put up only a small amount of funding, with the vast majority of both seasons funded through pre-sales and tax credits. Glen Salzman and Katherine Buck, co-founders & co-chief executives, Cineflix Media

Second screen is not just for adults So far, limited second-screen apps have been developed with kids in mind. Why is this? I’ve heard numerous reasons for this failure: it is too complex for children to watch and play; playalong apps only work for live shows; children’s programming lacks the socialmedia potential; and broadcasters aren’t willing to take the risk. Too complex? Well, let’s not make complex apps. Even the smallest children like to cuddle and play with little stuffed companions while watching TV; they could easily do the same with a digital pal. And wasn’t Tony Hart’s Take Hart gallery a little bit social? The question of taking the risk, however, is a different matter. Second screen is new and there are no guarantees of success. Developing an app can be expensive, especially if it is treated as an addition to the budget. By far the biggest issue, though, is that fear of risk could hamper the innovative www.broadcastnow.co.uk

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In mY vIew thinking required to explore the potential of second screen for kids and create the best ideas. When fear grips us, good ideas can go very wrong. The US secondscreen app for the BBC show Wizards vs Aliens is one such example. If I was 10 years old, I would want an online game that let me conjure spells and zap evil aliens. While I must confess that I haven’t used the app, the description suggests a different direction: “The app offers a comprehensive and robust Wizards vs Aliens experience… Fans of the show will become further engaged in the storyline with interactive polls, alien-inspired quizzes and collectible character sets… A special ‘Wish List’ can be emailed to parents, allowing them to highlight all the great Wizards vs Aliens products.” Yes, it offers robust interactive polls and shopping. This is an obvious example of a ‘safety first’ option, probably reusing technology from grown-up TV to save money. But it is dull and the kind of thing of which even adults are getting tired. If we are serious about creating new ways to enjoy TV, we need the elbow room to experiment and fail. There is a parallel in the gaming industry. Second screen is happening through Nintendo Wii U and Xbox Smartglass, and more is on the way. Legendary Nintendo game designer Shigeru Miyamoto says the gaming giant is focusing on exploring and developing content to make the second screen seem like a natural fit for people two years down the road. Nintendo is experimenting with its audience. It’s a risk for broadcasters, but that shouldn’t be a reason to ignore second screen’s potential. We can play, experiment, imagine things, make things, try things – you don’t need an audience of millions, just a few kids with an iPad watching a rough idea of the show. Why do it? When Nintendo launched the DS, critics said no one could play across two screens, yet it became the biggest-selling console of all time. We might fail, but so what? We might also create new ways, maybe even the way, for kids to enjoy and learn from TV. This an edited extract from a blog on broadcastnow.co.uk by Dominic Kerrigan, managing director of multiplatform indie Chunk

Broadcasters and brands can learn from YouTube Success will depend on how well viewers engage with content, says Adam Penny

t was great to see Jamie Oliver come out in support of YouTube in the mooted battle between online content and TV (Broadcast, 26.07.13). Over recent weeks, I have been arguing that the creative freedom offered by online channels could have an impact on the traditional broadcasters’ hold over brands and audiences. Oliver’s comments, particularly that he has learned more about broadcasting with FoodTube than during the rest of his TV career, may alert broadcasters to what’s happening. If they carry on with formulaic methods of producing content, [host of online news show The Young Turks] Cenk Uygur’s prediction that YouTube will “eventually steamroll TV” will be realised – sooner than anticipated. One of the main problems TV faces is that familiar formulas are entrenched within the production process. A BBC programme feels like a BBC programme. A Channel 4 offering, hitting the same structural beats no matter what the show, will feel like a C4 programme. With YouTube, this problem is eliminated by a shift in the power dynamic. It gives its audience more freedom to create and interact with content, a model that TV can’t compete with at this time. A lot has been made of the fact that YouTube will never truly compete with TV because of the ratings TV generates. But as Oliver pointed out, the real measure of success isn’t how many viewers tune in to the content, but how many of them engage with it. This is where YouTube has a real advantage over TV: brands and broadcasters can track audience reaction in real-time and tailor their content on the fly to better meet their audiences’ wants and needs. As Oliver said: “The nice thing about YouTube is I can find out in

an hour if I’m going in the right direction.” The audience, and not someone in a room who is “worrying about getting sacked”, essentially decides the popularity of a video. They may even have input into ideas for future content. YouTube recently formed relationships with indies to commission exclusive content, which is perhaps the clearest sign that it is fulfilling its ambition to “grow up”. Of course, its eight years are no match for the 90 years TV has been

‘YouTube gives its audience more freedom to create and interact with content’ around, but recent projects, such as the YouTube Comedy Week and Oliver’s FoodTube, are providing a wealth of data that brands and broadcasters can put to good use. The fact that these initial trials have gone down well with consumers is great news, because YouTube not only taps into our growing desire to self-select the content that appeals to us, but also marks a shift in the dominance of broadcasters dictating what an audience should watch, and how. If brands can take advantage of YouTube’s flexibility, it could truly spell danger for broadcasters. Traditional TV ad models restrict a brand’s ability to reach consumers. An effective digital strategy can reach more people, more consistently, for longer and at a lower cost. It’s time for brands to start thinking like broadcasters, learning from channels such as FoodTube about how to better engage with their audiences. For brands, the battle between online and traditional TV should almost become irrelevant – content and customers should once again be king. ➤ Adam Penny is creative director for Connected Pictures 9 August 2013 | Broadcast | 17

Analysis BroadCast GreenliGht 9 Mar 2013 - 9 Jun 2013

C4 leads commissioning revival Channel 4 was the busiest broadcaster in the second quarter with 70 commissions, as the number of programmes and hours ordered increased across the board. Maria Sell reports

fter a quiet start to the year, commissioning picked up in the second quarter, with more than 300 programmes com missioned between 9 March and 9 June – 80% of them new orders rather than recommissions. Factual and specialist factual com missions accounted for a third of the greenlights – 104 of the 306 orders announced or uncovered during the period. Channel 4 made almost a third (30) of these, helping to make it the busiest channel of the quarter with 70 commissions. Among its new titles were shows for the Cutting Edge strand, May’s Mating Season and 4Ramadan. C4’s “fresh perspective on Ramadan and the lives of British Muslims” included Ramadan Reflections, a daily series of short films by Watershed TV. In a his torical first for a mainstream British broadcaster, C4 aired the Muslim daily morning call to prayer, with a drama from the team behind the dedicated website supplementing the Broadcast Awardwinning Appropriate programming strand. Adult, called The Widower. However, ITV trumped C4’s 220 Crime dramas have unquestionably hours of programming, with more been surefire ratings winners, and than 320 confirmed hours across the BBC ordered 17 while racking up 39 programmes. This can mainly the most drama commissions be attributed to decent a stack (41) across all its channels. of daytime commissions In a new run of BBC1’s plus its Saturday night Shetland, based on entertainment schedule, Ann Cleeves’ novels, Number of which will include The X Douglas Henshall programmes Factor (series 10), the returns next year as commissioned in the 2014 series of Dancing On Detective Jimmy Perez. second quarter Ice and series 11 of Saturday On BBC2, The Fall Night Takeaway. secured a second series ITV did not stick solely to after the first achieved the triedandtested formats, but also best drama launch since 2005 with 3.5 commissioned Sherlock producer million viewers. A fourth series of SherHartswood Films to create crime lock (BBC1) has also been confirmed – drama The Guilty, starring Tamsin actors’ commitments permitting. Greig as DCI Maggie Brand, who The BBC ordered the most comedy leads an investigation into a boy’s in the quarter, including eight mysterious death. Maintaining its 30minute new talent pilots for its focus on police dramas, ratings Comedy Feeds iPlayer project – two success Broadchurch won an instant more than last year. Its comedy orders recommission, announced on screen also include a sequel to 2010’s The moments after the first series con Trip, which takes Steve Coogan and cluded with 8.7 million viewers, and Rob Brydon’s culinary tour to Italy. there will be new series of Endeavour Producer Baby Cow won a commis and The Bletchley Circle, plus a new sion for Uncle (BBC3), which stars

300

18 | Broadcast | 9 August 2013

Broadchurch: won an instant recommission

‘ITV trumped C4 in number of hours commis sioned, with more than 320 hours across 39 programmes’

CommIssIons by genre 2.3%

2.3% 1.6%

0.3%

3.9% 4.2% 32.4%

4.6% 8.5%

13.1% 13.4% 13.4%

n Factual n Popular Factual n Drama n Comedy n Entertainment n Fact Ent n Daytime n Children’s n Sport n Arts n Specialist Factual n Specialst Factual

standup comedian Nick Helm as the “world’s most irresponsible uncle”. On the nonPSB channels, Sky ordered a raft of comedies including Mr Sloane, a coproduction from Big Talk and Whyaduck Productions, written by Curb Your Enthusiasm producer Robert Weide and starring Nick Frost as a buttoneddown man in the middle of a personal crisis in the 1960s. www.broadcastnow.co.uk

For more projects in development and the latest commissions, visit

http://greenlight.broadcastnow.co.uk

COMMISSIONS BY CHANNEL C4

22.9% (70)

ITV

12.7% (39)

BBC1

11.1% (34)

BBC2

9.2% (28)

S4C

9.2% (28)

6.2% (19)

BBC3

3.3% (10)

BBC.com

2.9% (9)

CBBC

2.0% (6)

Cbeebies

2.0% (6)

NGC-UK

1.6% (5)

Dave

1.3% (4)

Sky 1

1.3% (4)

Sky Atlantic

1.3% (4)

ITV2

1.0% (3)

Bravo (US)

0.7% (2)

Fox (UK)

0.7% (2)

Fox (US)

0.7% (2)

Good Food

0.7% (2)

Sky 3D

0.7% (2)

Sky Living

0.7% (2)

BBC4

0.7% (2)

Yesterday

0.7% (2)

Investigation Disc Other

0.7% (2) 5.6% (17)

E4 commissioned new drama series Glue from Eleven Film and The Fades writer Jack Thorne, while Naomi Campbell is to grace the screens in Sky Living’s The Face and Sir Richard Attenborough will return to Sky 3D for two new series. Mentorn Media secured three out of the six new Cutting Edge films for C4. Several fastturnaround docu mentaries were also added to its roster, including Pope Francis: Road To The Vatican and an exclusive interview with the parents of Reeva Steenkamp for the documentary Why Did Oscar Pistorius Kill Our Daughter?. The second quarter also proved fruitful for Mentorn’s parent company, Tinopolis, which emerged as the strongest production company in terms of number of orders, including six through Mentorn and another five through its Welsh production arm. UK indies also revealed 12 US com missions, including Left Bank Pictures’ drama Outlander for Starz, adapted from Diana Gabaldon’s novels. www.broadcastnow.co.uk

GrouPM entertainMent a GroWinG inFluenCe GroupM Entertainment (GME) is no ordinary producer, but it was responsible for the fourth-highest number of commissions in the second quarter of 2013 – or for funding them at least. The content investment arm of advertising giant WPP works alongside traditional producers to help fund content in return for back-end rights and has been growing steadily in influence for several years. Channel 5 has been its main partner, cocommissioning GME to work on projects with four major indies during the quarter (see below). That relationship continues to flourish, with Celebrity Super Spa, My Secret Past and The Dog Rescuers already ordered in the third quarter of 2013. The range of broadcasters it works with is broadening. It has begun coproducing drama, factual and structured reality for ITV and has a number of Channel 4 projects bubbling under. Expect details to emerge shortly of its first shows with the latter. Head of programming Tony Mousdale is executive producer on all GME’s shows. See news pages for more details.

CommIssIons magaluf Weekender (series 2 & 3) Producer Twofour for ITV2 Length 2 x 60 minutes Commissioners Katy Thorogood; Angela Jain A double order for the ﬁxed-rig series (pictured), which follows young people in Magaluf on their ﬁrst parent-free holiday. Series one performed well for ITV2,

averaging 859,000/2.8% across six episodes on Sunday nights.

nurses Producer Maverick (All3 Media) for Channel 5 Length 8 x 60 minutes Commissioner Simon Raikes A ﬂy-on-the-wall doc series following the nurses at the Cardiff and Vale University Health Board.

First great Western (w/t) Producer Twofour for C5 Length 8 x 60 minutes Commissioner Emma Westcott Ob-doc following the drivers, managers, ticket inspectors, technicians and porters on the train route from the south-west to London.

Hen nights Producer True North Productions for C5 Length 5 x 60 minutes Commissioner Emma Westcott Doc series following hen parties in Newcastle, Blackpool, Cardiff and Brighton.

The mysteries of The Deep With monty Halls (w/t) Producer Tigress Productions (Endemol) for C5 Length 4 x 60 minutes Commissioner Ian Dunkley The marine biologist explores the truth behind mysteries including Atlantis and the Blue Hole of Dahab in Egypt.

seCond-Quarter stars toP indies BY nuMBer oF CoMMissions 1 MENTORN MEDIA Commissions 9 Hours 31 Bagging three commissions for Channel 4’s Cutting Edge strand helped the Tinopolis-owned company top the indie list. It also secured several fast-turnaround docs, including BBC3’s The Cleveland Captives: What Really Happened?. 2 RDF TELEVISION Commissions 8 Hours 39.75 Despite almost tripling its commissions, Zodiak’s RDF was pipped to the post. Its ITV daytime hit Tipping Point was promoted to a primetime slot for its latest series, in which celebrities competed for charity. 3 GROUPM ENTERTAINMENT Commissions 7 Hours 39.5

4 TINOPOLIS WALES Commissions 5 Hours 15.5 Among the regional indie’s S4C commissions was Y Syrcas (The Circus), a drama inspired by a circus that regularly visited the Tregaron area in the 1800s. 5 BIG TALK PRODUCTIONS Commissions 5 Hours 18.5 ITV bought Big Talk in July and many of its shows were recommissioned in the second quarter, including Sky Arts’ A Young Doctor’s Notebook, starring Daniel Radcliffe and Jon Hamm (pictured). 6 BETTY TV Commissions 4 Hours 23 The indie scooped one of Fox’s ﬁrst original commissions, for popular factual series Man Up. It also won a food series for its parent Discovery starring The Fabulous Baker Boys’ Henry and Tom Herbert. ➤ 9 August 2013 | Broadcast | 19

Analysis

To make sure your commissions are included, email maria.sell@broadcastnow.co.uk

BroadCast GreenliGht 9 Mar 2013 - 9 Jun 2013 toP 15 CoMMissioners

CoMMissioner FoCus eMMa CooPer Emma Cooper

Documentaries commissioning editor, Channel 4 Commissions 8 Hours 15

1 Ben Stephenson (pictured)

Controller, drama commissioning, BBC Commissions: 17

2 Llion Iwan

Factual content commissioner, S4C Commissions: 13

3 Shane Allen

Comedy controller, BBC Commissions: 12 (5 for BBC3, 4 for BBC1, 1 for BBC2)

4 Steve November

Director of drama, ITV Commissions: 9

4 Liam Humphreys

Head of factual entertainment, C4 Commissions: 9

6 Gill Wilson

Head of features, C4 Commissions: 7

6 Charlotte Moore

Controller, BBC1 Commissions: 7 (prior to BBC1 controller role)

6 Jo Clinton-Davis

Controller of factual, ITV Commissions: 7

9 Gaynor Davies

Entertainment commissioner, S4C Commissions: 6

9 Geraint Rowlands

Head of broadcast, commissioner for sport and events, S4C Commissions: 6

9 Alison Kirkham

Commissioning editor, factual features and formats (BBC1/BBC2) Commissions: 6

A busy quarter for Louis Theroux’s former series producer, who joined Channel 4 two years ago. With her latest round of Cutting Edges, Emma Cooper has said she aims to eschew linear narratives to reflect the “mad journey” of life. The latest batch offers an eclectic mix, including Daisy Asquith’s attempt to get under the skin of One Direction devotees, a Sue Bourne film meeting older women who still obsess about fashion, and Nick London’s exploration of the phenomenon of crocodile tears. Cooper is also keen to build on earlier successes and let subjects breathe across a longer run. Rondo Media has been tasked with digging deeper into tattoo culture following last year’s Addiction, which pulled Cutting Edge doc My Tattoo Addiction in a consolidated 2.1 million. Meanwhile, she’s supersized Shop, which The Fried Chicken Shop aired in the strand in February, into a three-part series from Mentorn Media. It will be grouped with two more films from the indie as part of a Britain By Night strand. At this stage, it remains to be seen if Cooper’s latest commission, Firecracker’s untitled fixedrig nightclub toilet documentary, will be part of this. With the channel as a whole showing double-digit share decline, the prime 9pm slot, where Cooper’s docs largely play, is in the spotlight for C4. She will be hoping her films revel in it.

emma Cooper’s commissions Tattoo Stories (w/t) Rondo Media 3 x 60 minutes How To Get A Council House (pictured, left) Studio Lambert 3 x 60 minutes Crocodile Tears Mentorn Media 1 x 60 minutes Britain By Night Mentorn Media 2 x 60 minutes I Heart One Direction (w/t) Mentorn Media 1 x 60 minutes Fabulous Fashionistas (w/t) Wellpark Productions 1 x 60 minutes The Fried Chicken Shop: Life In A Day (series two) Mentorn Media 3 x 60 minutes Cutting Edge: The Murder Workers CTVC 1 x 60 minutes

9 Andrew O’Connell

Fromer head of factual, news and current affairs (left April 2013) Commissions: 6

13 Simon Raikes

Commissioning editor, factual, C5 Commissions: 5

14 Dominic Bird

Head of formats, C4 Commissions: 5

14 Ben Frow

Director of programmes, C5 Commissions: 5 20 | Broadcast | 9 August 2013

The Fried Chicken Shop

Crocodile Tears

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In Focus QUIRKe

‘We call this Dublin noir’ John Banville’s atmospheric novels are being brought to life for BBC1. Olly Grant talks to the drama’s producers and star Gabriel Byrne about capturing the darker side of Ireland

CREDITS Producer BBC Drama Production; Element Pictures; Tyrone Productions Commissioning editors Danny Cohen; Ben Stephenson TX BBC1, TBC Directors John Alexander; Diarmuid Lawrence; Jim O’Hanlon Writers Andrew Davies; Conor McPherson Directors of photography Tony Miller; Alan Almond; Ruairí O’Brien Executive producers Kate Harwood, Jessica Pope (BBC); Ed Guiney (Element); John McColgan, Joan Egan (Tyrone) Producer Lisa Osborne

abriel Byrne has just emerged from his trailer in a Dublin backstreet. Clad in a 1950s penguin suit, he pauses on the drop-down steps and sniffs the air. A grey mizzle is forcing the extras to huddle against the catering bus. A cold breeze is raking the darkened alleyway leading to unit base. If the crew were hoping for ‘atmosphere’ when they arrived in Byrne’s hometown to shoot Quirke, BBC1’s three-part adaptation of John Banville’s crime series, Dublin is co-operating. “Brooding, foggy, smoky,” is how producer Lisa Osborne describes the world of Banville’s novels. They centre on a pathologist-come-sleuth called Quirke (played here by Byrne, with scripts by Andrew Davies and Conor McPherson), who plies his trade in a murky, 1950s version of Ireland’s capital. “The books are fantastically atmospheric, with this brooding sense of what we like to call ‘Dublin noir’,” says Osborne, a veteran of BBC inhouse productions from Little Dorrit to South Riding. “LA noir is Raymond Chandler. Paris noir might be Simenon or Magritte. This is Dublin noir, by John Banville – though writing under the pen name Benjamin Black.” She pauses. “I think he chose the name advisedly.”

‘It’s a wonderfully tangled piece of storytelling that we unpick over the course of three films’ Lisa Osborne, producer 22 | Broadcast | 9 August 2013

Irish talent: Michael Gambon is one of the rich cast of Irish actors

Quirke is a struggling alcoholic with a complex back story. And this hinterland is important, since it provides the narrative bridges between pathology – a profession that normally stops short of detective work – and the dark Dublin crimes that swirl about him, from murder and institutional corruption (episode one) to imperilled women (episode two) and missing persons (episode three). “Quirke always wants to know why as well as how,” Osborne explains. “Strictly speaking, of course, the ‘why’ is none of his business. But he wants to know, so he keeps uncovering and uncovering. And the things he

uncovers turn out to be related to truths buried in his own family for a long period. So it’s a wonderfully tangled piece of storytelling that we unpick over the course of three films.” Quirke began life as a screen concept rather than a literary one. “Years ago, Irish producer Tyrone Productions commissioned Banville to write a mystery series set in Ireland,” says exec producer Ed Guiney of Dublin- and London-based Element Pictures, creator of action comedy The Guard. “It was going to be a co-production between RTÉ and ABC in Australia but, as so often, it didn’t happen.

Left to right: Aisling Franciosi as Phoebe Griffin; Colin Morgan as Jimmy Minor

www.broadcastnow.co.uk

For all the latest breaking news, updated daily, visit www.broadcastnow.co.uk

‘For those illusory few seconds, the present became the past, and it was astonishing’ Gabriel Byrne

“But having written it, Banville fell in love with the character and decided to go off and write Christine Falls [the first novel and subject of episode one] and the subsequent books. Tyrone retained an interest in the film rights and Element had been tracking the books and talking about it, on and off, for ages. So when the BBC declared an interest, we decided to come together and co-produce.”

International setting Quirke’s Dublin also offers a credibly international detective setting, without the superimposed Britishness. “We felt it was a really interesting way of doing a foreign detective that wasn’t about anglicising Sweden or Italy,” says BBC exec producer Kate Harwood, referring to Wallander and Zen. “So this is non-English, or non-British, detective fiction, but it’s anglophonic. And we can play it with a rich cast of Irish actors – some of whom you don’t even realise are Irish, such as Dublin-born Michael Gambon.” Providing a significant shot in the arm was a ¤450,000 (£389,388) production loan from the Irish Film Board. Partnering with the BBC also helped bring heavyweight names to the films, including Davies, who www.broadcastnow.co.uk

adapted the first two stories. Davies spent an afternoon touring Dublin with Banville to get a feeling for the sites mentioned in the books. Some subsequently ended up as filming locations: the Georgian terraces of Upper Mount Street, for example, where Quirke resides. Byrne, who grew up on the southern fringe of Dublin in the 1950s before moving to the US in the 1980s, says the location manager (Ripper Street’s Edmund Sampson) had an uncanny habit of disinterring his own halfforgotten memories of the city. “Strangely enough, I knew many of the locations we visited very well,” he says. “We shot in the very first apartment I had in Dublin. We just arrived at the building one day. That was a bizarre experience.

Clockwise from above: Gabriel Byrne plays pathologist Quirke; Nick Dunning as Malachy Griffin; Brian Gleeson as Sinclair

We also filmed in the theatre where I first performed. “We live most of our lives with very definite demarcations between the past, the present and the future. But for those illusory few seconds, the present became the past, and it was absolutely astonishing.” The crew worked hard to bring Banville’s visually fertile version of the past to bear on present-day Dublin. Lighting of interiors was kept minimal. Rainbars were a frequent presence on exteriors. And then there was the fog, memorably described in the books as “an ectoplasm” in which people “groped their way through the murk”.

➤ 9 August 2013 | Broadcast | 23

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In Focus QUIRKE Main picture: Gabriel Byrne; left: Geraldine Somerville as Sarah Griffin

‘We felt it was a really interesting way of doing a foreign detective that wasn’t about anglicising Sweden or Italy’ Kate Harwood, BBC

“Up to a point, that was something we were trying to recreate on screen,” says Osborne. “Our director Jim O’Hanlon was very struck by Banville’s images – in one book, he writes: ‘The city seemed bewildered, like a man whose sight has suddenly failed.’ He wanted that sense of a smoggy veil across Dublin. Every time we were outside, we were playing with smoke machines.”

Creating mystery “It was quite challenging for the crew,” Osborne continues. “Smoke doesn’t sit and behave as you would like it to. Sometimes you get great gouts of it; sometimes it just blows away. Occasionally, we laid some lovely fog only for a gust of wind to take it all away. It took a long time to create that world, but I think it will be worth it. It’s giving us that sense of layered and veiled mystery.” Osborne feels the final product should be visually distinctive. Recent TV hasn’t been lacking in depictions of the 1950s – from Call The Midwife to The Hour and WPC 56 – but the BBC seems confident that Quirke brings something else to the table. “We have three A-list directors and three wonderful DoPs here, all making their own takes on ‘Dublin noir’. And I think, by virtue of being set in Dublin rather than the UK, you’ll get a different world.” www.broadcastnow.co.uk

GABRIEL BYRNE THE LURE OF TV Gabriel Byrne may have cut his professional teeth in Irish theatre and soaps, but cinema made him an international name; his breakthrough leading role in Hollywood came in the Coen brothers’ gangster film Miller’s Crossing (1990), a status that was confirmed five years later by the cult success of The Usual Suspects. Recently, however, he’s leaned heavily towards TV, from HBO’s In Treatment (2008), to Channel 4’s Secret State (2012) and History’s Vikings (2013). Byrne points to the ongoing power shift from big screen to small, with finance flowing out of cinema’s middle market, and writers finding more creative freedom in TV – at least on the other side of the Atlantic. “The world of film has changed hugely in the past five years,” he says. “I went to see two pictures while I was in London recently and counted four people in one cinema and 12 in the other. But, more important than that, the serious writers have moved out of cinema. “That medium-budget world that was occupied by films made

Vikings: History

In Treatment: HBO

for $10-20m has gone, and those writers are now in TV. So you have incredible writers

working for places like HBO and Showtime – because that’s where they’re allowed to write. To a greater extent, they’re not being told it has to be this or that, or that the following people must be in it. They’re allowed to write. “There is now a very wide gap between low-budget films that are done for almost no money, and franchise pictures at the other end that cost $200-300m. The gap has been filled by TV. The best writers are now in TV. And I think you’ll see an awful lot more actors moving in that direction.”

9 August 2013 | Broadcast | 25

TV SET VILLAGE TAPE TRANSFERS!

Ratings Mon 29 Jul – Sun 4 Aug

Tucker is just the tonic BBC1’s unveiling of Peter Capaldi as the Doctor attracts a peak audience of 6.9 million BY Stephen price

So, what are the implications of Malcolm Tucker being the new Doctor? Inevit ably, YouTube has had many, many fruity ideas, but given the avowed desire for greater cooperation across the BBC, it does all rather suggest a postwatershed BBC3 brand extension. A more profane version of the defunct Doctor Who Confidential, perhaps, called ‘Doc Off ’ or ‘Extreme Doctor’ or ‘Doctor Who You Looking At?’ Those Whovian conventions, slightly unhinged as they already are, may never be the same again. As a desultory Doctor Who viewer, however, I just want to say: Peter Capaldi – great. Elsewhere in the schedules, a mini battle between longrunning factual brands is warming up nicely, with ITV’s misplaced families on Monday just edging BBC1’s historical familial pursuit on Wednesday. On Monday, after last week’s royal baby news, things thankfully returned to normal and for ITV that meant Long Lost Family barging on. At 9pm, its 5.1 million/ 24% (232,000 +1) was too much for the repeat of BBC1’s Death In Paradise (2.9 million/13%). At 9pm on Tuesday came the return of BBC1 stalwart New Tricks, now in its tenth series. Its 7.5 million/34% defeated ITV’s Hunting The Doorstep Conmen (2.3 million/10%; 277,000 +1) and compared well with the launch episode of the 2012 series, which achieved 7.8 million/32% on August Bank Holiday Monday against the Paralympics. 28 | Broadcast | 9 August 2013

BroadcasT/BarB Top 100 neTwork programmes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 23 25 26 27 27 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Coronation Street Coronation Street Coronation Street New Tricks Coronation Street Emmerdale Emmerdale Coronation Street EastEnders Emmerdale Emmerdale Doctor Who Live: The Next Doctor EastEnders Emmerdale Emmerdale EastEnders EastEnders Countryfile Long Lost Family BBC News At Ten Who Do You Think You Are? You Saw Them Here First BBC News BBC News At Six Holby City Celebrity MasterChef Top Gear BBC News At Ten BBC News At Six BBC News At Ten Casualty The Sheriffs Are Coming Law & Order: UK The Sheriffs Are Coming Mrs Brown’s Boys BBC News At Six BBC News At Ten BBC News Tipping Point: Lucky Stars Your Face Sounds Familiar BBC News At Six Celebrity MasterChef ITV News & Weather The National Lottery: Break The Safe All Star Mr & Mrs BBC News At Six All Star Family Fortunes BBC News At Ten The White Queen The Dales

Mon Mon Wed Tue Fri Mon Wed Fri Mon Tue Fri Sun Tue Thu Thu Thu Fri Sun Mon Tue Wed Wed Sun Mon Tue Wed Sun Wed Wed Thu Sat Wed Sun Mon Sat Tue Mon Sun Sun Sat Fri Thu Sun Sat Sun Thu Sat Fri Sun Mon

19.30 20.30 19.30 21.00 19.30 19.00 19.00 20.30 20.00 19.00 19.00 19.00 19.30 20.00 19.00 19.30 20.00 20.00 21.00 22.00 21.00 20.00 19.35 18.00 20.00 20.00 20.00 22.00 18.00 22.00 21.10 19.00 21.00 19.00 22.00 18.00 22.00 22.00 19.00 19.30 18.00 20.00 18.45 20.20 20.00 18.00 20.45 22.00 21.00 20.00

8.04 7.90 7.76 7.52 7.21 6.92 6.72 6.54 6.52 6.38 6.16 6.11 6.06 5.97 5.94 5.74 5.66 5.62 5.36 5.11 5.00 4.96 4.82 4.82 4.75 4.71 4.68 4.68 4.62 4.52 4.41 4.26 4.23 4.17 4.16 4.14 4.10 3.98 3.94 3.89 3.86 3.77 3.76 3.75 3.63 3.61 3.52 3.41 3.40 3.37

39.67 35.82 38.53 33.52 39.29 37.01 36.01 31.72 30.85 36.28 37.36 29.78 32.51 31.48 36.29 32.76 29.71 23.43 24.57 26.58 23.09 23.42 23.42 30.59 23.40 22.28 19.50 25.59 28.40 23.86 22.63 21.96 18.46 21.38 23.62 27.52 21.13 20.76 19.06 22.61 26.80 20.02 21.50 20.30 15.12 26.09 18.24 19.10 14.85 15.98

ITV ITV ITV BBC1/Wall to Wall ITV ITV ITV ITV BBC1 ITV ITV BBC1 BBC1 ITV ITV BBC1 BBC1 BBC1 ITV/Wall to Wall BBC1 BBC1/Wall to Wall ITV BBC1 BBC1 BBC1 BBC1/Shine TV BBC2 BBC1 BBC1 BBC1 BBC1 BBC1/Screenchannel Television ITV/Kudos Film & TV BBC1/Screenchannel Television BBC1/Boc-Pix/RTÉ BBC1 BBC1 BBC1 ITV/RDF Television ITV/Initial BBC1 BBC1/Shine TV ITV/ITN BBC1 ITV BBC1 ITV BBC1 BBC1/Company Pictures ITV/Shiver

Figures include HD and +1 where applicable

Doctor Who Live: the next Doctor

You Saw them here First www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Source: BARB

51 52 53 53 53 56 57 58 59 60 61 62 62 64 64 66 67 68 68 70 71 72 73 74 75 76 77 78 78 78 78 82 83 84 85 86 87 88 89 89 91 92 93 94 95 95 97 98 98 100

Title

Day

Start

Viewers (m) (all homes)

Share %

Broadcaster/ Producer*

Love Your Garden ITV News & Weather BBC News ITV News & Weather Doc Martin ITV News & Weather Pointless Indiana Jones And The Last Crusade Harbour Lives Urban Jungle Death In Paradise DIY SOS: The Big Build Pointless ITV News & Weather I Love My Country Nigel Slater’s Dish Of The Day Nature’s Newborns Tonight: Coming To The UK? Pointless ITV News & Weather BBC News At One Pointless Celebrity MasterChef Hunting The Doorstep Conmen Married To The Job University Challenge BBC News At One BBC News At One A Question Of Sport: Captains’ Challenge Pointless ITV News At Ten & Weather You’ve Been Framed! Neighbourhood Force BBC News At One BBC News At One Das Auto: The Germans, Their Cars… ITV News & Weather 24 Hours In A&E Harry Potter And The Prisoner Of Azkaban Panorama: Tainted Love The Mill ITV News & Weather Sherlock Would I Lie To You? A Question Of Sport: Captains’ Challenge Southcliffe The Baby Born In A Concentration Camp How To Get A Council House You’ve Been Framed! Deadly 60 On A Mission

Tue Mon Sat Wed Fri Tue Wed Sat Fri Thu Mon Thu Mon Fri Sat Tue Tue Thu Tue Thu Mon Fri Fri Tue Thu Mon Wed Tue Fri Thu Mon Sat Wed Fri Thu Sun Sat Wed Sat Mon Sun Sun Fri Fri Wed Sun Mon Thu Sat Sun

20.00 18.30 22.30 18.30 21.00 18.30 17.15 17.35 20.00 19.00 21.00 21.00 17.15 18.30 19.30 19.00 19.30 19.30 17.15 18.30 13.00 17.15 19.30 21.00 20.30 20.00 13.00 13.00 19.00 17.15 22.00 19.00 21.00 13.00 13.00 21.00 18.15 21.00 15.25 20.30 20.00 22.00 20.30 22.40 22.35 21.00 22.35 21.00 18.30 18.30

3.33 3.29 3.23 3.23 3.23 3.15 3.14 3.12 3.11 3.03 2.93 2.91 2.91 2.90 2.90 2.88 2.87 2.83 2.83 2.73 2.66 2.64 2.63 2.61 2.60 2.53 2.50 2.48 2.48 2.48 2.48 2.47 2.45 2.42 2.37 2.36 2.35 2.31 2.30 2.30 2.27 2.24 2.23 2.22 2.17 2.17 2.15 2.09 2.09 2.06

16.38 19.03 20.19 18.41 16.20 19.14 24.40 22.40 16.31 18.50 13.45 14.79 23.43 18.68 17.33 16.35 15.39 16.17 23.58 18.50 34.60 22.77 14.35 11.63 13.85 11.99 33.23 32.72 15.06 22.20 12.93 16.00 11.32 33.35 33.87 10.32 17.00 10.68 22.40 10.42 9.48 11.67 11.08 16.59 15.69 9.48 14.38 10.63 14.64 12.12

ITV/Spun Gold ITV/ITN BBC1 ITV/ITN ITV/Buffalo Pictures ITV/ITN BBC1/Remarkable Television BBC1 ITV/Shiver BBC1 BBC1/Red Planet/Kudos BBC1 BBC1/Remarkable Television ITV/ITN BBC1/Avalon/Talpa BBC1 ITV ITV BBC1/Remarkable Television ITV/ITN BBC1 BBC1/Remarkable Television BBC1/Shine TV ITV/Tiger Aspect ITV/Landmark Films BBC2 BBC1 BBC1 BBC1 BBC1/Remarkable Television ITV/ITN ITV ITV BBC1 BBC1 BBC2 ITV/ITN C4/The Garden ITV BBC1 C4/Darlow Smithson ITV/ITN BBC1/Hartswood Films BBC1 BBC1 C4/Warp Films BBC1 C4/Studio Lambert ITV BBC1

*To include producer credits email robin.parker@emap.com by noon on Tuesday. Tables exclude programmes timed under 5 minutes long and omnibus editions, eg soaps.

i Love My country www.broadcastnow.co.uk

Southcliffe

Before they were famous, famous people weren’t famous, but to become famous they had to start somewhere, as ITV’s You Saw Them Here First showed. Its 4.5 million/21% (398,000 +1) at 8pm on Wednesday gave the first episode of BBC1’s new series of Celebrity MasterChef a run for its custard; 4.7 million/22% only just won it the slot. At 9pm, BBC1’s Who Do You Think You Are? netted 5 million/23% to defeat ITV’s Neighbourhood Force (2.3 million/10%; 190,000 +1). On Thursday at 8pm, Celebrity MasterChef achieved 3.8 million/ 20%, nearly 1 million fewer than

‘You Saw Them Here First gave Celebrity MasterChef a run for its custard’ launch, but just two share points down. Opposite at 8.30pm, ITV’s Married To The Job achieved 2.5 million/13%, steady from last week, only 140,000 behind. At 9pm, ITV’s special Tonight: Throwaway Britain achieved 1.6 million/8% (143,000 +1), behind a repeat of BBC1’s DIY SOS: The Big Build (2.9 million/15%). On Saturday at 7.30pm, BBC1’s new panel game I Love My Country managed 2.9 million/17% against ITV’s Your Face Sounds Familiar (3.7 million/22%; 190,000 +1), which was the channel’s top show of the night. BBC1’s best show was Casualty’s 4.4 million/ 23% at 9.10pm, just ahead of the indefatigable Mrs Brown’s Boys: 4.2 million/24% at 10pm. Parachuting into the schedules late on Sunday at 7pm was Doctor Who Live: The Next Doctor. The show achieved 6.1 million/30%, with a 6.9 million/32% peak for the revelatory moment at 7.25pm. BBC1’s national and regional news achieved 5.3 million/25% at 7.30pm. Opposite, ITV’s Tipping Point lost out with 3.8 million/ 19% (178,000 +1) at 7pm. Country file’s 5.6 million/23% saw off ITV’s All Star Mr And Mrs’ 3.4 million/14% (271,000 +1) at 8pm, but at 9pm, ITV took over as Law And Order: UK’s 3.9 million/17% (318,000 +1) remained too strong for BBC1’s The White Queen – 3.4 million/15%, a series low.

See over for digital focus, plus channel and genre overviews 9 August 2013 | Broadcast | 29

Ratings Mon 29 Jul – Sun 4 Aug Channel Overview

Final Top Gear laps Das Auto BY Stephen price

In the card game Top Trumps, German Cars was the best pack to have. Memories of shouting “60 BHP” and “1760cc!” were evoked by Sunday’s BBC2 German car documentary, which, coincidentally, on the 99th anniversary of Britain declaring war on Germany, launched a, er, German season. BBC2’s Raymond Blanc’s How To Cook Well (1.5 million/7%) defeated Channel 4’s Food Unwrapped (1 million/5%; 133,000 +1) at 8.30pm on Monday. On Tuesday at 8pm, Channel 5’s World’s Worst Holiday Horrors (1.4 million/7%; 63,000 +1) and C4’s Kirstie’s Fill Your House For Free (1.4 million/7%; 307,000 +1) beat BBC2’s Count Arthur Strong’s 700,000/4% at 8pm – newly arrived from 8.30pm Monday – and 8.30pm’s The Cruise: A Life At Sea (1.1 million/5%). On Wednesday at 10pm, C4’s The Last Leg (700,000/4%; 133,000 +1) returned ahead of C5’s Irish drama Love/Hate (600,000/ 4%; 61,000 +1). BBC2’s The Culture Show averaged 600,000/ 3% for 30 minutes. C4’s The Mill hit 2 million/8% (297,000 +1) at 8pm on Sunday, behind BBC2’s final Top Gear (4.7 million/19%). At 9pm, BBC2’s Das Auto: The Germans, Their Cars And Us (2.4 million/10%) beat C4’s new drama Southcliffe (1.9 million/8%; 289,000 +1).

Source: BARB

WeeK 31 Average hours per viewer Daytime share (%) Peaktime share (%) w/c 29.07.13 Peaktime share (%) w/c 30.07.12 YeAR To DATe Average hours per viewer Audience share (%) Audience share (%) 2012

BBC1 4.77 17.22 22.03 35.72 BBC1 5.73 21.10 21.60

BBC2 1.17 3.59 6.22 8.23 BBC2 1.55 5.73 6.12

ITV1 3.40 11.22 19.38 12.00 ITV1 4.34 16.01 15.71

C4 1.50 6.34 6.44 4.57 C4 1.57 5.77 6.46

30 | Broadcast | 9 August 2013

Total 24.17 100.00 100.00 100.00 Total 27.14 100.00 100.00

Start

Viewers (m) (all homes)

Share %

Broadcaster

Top 30 BBC2, CHAnneL 4 AnD CHAnneL 5 Title

Day

Top Gear

Sun

20.00

4.68

19.50

BBC2

University Challenge

Mon

20.00

2.53

11.99

BBC2

Das Auto: The Germans, Their Cars And Us

Sun

21.00

2.36

10.32

BBC2

24 Hours In A&E

Wed

21.00

2.31

10.68

The Mill

Sun

20.00

2.27

9.48

Southcliffe

Sun

21.00

2.17

9.48

How To Get A Council House

Thu

21.00

2.09

10.63

What’s Killing Our Bees? A Horizon Special

Fri

21.00

2.01

10.09

BBC2

Gardeners’ World

Fri

20.30

1.98

9.61

BBC2

Undercover Boss

Mon

21.00

1.92

8.82

Caligula With Mary Beard

Mon

21.00

1.89

8.69

BBC2

8 Out Of 10 Cats Does Countdown

Fri

21.00

1.82

9.11

Big Brother: Live Eviction

Fri

21.00

1.76

9.19

Hebrides: Islands On The Edge

Thu

21.00

1.75

8.92

BBC2

CSI: NY

Tue

21.00

1.74

7.77

Kirstie’s Fill Your House For Free

Tue

20.00

1.71

8.41

Big Brother

Mon

22.00

1.68

9.48

Percy Jackson And The Lightning Thief

Sun

16.20

1.67

11.97

Big Brother

Tue

22.00

1.58

9.28

Big Brother

Wed

21.00

1.56

7.21

Restoration Home

Wed

20.00

1.54

7.30

BBC2

Big Brother

Thu

22.00

1.52

8.88

World’s Worst Holiday Horrors

Tue

20.00

1.51

7.42

Raymond Blanc: How To Cook Well

Mon

20.30

1.49

6.74

BBC2

The Simpsons

Tue

18.00

1.46

9.71

Kick-Ass

Sat

22.00

1.46

11.27

Big Brother

Sun

21.00

1.44

6.27

Celebrity Mastermind

Fri

20.00

1.42

7.43

BBC2

X-Men

Sat

20.00

1.38

7.41

The Simpsons

Mon

18.00

1.34

8.51

Figures include HD and +1 where applicable

Multichannel 41.34

Horizon’s bee doc continued the science strand’s run of ratings successes

Others 12.27 57.26 41.34 36.27 Others 12.84 47.31 45.81

Daytime is 09.30-18.00. Peaktime is 18.00-22.30. Figures include HD and +1 where applicable

DAYTiMe SHARe (%) w/c 29.07.13

peAKTiMe SHARe (%) w/c 29.07.13

2.0m

C5 1.07 4.38 4.58 3.21 C5 1.11 4.09 4.30

BBC1 22.03

ITV1 19.38

C5 4.58 C4 6.44

BBC2 6.22

Multichannel 57.26

2.4m BBC2’s single doc Das Auto: The Germans, Their Cars And Us smashed the slot average of 1.8m

BBC1 17.22

ITV1 11.22

BBC2 3.59 C5 4.38 C4 6.34

www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

Genre Overview

Source: BARB

toP 10 cHiLdren’s Programmes Title

1 2 3 4 5 6 7 8 9 10

The Story Of Tracy Beaker What’s New Scooby-Doo? Scooby-Doo! Mystery Inc Alphablocks Strange Hill High Tommy Zoom Get Squiggling! Letters Brand New Hacker Time Big Barn Farm Horrible Histories

toP 10 FactuaL Programmes

Day

Start

Viewers (Age 4-15)

Share (%)

Channel

Wed Wed Tue Mon Wed Tue Wed Mon Mon Mon

18.00 18.30 16.00 09.40 17.00 08.25 09.20 10.00 09.25 10.30

209,600 203,800 203,100 198,100 192,000 191,800 188,200 186,500 182,300 182,000

11.79 11.56 18.27 15.49 12.56 21.62 15.80 14.53 14.84 15.81

CBBC CBBC CBBC CBeebies CBBC CBeebies CBeebies CBBC CBeebies CBBC

Title

1 2 3 4 5 6 7 8 9 10

Countryfile Long Lost Family Who Do You Think You Are? The Sheriffs Are Coming The Sheriffs Are Coming The Dales Urban Jungle Nigel Slater’s Dish Of The Day Hunting The Doorstep Conmen Married To The Job

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Mon Wed Wed Mon Mon Thu Tue Tue Thu

20.00 21.00 21.00 19.00 19.00 20.00 19.00 19.00 21.00 20.30

5.62 5.36 5.00 4.26 4.17 3.37 3.03 2.88 2.61 2.60

23.43 24.57 23.09 21.96 21.38 15.98 18.50 16.35 11.63 13.85

BBC1 ITV BBC1 BBC1 BBC1 ITV BBC1 BBC1 ITV ITV

➤ It was largely a brand new top 10 in the children’s world with the story of tracey Beaker taking top spot over two scooby doo mysteries. alphablocks and strange Hill High snuck into the top five, while Big Barn Farm was the only survivor from the previous week, falling eight places.

➤ countryfile remained the top factual programme, although ITV’s Long Lost Family replaced who do you think you are? in second place. Two episodes of the sheriffs are coming moved up, while new entries included urban Jungle and nigel’s slater’s dish of the day.

toP 10 drama Programmes

toP 10 entertainment Programmes

Title

1 2 3 4 5 6 7 8 9 10

New Tricks Holby City Casualty Law & Order: UK The White Queen Doc Martin Death In Paradise The Mill Sherlock Southcliffe

Day

Start

Viewers (millions)

Share (%)

Channel

Tue Tue Sat Sun Sun Fri Mon Sun Fri Sun

21.00 20.00 21.10 21.00 21.00 21.00 21.00 20.00 20.30 21.00

7.52 4.75 4.41 4.23 3.40 3.23 2.93 2.27 2.23 2.17

33.52 23.40 22.63 18.46 14.85 16.20 13.45 9.48 11.08 9.48

BBC1 BBC1 BBC1 ITV BBC1 ITV BBC1 C4 BBC1 C4

1 2 3 4 5 6 7 8 9 10

➤ The latest series of new tricks moved into top spot, replacing Luther, which ended the previous week. Holby city maintained second place, while casualty made a reappearance, leapfrogging Law & order: uk and the white Queen, which both fell a place.

uP Countryfile adds 140,000

down Big Barn Farm drops 18,000

1 2 3 4 5 6 7 8 9 9

Final Score Cycling: Ride London Cricket: The Ashes Swansea City: The Fall And Rise Cricket: The Ashes The Football League Show Cycling: Ride London Golf: Women’s British Open Swimming: World Championships Cricket: The Ashes

Day

Start

Viewers (millions)

Share (%)

Channel

Sun Wed Sun Sat Sat Sun Sat Wed Mon Sat

19.00 20.00 19.00 19.30 20.20 20.00 20.45 17.15 17.15 19.30

6.11 4.96 3.94 3.89 3.75 3.63 3.52 3.14 2.91 2.90

29.78 23.42 19.06 22.61 20.30 15.12 18.24 24.40 23.43 17.33

BBC1 ITV ITV ITV BBC1 ITV ITV BBC1 BBC1 BBC1

➤ The appointment of Peter Capaldi as the next doctor who helped the show’s special rocket to the top spot, while you saw them Here First came in at number two. tipping Point: Lucky stars dropped one place, but overtook national Lottery: Break the safe, which fell to fifth.

uP Holby City gains 7,000

down The Dales drops 3,000

uP Tipping Point adds 250,000

toP 10 current aFFairs Programmes Day

Start

Viewers (millions)

Share (%)

Channel

Sat Sun Sun Wed Sat Sat Sun Sun Sun Fri

16.25 16.30 19.00 23.05 19.00 23.35 11.30 13.55 18.30 19.00

1.47 1.19 1.15 1.02 0.93 0.92 0.83 0.82 0.80 0.80

14.10 8.49 5.58 10.68 5.81 13.00 10.03 6.88 4.14 4.61

BBC1 BBC1 C5 BBC1 C5 BBC1 BBC1 BBC2 BBC2 C5

➤ A low-rating week for sport saw Final score and cycling: ride London take the two top spots respectively, while Channel 5’s Ashes highlights helped it into third, fifth and ninth. A BBC1 documentary about Swansea City football club came in fourth spot. next week comedy and music & arts www.broadcastnow.co.uk

Doctor Who Live: The Next Doctor You Saw Them Here First Tipping Point: Lucky Stars Your Face Sounds Familiar National Lottery: Break The Safe All Star Mr & Mrs All Star Family Fortunes Pointless Pointless I Love My Country

down Law & Order: UK loses 400,000

uP Pointless rises 380,000

toP 10 sPort Programmes Title

Title

1 2 3 4 5 6 7 7 9 10

Tonight: Coming To The Uk? Panorama: Tainted Love Tonight: Throwaway Britain A Tribute To Mel Smith Newsnight Newsnight BBC News: The Editors Newsnight Newsnight Newsnight

Day

Start

Viewers (millions)

Share (%)

Channel

Thu Mon Thu Sat Thu Wed Mon Mon Fri Tue

19.30 20.30 21.00 22.10 22.30 22.30 23.10 22.30 22.30 22.30

2.83 2.30 1.78 1.10 0.69 0.66 0.64 0.64 0.54 0.53

16.17 10.42 9.06 6.55 4.98 5.03 6.66 4.44 3.80 3.90

ITV BBC1 ITV BBC2 BBC2 BBC2 BBC1 BBC2 BBC2 BBC2

➤ ITV’s Tonight franchise took two spots in the top three with its coming to the uk? and throwaway Britain docs, sandwiching Panorama’s tainted Love. a tribute to mel smith performed well, while newsnight took five of the 10 spots.

See over for demographic and digital focus 9 August 2013 | Broadcast | 31

Ratings Mon 29 Jul – Sun 4 Aug Demographic focus Channels

Individuals Share (%)

Adults ABC1 Share (%)1

BBC1

19.92

BBC2

4.82

ITV C4

Source: BARB Adults ABC1 Profile (%)2

Adults 16-34 Share (%)1

Adults 16-34 Profile (%)2

Male Share (%)1

24.32

47.32

6.69

53.85

14.23

12.61

6.15

Male Profile (%)2

Female Share (%)1

Female Profile (%)2

11.39

10.57

2.83

10.87

19.42

45.11

20.36

54.89

5.39

51.83

4.32

34.36

10.27

48.17

13.35

11.02

35.84

17.00

6.36

40.05

8.08

64.17

24.31

6.26

47.08

6.06

52.92 60.06

4.72

4.41

36.21

4.87

19.06

4.07

39.92

5.28

Sky Sports 1

0.58

0.61

41.21

0.84

26.90

0.88

70.28

0.32

29.72

BBC3

1.62

1.57

37.56

3.87

44.28

1.89

54.17

1.38

45.83

BBC4

0.87

1.26

56.10

0.27

5.74

1.06

56.38

0.71

43.62

1.70

1.93

44.00

4.59

49.96

1.54

41.80

1.84

58.20

More 4

1.33

1.59

46.37

1.18

16.49

1.25

43.73

1.39

56.36

Film 4

1.87

1.75

36.28

2.09

20.75

2.22

54.95

1.57

45.05

0.54

0.45

32.71

0.72

24.59

0.51

43.39

0.57

56.61

5 USA

1.18

0.90

29.69

0.83

13.04

1.10

43.16

1.25

56.84

ITV2

2.65

2.24

32.83

4.31

30.09

2.30

40.20

2.95

59.80

ITV3

2.71

2.31

33.01

0.68

4.66

2.26

38.64

3.09

61.36

ITV4

1.17

1.04

34.19

1.09

17.15

1.65

65.18

0.76

34.72

Sky Living

0.68

0.73

41.58

1.00

27.11

0.53

36.26

0.81

63.92

Dave

1.48

1.52

39.78

2.64

33.02

2.07

64.86

0.97

35.14

Yesterday

0.76

0.75

38.32

0.19

4.77

0.95

57.89

0.60

42.11

19%

The third series of Luther delivered a strong 16-34 audience for BBC1 – up 1% on 2011’s run

Share covers all hours. Figures include HD and +1 where applicable 1: Each channel’s share of total demographic. 2: Demographic as a percentage of the channel’s total viewers.

Digital focus

Cartoons are a top draw BY Stephen price

Displayed in the National Gallery is the Burlington House Cartoon by Leonardo someone. Da Vinci, I think it was. If he were alive today, he might be bemused but amused to see so many brighter and moving cartoons in this week’s top 30. Elsewhere, BBC4’s brainy quiz continued, while BBC3 looked at obsessive compulsive disorder. The penultimate episode of BBC4 quiz Only Connect achieved 960,000/4% on Monday at 8.30pm. On 15 July, its live rating was 889,000/4% – a leap of 140,000 and one share point week on week. BBC2’s University Challenge also returned on 15 July. Hmm, maybe they could go together… The first of BBC3’s two-parter Extreme OCD Camp began on Tuesday at 9pm with 528,000/2.4%. After five repeats, the episode totalled more than 1.5 million. The best non-Da Vinci cartoon was BBC3’s Family Guy on Sunday at 9pm with 1.1 million/6%. The best overall performer was Film 4’s movie Red on 1.8 million/10%. 32 | Broadcast | 9 August 2013

Source: BARB

DiGiTal hOmEs

TOp 30 mulTiChannEl pROGRammEs Title

1 2 3 4 5 6 7 8 9 9 11 12 13 13 15 15 15 18 19 20 20 22 22 24 25 26 26 28 29 29

Red New: Family Guy New: Family Guy Foyle’s War Only Connect Die Hard With A Vengeance Family Guy Family Guy Family Guy Hot Fuzz Family Guy Wall-E Family Guy Family Guy Family Guy Agatha Christie’s Poirot Family Guy Two Weeks’ Notice Vera The Big Bang Theory Hollyoaks American Dad! Step Up American Dad! American Dad! Hollyoaks American Dad! Iron Man American Dad! Vera

Figures include HD and +1 where applicable

Day

Thu Sun Sun Sat Mon Sat Tue Thu Wed Sat Mon Wed Mon Tue Wed Sat Thu Sun Thu Wed Wed Wed Sun Mon Tue Tue Thu Tue Wed Wed

Start

21.00 22.00 22.25 18.50 20.30 21.00 23.25 23.25 23.25 21.00 23.00 20.30 23.25 23.00 23.00 21.00 23.00 19.00 20.00 18.30 19.00 23.45 16.55 23.45 23.45 19.00 23.45 21.00 00.10 20.00

Viewers (millions)

Share (%)

Channel

1.81 1.11 1.06 1.01 0.96 0.90 0.88 0.86 0.85 0.85 0.82 0.81 0.80 0.80 0.79 0.79 0.79 0.76 0.74 0.73 0.73 0.71 0.71 0.67 0.66 0.65 0.65 0.64 0.63 0.63

10.12 5.94 6.98 6.05 4.37 5.00 10.57 9.42 9.92 4.96 7.29 3.74 9.29 7.46 7.29 4.40 7.05 3.40 3.83 4.14 3.89 10.78 4.71 10.06 10.72 3.70 9.31 3.51 12.69 2.93

Film 4 BBC3 BBC3 ITV3 BBC 4 BBC3 BBC3 BBC3 BBC3 ITV2 BBC3 BBC3 BBC3 BBC3 BBC3 ITV3 BBC3 ITV2 ITV3 E4 E4 BBC3 ITV2 BBC3 BBC3 E4 BBC3 Film 4 BBC3 ITV3

Channels

Share (%)

BBC1 ITV C4 BBC2 C5 Total multichannel ITV3 ITV2 Film 4 E4 Sky Sports 2 BBC3 Dave CBeebies More 4 5 USA ITV4 BBC News

19.92 14.23 6.15 4.82 4.72 50.16 2.71 2.65 1.87 1.70 1.63 1.62 1.48 1.38 1.33 1.18 1.17 1.07

Figures include HD and +1 where applicable

1.8m

Viewers who watched Film 4’s spy thriller Red (Thu, 1 Aug) ahead of its sequel’s theatrical release www.broadcastnow.co.uk

All BARB ratings supplied by: Attentional

NoN-PSB toP 50 1 1 3 4 5 6 7 8 9 10 11 12 13 14 15 16 16 16 19 20 21 22 23 24 25 26 27 28 28 30 31 32 33 33 35 36 37 38 38 40 41 42 43 44 45 46 47 48 49 50

Title

Day

Start

Storage Hunters Live Cricket: The Ashes Storage Hunters Live Cricket: The Ashes Megatruckers New Dynamo: Magician Impossible Mock The Week Mock The Week Live Cricket: The Ashes Live Cricket: The Ashes The Simpsons The Simpsons Live Championship Storage Hunters An Idiot Abroad 2 Not Going Out The Simpsons Geordie Shore The Simpsons The Simpsons Jonathan Creek Mock The Week Live Football League Have I Got A Bit More News For You The Simpsons The Simpsons QI XL Live Championship Mock The Week Megatruckers Gold Rush QI Have I Got A Bit More News For You The Simpsons The Simpsons Futurama The Simpsons Russell Howard’s Good News The Simpsons The Simpsons Stargate SG-1 Have I Got A Bit More News For You The Simpsons The Simpsons The Simpsons Not Going Out Road Wars Have I Got A Bit More News For You Storage Hunters The Simpsons

Tue Sat Tue Sun Tue Thu Sat Sat Fri Thu Tue Tue Sun Sat Sun Thu Sun Tue Mon Sun Fri Mon Fri Tue Mon Wed Mon Sat Sat Tue Tue Sun Wed Wed Wed Sun Tue Wed Sun Mon Wed Mon Fri Thu Thu Thu Sun Sun Sat Fri

20.00 10.00 20.30 10.00 19.30 21.00 21.40 21.00 10.00 10.00 19.00 19.30 15.30 20.30 21.00 22.20 18.00 22.00 19.30 17.30 21.00 23.00 19.00 22.00 19.00 19.00 22.00 12.00 22.20 19.00 21.00 22.00 21.00 19.30 18.30 18.30 18.30 22.00 19.30 18.30 20.00 21.00 18.30 18.30 19.00 21.40 18.00 20.40 20.00 19.00

Viewers (000s) Share (all homes) % 588,000 588,000 571,000 542,000 488,000 482,000 432,000 431,000 429,000 420,000 400,000 397,000 374,000 370,000 358,000 348,000 348,000 348,000 345,000 342,000 341,000 335,000 323,000 322,000 319,000 316,000 312,000 310,000 310,000 303,000 302,000 300,000 299,000 299,000 295,000 292,000 288,000 287,000 287,000 285,000 284,000 282,000 277,000 274,000 272,000 270,000 269,000 265,000 264,000 263,000

Figures include HD and +1 where applicable

Storage Hunters www.broadcastnow.co.uk

An Idiot Abroad

3.00 6.87 2.71 5.21 2.62 2.45 2.32 2.22 5.27 5.34 2.28 2.13 2.86 2.00 1.56 2.17 2.23 2.04 1.70 2.32 1.73 3.23 1.69 1.89 1.71 1.69 1.76 4.55 1.95 1.73 1.35 1.72 1.38 1.48 1.68 1.72 1.75 1.76 1.37 1.65 1.34 1.29 1.78 1.86 1.66 1.38 1.65 1.10 1.52 1.60

Broadcaster/ Producer* Dave/Avalon Sky Sports 2 Dave/Avalon Sky Sports 2 Dave Watch Dave/Angst Productions Dave/Angst Productions Sky Sports 2 Sky Sports 2 Sky 1 Sky 1 Sky Sports 1 Dave/Avalon Pick TV Dave Sky 1 MTV/Lime Pictures Sky 1 Sky 1 Drama Dave/Angst Productions Sky Sports 1 Dave/Hat Trick Productions Sky 1 Sky 1 Dave/Talkback Sky Sports 1 Dave/Angst Productions Dave Discovery/Raw TV Dave/Talkback Dave/Hat trick Productions Sky 1 Sky 1 Sky 1 Sky 1 Dave/Avalon Sky 1 Sky 1 Pick TV Dave/Hat Trick Productions Sky 1 Sky 1 Sky 1 Dave/Avalon Pick TV Dave/Hat Trick Productions Dave/Avalon Sky 1

482k Dynamo: Magician Impossible (Thu, 9pm) bought in magic numbers for Watch, delivering a 2.4% share

Howzat! for a result BY StepHen prIce

I am not sure there is any other sport in the world that can have a triumphant, historically significant result brought about directly by rain-induced inaction after four days of fruitless tussling. Which is why you have to love cricket. It was raining cats, dogs and wombats in Manchester, the game was a draw and yet inert England had, in the rain, retained the Ashes. A win in a draw; and Sky Sports lapped it all up. Elsewhere, storage hunters still left their mark and an enduring brand put Pick TV in the top 20. The best day for Sky Sports Ashes (as Sky Sports 2 has been rebranded for the duration) was Saturday with an average of 588,000/7% from 10am for nine hours. Monday 5 August’s play was much curtailed but at around 4.40pm, when the match was abandoned, 220,000/2% were watching the umbrellas. The best of this week’s Storage Hunters for Dave was Tuesday’s 8pm episode, with 589,000/3% – enough to make it the best show overall. The next best was the 8.30pm episode, with 571,000/3%. Sky 1’s An Idiot Abroad is displayed many times across much of Sky’s family of channels, eking out value, and this week a repeat delivered 358,000/2% for sister channel Pick TV, giving it a healthy top 20 place. 9 August 2013 | Broadcast | 33

Ratings Mon 22 Jul – Sun 28 Jul

All BARB ratings supplied by: Attentional

Consolidated Ratings

No trouble at The Mill BY Stephen price

Working in TV can be quite glamorous, but when August arrives, things do slow down – to the extent that my big job seems to be pairing up the hundreds of socks I own. The most vexing part is finding partners for the many anonymous grey ones. I imagine a seething Victorian overseer looming over me screaming “that grey one doesn’t go with that grey one, you oaf. The hue is quite distinct”. So as you can imagine, I felt some sympathy with the characters in Channel 4’s The Mill, which did well, even if it wasn’t especially young: 370,000/7% for 16-34s. The kids were probably scrubbing the coal shed – or counting socks. Elsewhere, BBC1’s Luther bid farewell, while Dick and Liz did nicely for BBC4.

Source: BARB

BBC1: Luther The third series of Luther ended its run of four episodes on 23 July at 9pm. After more than 1 million watched via PVR, it achieved 6 million/24%, exactly in line with the series average, with an average 1.2 million recording and watching. Both 16-34s (1 million/19%) and ABC1’s (3.1 million/27%) outperformed the slot average. The first series of six in 2010, which averaged 4.8 million/19% after just 600,000 recorded, had a relatively small 16-34 content: 500,000/10%, which was below the slot average. The best series was 2011’s. Its four episodes averaged 6.4 million/ 25% after 900,000 recorded and watched. Adults aged 16-34 found the 2011 series more enticing, averaging 900,000/18%, slightly behind 2013.

Channel 4: The Mill Channel 4’s The Mill clearly saw its tough slot as a metaphor for its characters’ plight; it took it on and did well. Despite the close atten-

tions of BBC2’s Top Gear (5.3 million/20% consolidated) and BBC1’s Countryfile (5.6 million/21% consolidated) The Mill achieved 3.8 million/15% after 904,000 recorded and watched, 1.8 million/ 15% of whom were ABC1 adults.

BBC4: Burton And Taylor BBC4’s bio-drama Burton And Taylor achieved 1.3 million/6% on 22 July after a modest 85,000 recorded and watched. But after two repeats, it totalled 2 million. Burton And Taylor was BBC4’s second-most-watched show of 2013 (Goodbye Television Centre’s 1.6 million/6% in March is the best so far) and the channel’s seventh-best performer ever. The best remains Hattie’s 2 million/8% in January 2011.

Gain for BBC2’s Top Of The Lake (Sat, 9.10pm), equivalent to a 67% increase

UP The Americans up 37,000

MTV: Geordie Shore MTV’s Geordie Shore barges on. The 23 July episode at 10pm achieved 1.1 million/6% after 650,000 recorded, a fraction behind the series’ and channel’s best of 1.13 million/6% on 16 July.

TOP 30 CONSOLiDATeD RATiNGS: RANkeD By GAiN

1 2 3 4 5 6 7 8 9 9 11 12 12 14 14 16 17 18 19 20 20 22 22 24 25 25 27 28 29 30

630k DOWN Geordie Shore down 3,000

Title

Day

Start

Viewers (m) (all homes)

Share %

Gain (m)

Gain %

Luther Law & Order: UK The White Queen Coronation Street The Mill EastEnders Coronation Street Coronation Street Top Gear Coronation Street Revolution EastEnders Geordie Shore CSI: Crime Scene Investigation EastEnders Top Of The Lake EastEnders Revolution Coronation Street Emmerdale The Americans 8 Out Of 10 Cats Does Countdown The Real White Queen And Her Rivals The Returned Hannibal Dynamo: Magician Impossible Emmerdale Once Upon A Time Emmerdale Holby City

Tue Sun Sun Fri Sun Fri Mon Fri Sun Wed Fri Tue Tue Tue Thu Sat Mon Fri Mon Fri Sat Fri Wed Sun Tue Thu Thu Sun Mon Tue

21.00 21.00 21.00 20.30 20.00 20.00 20.30 19.30 20.00 19.30 22.00 19.30 22.00 21.00 19.30 21.10 20.00 21.00 19.30 19.00 21.50 21.00 21.00 21.01 22.00 21.00 20.00 20.00 19.00 20.00

5.96 5.84 4.58 7.89 3.83 6.12 9.01 8.12 5.29 8.28 1.08 5.49 1.10 2.46 6.46 1.57 7.53 1.08 8.76 7.03 1.73 2.46 1.79 1.53 0.64 1.25 7.59 1.33 6.82 4.60

23.58 22.07 17.45 36.82 14.50 30.67 37.38 43.31 20.05 41.79 5.80 25.26 5.52 9.63 33.38 7.29 33.49 4.89 42.15 40.12 8.75 11.21 7.66 5.91 3.15 5.54 36.17 4.99 36.58 20.88

1.14 1.11 1.06 0.91 0.90 0.79 0.70 0.69 0.68 0.68 0.66 0.65 0.65 0.64 0.64 0.63 0.61 0.58 0.57 0.52 0.52 0.45 0.45 0.44 0.43 0.43 0.42 0.41 0.40 0.39

23.80 23.50 30.10 13.00 30.90 14.90 8.40 9.30 14.70 8.90 161.00 13.30 142.40 34.90 10.90 66.80 8.80 118.20 7.00 8.00 42.50 22.50 33.50 40.80 210.10 52.00 5.90 44.60 6.30 9.10

Broadcaster BBC1 ITV BBC1 ITV C4 BBC1 ITV ITV BBC2 ITV SKY 1 BBC1 MTV C BBC1 BBC2 BBC1 Sky 1 ITV ITV ITV C4 BBC2 C4 Sky Living Watch ITV C5 ITV BBC1

Figures include HD and +1 where applicable

34 | Broadcast | 9 August 2013

www.broadcastnow.co.uk

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ALL A TWITTER

up Jahmene Douglas off the top spot, Cowell certainly hasn’t been left with egg on his face. It’s almost as if he hatched the plan himself…

#FAKEFANS

Runner becomes the star

Corrie stars get free gifts. Corrie stars say thanks on Twitter. This C4 doc is hardly ‘Death on the Rock’ #dispatches @Julian5News (@Julian5News) Reporter and presenter

Richard and Adam: Eggs Factor

Cowell’s egg-static at No.1 Simon Cowell may have been shell-shocked by the appearance of an egg-toting protester during the Britain’s Got Talent final, but her antics have done little to dampen enthusiasm for singing brothers Richard and Adam, who were performing at the time. Their debut album, The Impossible Dream, has cracked the album charts, going straight in at number one this week. Given the former sandwichmakers knocked X Factor runner-

Next week on Dispatches: THEY WEREN’T EVEN SINGING ON TOP OF THE POPS! IT WAS ALL MIMED! #fakefans

Some of the best characters in celluloid started off as fictitious print columnists, as Helen Fielding will testify, and Broadcast is happy to report that our one-time spoof columnist Pursuit Delange – the oldest runner in Soho – is set to be the star of his own self-titled movie. Billed as ‘Bridget Jones meets Withnail And I, the film promises to shine a light on what goes on inside the dark rabbit warrens of Soho’s post houses. Delange’s creator Howard Webster has launched a Kickstarter funding campaign to secure the remaining £22,000 needed to greenlight the project at http://www.kickstarter.com/ projects/1530073994/meet-pursuit-delange-a-great-british-comedy-movie-0. You can almost smell the cigarette smoke from here.

@DelaneyMan (Sam Delaney) Journalist

I would just like to declare I have not been paid by Apple for this tweet #dispatches #fakefans I AM just a geek @ahj (Aled Haydn Jones) Radio 1 presenter

Nostalgia reigned at YouTube’s Geek Week with the return of classic CITV show Knightmare for a one-off online special. While show creator Tim Child was happy to come out of retirement to produce the 30-minute headline show, it took more than Isy Suttie and her horn to convince the sleepy Dungeon Master, Treguard.

There are #fakefans on Twitter?! Pathetic marketing tactic. Quick, everyone retweet this so we know you’re real. @ComedyCentralUK

AND FINALLY ... Stuart Murphy Sky entertainment channels director

What TV channel would you most like to launch? Sky Alton Towers. Which TV or radio programme would you resuscitate? We Are The Champions – mainly the inflatable bit. What’s the worst rejection you’ve ever had? When I was at an indie I was told by a commissioner that a script “wasn’t funny”, while he had his feet on the desk throughout the meeting. What do you do to relax? I box. What’s the most unusual drink you’ve ever had? I tried vodka and tonic for the first time only a few weeks ago. What words or phrases do you most overuse? I see what you mean. What’s the best advice you have ever been given? Have an opinion, work harder than everyone else and be very nice. What’s the one thing you couldn’t live without? My kids and my iPhone. What’s your hidden talent? Handstand press-ups. Where’s the best place to do some ‘meeja’ networking Watching kids’ cricket with other parents. ➤ Stuart Muphy will take part in a Meet the Controller session at the Guardian Edinburgh International TV Festival

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