broadcastnow.co.

uk 17 May 2019

11-12 June 2019

@mediaprodshow FREE entry

mediaproductionshow.com register now
Look who’s attending MPS.
Are you?

FREE entry, register now | mediaproductionshow.com

 17 May 2019 broadcastnow.co.uk

COMMENT INTERVIEW BEHIND THE SCENES

Industry is desperate Sky’s Lucy Murphy on Exploring Poliakoff’s
for more editors P12 reviving kids’ TV P14 Summer Of Rockets P20

Call to extend HETV tax relief

Senior figures suggest lowering threshold to £750,000 to aid mid-range drama and comedy

Hatton Garden: mid-range,

domestic drama for ITV

BY MAX GOLDBART
Lowering the high-end TV tax
credit threshold would provide a
much-needed boost to producers
of mid-range UK drama, according
to senior industry figures.
Last week, All3Media chief exec-
utive Jane Turton suggested that
cutting the £1m-per-hour thresh-
old to £750,000 would help pro-
ducers finance spiralling budgets
across a greater range of shows.
She floated the idea to a House of
Lords committee tasked with
exploring the future of the PSBs.
Former Kudos chief executive
Diederick Santer said that the
credit has expanded beyond
its initial aim of ensuring shows
are shot in the UK, rather than
overseas, to become a key drama
funding resource.
British-focused shows such as
BBC3’s Bafta-winning single Killed
By My Debt and ITV’s forthcoming
heist series Hatton Garden could
benefit, according to Santer.
“There are lots of dramas reflect-
ing UK society that do incredible
jobs for domestic broadcasters but
are hard to fund because they won’t
sell widely,” he told Broadcast.
Santer said the £1m threshold
is an “arbitrary figure” and queried
whether all dramas should qualify.
“We’re past the point where [the
tax relief ] is about stopping things
going abroad,” he added. “Why
can’t brilliant training grounds
like Casualty and Holby City
benefit in the same way that
Vera and Grantchester do?”
The number of shows that quali-
fied for the credit in 2017 halved to
around 100 compared with 2015,
Why can’t brilliant training
grounds like Casualty and
Holby City benefit in the
same way that Vera and
Grantchester do?
DIEDERICK SANTER
KUDOS
according to the BFI/Treasury’s
latest Screen Business Report.
Lowering the threshold could also
help stimulate the market for Euro-
pean co-productions by making the
UK a more attractive proposition for
smaller broadcasters, according to
Commercial Broadcasters Associa-
tion executive director Adam Minns.
Red Planet Pictures joint man-
aging director Alex Jones said it
could also provide some much-
needed assistance to comedy. “In
terms of global sales, the success
rate of comedy is much lower than
drama so the genre can be really
hard to finance,” he said.
However, Directors UK chief
executive Andrew Chowns queried
whether scripted is the genre most
in need of additional government
investment. “There are many
genres, including children’s, that
I would put in the queue before
bumping up the budget of a show
like Holby City,” he said.
Meanwhile, the Labour Party
has launched a public consultation
into attaching an ‘inclusion rider’
to the tax credit, meaning produc-
tions would have to reach a certain
diversity quota in order to qualify.
Jones warned that such a policy
has the potential to “kill creativity”
if it is too prescriptive and urged
policymakers to consider factors
such as regional diversity.
LEADER alex.farber@broadcastnow.co.uk
For the leader archive go to
broadcastnow.co.uk/the-editor
@AlexFarber

Tax relief is doubled-edge sword

Producers need a helping hand, but additional subsidies pose risks
HANDS UP who wants to pay less tax? It’s an attractive proposition
for any cash-strapped producer wearily attempting to find the
final piece of an increasingly complex funding jigsaw to get their
latest project over the line.
And as we report on page 1, lowering the threshold for tax
relief is understandably gaining some traction after All3Media
chief executive Jane Turton floated the idea to a House of Lords
committee last week. Quite rightly, she is concerned about the
increasingly weighty financial burden being laid at the feet of
producers by belt-tightening broadcasters. 14
There is a compelling argument that a smaller tax burden will
One consequence
of lowering the
provide a shot in the arm for a mid-range drama and comedy 17 MAY 2019
market that is struggling to tread water and at real risk of being
tax-relief threshold News & Analysis 03
washed away by the scripted supertankers.
is likely to be a Figures issued by BFI show that although fewer high-end Technology & Facilities 09
steady creep projects are being made – down to 100 in 2017 from double Comment 12
upwards in the that figure in 2015 – those that are produced cost an average The Broadcast Interview 14
cost of cheaper of £10m, up from £4m two years earlier. Behind the Scenes 20
shows to ensure Reducing the barriers to getting mid-range shows made Marketplace/Appointments 22
that they qualify could also help to ensure that the nursery slope, which is
Ratings 24
crucial for the development of the next generation of top talent,
remains in good shape. True North chief Andrew Sheldon
Offcuts 32
clearly sets out the risk to growth if producers fail to invest RATINGS TOP FIVE
ALEX FARBER in people (page 12).

1
Then there is the looming threat of the SVoD providers Sunday’s emotional conclusion to
DEPUTY EDITOR
BROADCAST reducing their commitment to British co-productions in favour Sid Gentle’s six-part ITV drama
of fully funding their own projects. The widely predicted trend The Durrells was watched by 3.8m.
will close down a lucrative avenue that has helped fund shows

2
including BBC1’s Bodyguard, ITV’s The Widow and BBC2’s forth- ITV’s one-off Saturday night chat
coming Good Omens. show Bradley Walsh’s Late Night
And yet those calling for greater subsidies must be careful Guest List entertained 3.6m.
what they wish for. It is not healthy for any industry to become

3
overly dependent on government subsidies. A policy endorsed The second part of BBC1’s Our
by chancellor Philip Hammond could quickly be undone by his Dementia Choir With Vicky McClure
successor, with potentially devastating implications for a puffed- grabbed 2.1m on Thursday.
up industry built on shaky financial foundations.

4
Equally, there is a genuine danger of further stoking inflation
Entertainment doc Adele: In
in an environment already grappling with spiralling budgets. Her Own Words drew 1.1m to
One consequence of lowering the tax-relief threshold is likely Channel 5 on Friday night.
to be a steady creep upwards in the cost of cheaper shows to

5
BBC2’s special doc One Day
ensure that they qualify.
The Treasury will rightly be cautious of engineering an environ- In Gaza informed 600,000
ment in which TV production is effectively tax-exempt – particu- on Monday.
larly in an industry with two publicly owned businesses.

Technology and Facilities Editor Production Assistant MARKETING TO SUBSCRIBE TO BROADCAST

Jake Bickerton 020 8102 0894
International Editor
Zetland House, John Elmes 020 8102 0833
5-25 Scrutton Street, Reporters
London EC2A 4HJ Max Goldbart 020 8102 0864
Joanna Tilley 020 8102 0877
EDITORIAL Production Editor
Dominic Needham 020 8102 0871
Editor in Chief
Chris Curtis 020 8102 0827 Art Editor Abi Hardwick 020 8102 0915
Deputy Editor Group Art Director, MBI
Alex Farber 020 8102 0834 Peter Gingell 020 8102 0842
Chris Dinnall 020 8102 0848
COMMERCIAL
Commercial Director
Talia Levine 020 8102 0858
Senior Account Manager
Richard Hewes 020 8102 0851
Event Director,
Media Production Show
Charlotte Wheeler 07702 381809
Events Co-ordinator
Hannah Russo 020 8102 0804
Head of Marketing +44 (0)330 333 9414
Nina Bhalla 020 8102 0945
Marketing Manager
Jade Glover 020 8102 0832
Broadcast is part of Media Business Insight Ltd
Marketing Assistant (MBI), publisher of Screen International
Olivia Snellgrove 020 8102 0914
SUBSCRIPTION
Customer Services & Subscription
help@subscribe.broadcastnow.co.uk
0330 333 9414 MB-INSIGHT.COM

Web Editor Online Content Manager Managing Director, MBI Corporate Subscription
Robin Parker 020 8102 0873 Paul Weatherley 020 8102 0949 Alison Pitchford 020 8102 0912 Matthew Wright 020 8102 0934
Insight Editor Production Manager, MBI Chief Executive, MBI corporatesubscription@
Jesse Whittock 020 8102 0821 Jon Cooke 020 8102 0825 Conor Dignam 020 8102 0910 broadcastnow.co.uk

The formula to email individual members of staff is: firstname.surname@broadcastnow.co.uk or for names with MBI after their job title: firstname.surname@mbi.london

2 | Broadcast |17 May 2019 broadcastnow.co.uk


D2C sparks LA content fears
Screenings buyers concerned over access to shows as studios gear up to launch services
BY JOHN ELMES
Consolidation in the US media
sector and the studios’ forth-
coming direct-to-consumer (D2C)
services have prompted concern
that access to premium content
could be restricted at this year’s
LA Screenings.
More than 1,500 acquisitions
execs are heading to LA this week
for the annual US programming
showcase, with some fearing that a
number of the shows promoted may
ultimately prove unavailable to buy.
Developments include Disney
buying Fox’s film and television
assets and preparing SVoD service
Disney+, which, together with
launches from Warner Media and
Disney, will pose fresh questions
for buyers.
“People are nervous and are
waiting for the decisions as to
what may or may not be available,”
Dermot Horan, director of acquisi-
tions and co-productions at Irish
broadcaster RTÉ told Broadcast.
He said that uncertainty over the
scale of the studios’ SVoD services is
a new factor in play, and potentially
exacerbates the reduced number
of shows available due to existing
multi-year output deals. As a result,
European broadcasters have been
“forced” to consider other options.
SVoD focus
Horan said that cable and SVoD
fare is becoming buyers’ focal
point, rather than the traditional
22-episode network dramas and
comedies. “We have to ferret out
content in a far more sophisticated
way,” he added.
Armando Nuñez, president and
chief executive of the CBS Global
Distribution Group, said there
“may be a scarcity of content”, with
certain companies holding back
programming for D2C offerings,
but this represents an opportunity
for distributors.
“If others are holding back
their content, it’s good for us
because we’re licensing ours. We’re
not hosting close to 1,400 people
here to tell them we’re not selling
our content.”
broadcastnow.co.uk
Evil: upcoming legal drama from CBS, which is exploring international expansion for SVoD platform CBS All Access
We don’t have a cold, hard
set rule about licensing
versus utilising content
for our D2C offering. We
can do both
ARMANDO NUÑEZ
CBS GLOBAL DISTRIBUTION GROUP
CBS is exploring international
expansion for its SVoD platform
CBS All Access, but this week
sold Amazon the international
streaming rights to its upcoming
Jean-Luc Picard-focused Star Trek
spin-off, having previously sold
Star Trek: Discovery to Netflix.
“The content we create here is
a relatively limited commodity,”
said Nuñez. “We don’t have a cold,
hard, set rule about licensing
versus utilising content for our
own D2C offering. We can do both.”
At the time of going to press,
35 shows have been ordered to
series by the ‘Big Five’ networks.
Reworking existing IP remains a
popular strategy, with The CW
rebooting sleuth franchise Nancy
Drew and ordering Riverdale spin-
off Katy Keene, and Fox expanding
its 9-1-1 brand with 9-1-1: Lone Star.
“There are plenty of reboots
about and network TV is focusing
back to procedurals and traditional
sitcoms,” said Channel 4 head of
series acquisitions Nick Lee.
“As a UK buyer, we’re always
looking for that new, bold and
bright content that the US market
still produces, but sustainable
shows are equally important.”
Sky director of acquisitions
Sarah Wright said “higher-
concept” programming is also
attracting attention this year.
ABC has taken character-
driven thriller Emergence, while
NBC picked up Sony Pictures
Television and Keshet Studios
procedural Lincoln, inspired by
the lead character from novel
The Bone Collector. Fox has added
talent-driven series such as the
Stephen Dorff-led Deputy from
Entertainment One and Kim
Cattrall-fronted gothic dramedy
Filthy Rich.
Sony has sold four network
series this year, with two comedies
plus ABC’s 50 Cent drama For Life
joining Lincoln. Keith Le Goy,
president of distribution and
networks at Sony Pictures Enter-
tainment, said being an independent
studio has helped it maintain
creativity and stand out domesti-
cally and internationally.
“With Lincoln, you’re combining
something that is known, familiar
and comfortable with audiences in
terms of rhythm and storytelling,
but with a much greater injection
of character,” he added.
NEWS & ANALYSIS
SCREENINGS PICKS
Emergence (ABC) Character-
driven genre thriller starring
Allison Tolman (Fargo).
Batwoman (The CW): Greg
Berlanti’s latest action drama.
ITV head of acquired series
Sasha Breslau is “intrigued
to see the pilot”.
Evil (CBS) Legal drama from
Robert and Michelle King.
Council Of Dads (NBC)
Emotional drama aiming
to build on the success of
This Is Us.
“We have to beat the in-house
studio to get a slot on the net-
work, or to get prominence on
a streaming service. That means
our shows probably resonate
more strongly around the world,
because they’ve come through a
Darwinian fight.”
Stuart Baxter, president of
international distribution at eOne,
agreed that consolidation will
irrevocably change the Screenings
in the future, but said the event
remains vital. “The senior buyers
do seem to be going out to LA and
there’s no sign that interest from
the international market is
waning,” he said.
17 May 2019 | Broadcast | 3
Pact helps plug N&R skills gap
Trade body’s new Leeds hub to monitor areas with shortages and encourage talent to relocate
BY MAX GOLDBART
Pact is to help plug skills gaps
in the nations and regions as
greater numbers of returning
series are commissioned outside
of London (OOL).
According to chair Sara Geater,
the trade body’s newly opened
Leeds hub will monitor locations
across the nations and regions to
assess whether they suffer from a
shortfall in certain skills, before
working with indies to encourage
relevant talent to relocate.
Speaking at last week’s hub
opening, Geater said: “There are
gaps in certain regions where
there currently aren’t enough
skilled staff.
“For example, if loads of dramas
are suddenly commissioned in
Glasgow, there will be a skills
shortage. The market tends to right
itself eventually but Pact will monitor
specific regions and work out what
to do to help resolve the issue.”
Geater, who is also chief operating
officer of All3Media, said the super-
indie is already providing the
necessary training and upskilling
on OOL productions such as the
BI report reveals industry verdict on Netflix
A picture of Netflix as a ‘firm
but fair’ negotiator has emerged
in a detailed study of producers
and distributors compiled by
Broadcast Intelligence.
Free Rein producer Lime
Pictures; 42, the drama indie
behind Julian Fellowes’ Netflix
football drama The English Game;
and distributor All3Media Inter-
national are among 15 businesses
that have opened up about the
SVoD’s business practices.
The Working with Netflix report
identifies speed of response and
payment, editorial freedom and
clarity of thought as some of
Netflix’s chief strengths.
Stuart Cabb, managing
director of Girls Incarcerated
4 | Broadcast | 17 May 2019
The Circle: Studio Lambert
North’s debut commission
The money the PSBs spend
in the nations is increasing
– it will lead to big pieces of
work and big opportunities
JOHN MCVAY
PACT
second series of Channel 4’s
The Circle, which is being made in
Manchester as Studio Lambert
North’s debut commission.
Channel 4 has pledged to spend
50% of its content budget OOL by
2023, which it claims will support
Girls Incarcerated: Plum Pics doc
indie Plum Pictures, pointed to an
“underlying trust in the produc-
tion team” when it came to notes,
which he described as “collabora-
tive suggestions” rather than hard-
and-fast dictums.
Meanwhile, tough legal negotia-
tions and limited feedback on a
show’s performance were named
up to 3,000 production jobs in the
nations and regions economy as
part of its 4 All the UK strategy.
The BBC already has a 50% target.
Pact chief executive John McVay
told Broadcast he is in conversa-
tion with industry figures about
how best to encourage freelancers
to relocate from London.
He pointed to Hat Trick Produc-
tions, which moved quiz show
Mastermind to Northern Ireland
after it won the tender from BBC
Studios with a joint bid with Hind-
sight Productions. “There should be
among the more challenging
aspects of dealing with the SVoD.
One scripted indie highlighted
a “good cop, bad cop” division
between the “incredibly supportive”
editorial team and “brutal”
business affairs negotiations.
A common thread is that Netflix
has become a buyer that is maturing
in terms of budgets, expectations
and rights as it cements its place in
the commissioning landscape.
NEW REPORT
working with NETFLIX
enough work coming down the pipe
for freelancers to say ‘I could sell up
in London and take a punt’,” he said.
“The money the PSBs spend
in the nations is increasing – it
will lead to big pieces of work and
big opportunities.”
McVay hailed C4’s recent
engagement with OOL indies since
it revealed plans to create 300 roles
outside London, and warned other
PSBs not to fall behind.
“The BBC, ITV and Channel 5
should be thinking about how best
to meet new companies and new
talent. They shouldn’t think of this
push as a burden,” he added.
Also speaking at the Pact Leeds
opening, C4 director of programmes
Ian Katz said the nations and regions
boost could help “uncover the next
Derry Girls”, which is also produced
by Hat Trick in Northern Ireland.
Pact’s Leeds hub is headed by Paul
Goes To Hollywood exec Tris Payne,
who has been tasked with bringing
commissioners to the nations and
regions and helping indies with
business development.
➤ See comment, page 12, for
True North’s Andrew Sheldon on
the shortage of regional editors
“The reality is that these are
hard-edged negotiators, but are
open to being negotiated against,”
one indie said. “They might duff
you up but will respond in propor-
tion if you stand up for yourself.”
The report features analysis of
Netflix’s approach to commissioning
and communicating from pitch
stage to launch, plus genre over-
views and full transcripts of every
interview conducted.
broadcastnow.co.uk
 NEWS & ANALYSIS

IN BRIEF
C4 fund backs Mirsky indie
Channel 4’s Indie Growth Fund
ITVS defends duty of care
procedures on Kyle Show
has taken a minority stake in Five
Mile Films, the factual indie run by
the broadcaster’s former head of
documentaries Nick Mirsky. Set up
in Bristol in September, Five Mile’s
first commission will be C4 fixed-
rig format The Dog House. It marks
C4’s first investment in Bristol since
it revealed plans to set up a creative
hub in the city, and is the first invest-
ment made by newly appointed
fund head Caroline Murphy.

BBC to explore algorithms

The BBC is developing a “public
service algorithm” for its Sounds
audio platform, James Purnell has
revealed. The director of radio and
education said a team in the BBC’s
design and engineering division is
working on tools that will “direct
listeners to new information” and
help them discover content that
will “enhance their lives”. Speaking
at Radio Festival 2019, he criticised
SVoD services for embracing
algorithms that “only entertain
but do not inform or educate”.

C4 targets younger viewers The Jeremy Kyle Show: ITV has

Channel 4 is working up ambitious
plans to target younger viewers as
part of its commitment to Ofcom
to improve kids’ programming.
Speaking at a Children’s Media
Foundation event last week, senior
policy and public affairs executive
Megan Thomas said C4 is close to
launching an “exciting” new pro-
position. “We have been working
on a new bespoke proposition that
is separate from the channel’s
existing linear strategy and will
be launching it soon,” she said.
Bafta haul for BBC and Sky
BBC America’s Killing Eve won
three awards at the Baftas, while
Sky enjoyed a record five-gong
haul. Phoebe Waller-Bridge’s spy
thriller picked up the best drama
series award, while Jodie Comer
and Fiona Shaw were also recog-
nised for the Sid Gentle series.
Sky’s wins comprised two awards
for Patrick Melrose, along with
A League Of Their Own, Julia Davis’
comedy Sally4Ever and HBO
co-pro Succession.
For breaking news visit
broadcastnow.co.uk
BY JOANNA TILLEY
ITV Studios has emphasised
the strength of its duty-of-care
procedures on The Jeremy Kyle
Show in the wake of the death
of a contributor.
ITV has suspended filming on
the ITV Studios’ format, which has
aired since 2005, having pulled
Monday’s episode from its schedule
after a participant died a week after
filming the edition. All episodes of
the show have also been removed
from ITV Hub while the broad-
caster conducts a review.
Responding to the incident,
which follows the death of Love
Island contestant Mike Thalassitis
in March, ITVS said The Jeremy
Kyle Show has significant and
detailed duty-of-care processes
in place for contributors before,
during and after the show, which
have been built up over 14 years.
“After filming has ended, all
guests are seen by a member of
the guest welfare team before any
participant leaves to travel home,”
said a spokeswoman.
In the light of Love Island,
people have been thinking
much more carefully
about this area
UK PRODUCER
“An evaluation of their needs
is also carried out at this time.
Should they require any ongoing
support regarding the problem
discussed on the show, appropriate
solutions are found.”
Time constraints
However, an unscripted producer
told Broadcast that although a lot
of good practice around duty of
care exists across the industry,
time constraints placed on high-
volume shows can present chal-
lenges for producers.
“In the light of Love Island,
people have been thinking much
more carefully about this area,”
said the producer. “But with these
programmes being turned around
so quickly, it is hard to implement
the kind of duty-of-care values one
would like to see.”
suspended the programme
Another unscripted producer
said there is a risk that the duty
of care on such shows could be con-
tradicted by their need for drama.
“Jeremy Kyle asks people to
expose themselves in incredibly
vulnerable ways,” said the producer.
“Maybe the big question is
whether it should be axed. It is a
debate we should be having.”
One factual producer, who has
made programmes covering a
multitude of sensitive issues, told
Broadcast that they are still having
conversations with people who
appeared on their shows 20 years on.
“We have a rigorous protocol in
place and are usually in discussion
with five different agencies when
we are in production, including
the police, NHS and social ser-
vices,” said the producer.
“It is not just about providing
care before and during filming,
but for however long we are
needed afterwards.”
Over the 12 months from 1 April,
the hour-long The Jeremy Kyle
Show averaged an audience of
1 million viewers (22%).

broadcastnow.co.uk 17 May 2019 | Broadcast | 5

NEWS & ANALYSIS
Penhale hails #MeToo impact
Gentleman Jack exec says movement inspired use of intimacy director on Wainwright drama
BY JOANNA TILLEY
The #MeToo movement helped
inspire producers to hire an
intimacy director for Sally
Wainwright’s BBC1 period
drama Gentlemen Jack.
Talking at a screening of
Lookout Point’s forthcoming HBO
co-production, executive producer
Faith Penhale said that the role has
emerged in the wake of the Harvey
Weinstein scandal, helping sex
scenes to catch up with areas,
such as stunts, which also require
dedicated expertise.
“We were all very conscious
going into this that a huge part of
Anne Lister’s life was her sex life,”
said Penhale. “She was very
sexually active, and loved having
sex with other women. In all areas
of drama, you need to consider
how you are going to take care of
the people playing this out.”
Penhale said seeing intimacy
director Ita O’Brien in action was
really interesting. “O’Brien worked
very closely with Sally and the cast,
including Suranne Jones and
Sophie Rundle. We had lots of
conversations that I do not think
Murphy seeks short-form ideas for Sky Kids
BY MAX GOLDBART
Sky has issued a callout for
“on-the-go” short-form ideas to
supercharge its Sky Kids app.
Lucy Murphy, the pay-TV
broadcaster’s head of kids’ content,
is seeking bite-size ideas for
originals or spin-offs of existing
IP in four areas: music/songs,
comedy, how-to/tutorials and
mini adventures.
She unveiled Shooting Script
Films/King Rollo Films’ Streetcat
Bob, a 20 x 90-second order for
a pre-school animated lyrical
adventure series inspired by film
A Street Cat Named Bob, which
follows the tale of a busker who
nurses a stray cat back to health.
6 | Broadcast | 17 May 2019
Gentleman Jack: intimacy director
Ita O’Brien advised on the BBC1 drama
A huge part of Anne Lister’s
life was her sex life. We
needed to consider how
to take care of the people
playing this out
FAITH PENHALE
EXECUTIVE PRODUCER
we would have had otherwise,”
said Penhale.
Creator, writer and director
Wainwright originally called for
an intimacy director after hearing
Streetcat Bob: pre-school series
Commissioning content specifi-
cally for the subscriber-only Sky
Kids app, which launched last year,
is a key plank of Murphy’s strategy.
“We want to understand the
rhythm of a child’s day and give
them a quick fix of something
short, funny and informative
O’Brien on BBC Radio 4. “I had
never directed a sex scene before
and I thought it was important to
do it responsibly,” she said. “If
female directors cannot do it
responsibly, then who can?”
Doctor Foster star Jones,
who plays Yorkshire-born land-
owner, diarist and mountaineer
Lister, said the scenes were
“beautifully done”.
“It showed how important a
look could be,” said Jones. “Instead
of using gratuitous scenes, subtle
before they watch a longer drama
later on,” she said.
Murphy added that “a more
immersive experience” can be
generated if long-form, weekly
shows are supplemented with
short-form updates.
She cited the 12 x 2-minute
musical rework of Tiger Aspect’s
Aliens Love Underpants, aimed
at three to six year-olds, and
Make Your Own Movies With
Merlin, an eight-part spin-off
of Aardman’s The Amazing
Adventures of Morph, in which
children learn how to make
their own animated films.
“Whether young kids want a
sing-along or older kids want to
learn how to make something, we
looks and movements could
portray the intimacy between
Lister and her lover Ann Walker.”
Rundle, who plays Walker, said
having O’Brien on board enabled
the predominantly female cast to
have open discussions about
their real-life sexual experiences
– good and bad.
“We spoke a lot in rehearsals
so when it came to filming, we felt
comfortable enough to say ‘this
works for us’ and ‘this doesn’t’,”
said Rundle. “That’s really quite a
rare thing unfortunately, but it felt
really important for this piece.”
Wainwright said the eight-part
series is authentic to the diaries of
Lister, who is often referred to as
‘the first modern-day lesbian’ for
her clear self-knowledge and open
lesbian lifestyle.
“Sometimes I had to put the
diaries down as there is so much
information in there and the
hardest part was to decide what
to leave out,” said Wainwright.
“Lister wrote 27 volumes with
about 300 pages in each, one
sixth of which is written in code.
Only a handful of people will have
read all 4 million words.”
need to make sure we are looking
after all children,” she said.
Murphy’s short-form strategy
also stretches to acquisitions and,
in recent months, she has picked
up online content including
karaoke format Kidz Bop and
education series Little Baby Bum
to feature on Sky Kids.
Sky is also set to extend a part-
nership with Dreamworks TV,
signed last year, which spans a
number of tutorials, life hacks
and pranks shorts.
“What we love is that they
tend to be more intimate and
informal than longer-form
shows,” Murphy said.
➤ Turn to page 14 for The Broadcast
Interview with Lucy Murphy
broadcastnow.co.uk
 The UK’s most comprehensive
online ratings system
Receive key information about your TV shows in seconds

2ɝFLDOVXSSOLHUWR%URDGFDVW0DJD]LQH

www.overnights.tv A service of

info@overnights.tv

0117 332 6654

 Find the latest technology
and facilities news at
broadcastnow.co.uk/tech
Dock 10 unveils virtual studio
System enables productions to create and render ‘impossible’ 4K sets using real-time VFX
Dock 10 virtual studio:
set to open later this year
BY JAKE BICKERTON
Dock 10 is to become the first major
UK TV studio to launch a virtual
studio service, providing clients
with studio environments created
with highly realistic real-time VFX.
The 4K Ultra HD-ready set-up
uses the Mo-sys StarTracker
camera tracking system and Epic
Games’ Unreal Engine 4 to create
and render the real-time VFX.
A series of small reflective stickers
(stars) are placed at random on
the ceiling of the studio. An LED
sensor mounted on the studio
camera then shines light on these
stars, enabling StarTracker to
report the position and orientation
of the studio cameras in real-time.
The virtual studio system, which
is being made available in all of
Dock 10’s studios, makes it possible
for productions to shoot in a green-
screen studio space and immedi-
ately see the presenter in a photo-
realistic virtual set that’s rendered
in real-time.
broadcastnow.co.uk
As well as fully virtual studio
sets, Dock 10’s clients can also
create sets combining physical and
virtual elements that are indistin-
guishable on screen.
Dock 10 has employed a team
of graphics artists and Unreal
specialists from the gaming world
that can work with its clients on
the creative and technical design
of their virtual studio sets. “We do
the pixels rather than the carpentry,”
Dock 10 head of studios Andy
Waters told Broadcast.
Additional benefits
The facility will work with clients
to create virtual studio sets using
a wide range of pre-made assets.
Alternatively, Dock 10 can import
and embellish existing sets created
in a 3D modelling package.
In addition to providing the flex-
ibility to create endless permuta-
tions of studio environments, the
virtual studio set-up offers other
benefits over a traditional studio
set. Waters explains: “There are
TECHNOLOGY & FACILITIES
@jake_bickerton
There are many cost
savings in having a virtual
rather than a real set, as it
eliminates transportation,
storage and rig/derig costs
ANDY WATERS
DOCK 10
so many cost savings in having
a virtual rather than a real set,
as it eliminates transportation,
storage and rig/derig costs.”
He adds: “As a passionate pro-
moter of technology in television,
we regularly collaborate with
broadcasters and production
companies looking to explore new
ways to make television. We recog-
nised that advances in gaming
technology could be used to drive a
significant leap forward for virtual
studios, with the ability to build
otherwise impossible sets, opening
up a world of exciting new possi-
bilities for all programme-makers.”
The installation of the virtual
studio set-up comes shortly after
@Broadcast_TECH
Dock 10 announced extensions
to contracts with both the BBC
and ITV Studios to host and
post-produce a range of high-
profile productions.
These include CBeebies and
CBBC programmes such as
Blue Peter, BBC1’s Match Of The
Day, ITV’s Judge Rinder and The
Jeremy Kyle Show, Channel 4’s
Countdown and ITV Studios’
University Challenge for BBC2.
The facility recently revealed
that it had set aside £5m for
investment in new technology.
Earlier this year, it increased
the scale of its post-production
services and added a new creative
production space called The
Second Floor.
Dock 10’s virtual studios are
currently undergoing testing in
advance of the service being
offered to clients later this year.
➤ See the next issue of Broadcast
TECH for a showcase of recent
real-time VFX projects, from live
events to studio shows
17 May 2019 | Broadcast | 9
CONNECT WITH THE MOST
CREATIVE & INFLUENTIAL
NAMES IN TV
SPEAKERS INCLUDE:

RUSSELL T DAVIES CHARLOTTE MOORE IAN KATZ SANDRA STERN

WRITER BBC CHANNEL 4 LIONSGATE

“EDINBURGH IS STILL THE PLACE TO BE IF YOU WANT TO KEEP

YOUR EAR TO THE GROUND AND UNDERSTAND THE BUSINESS
WE ARE IN AND HOW QUICKLY IT IS CHANGING”

“THE ONLY FESTIVAL WHERE CONTENT

& STRATEGY COME TOGETHER”

“THE BEST NETWORKING OPPORTUNITIES BAR NONE

THE USUAL SUSPECTS - AND THE SURPRISES”

EdTVFest ThisIsEdinburghTVFestival EdinburghTVFest EdinburghTVFest

 21 - 23 AUGUST 2019 | WWW.THETVFESTIVAL.COM

2000+ DELEGATES HEAR FROM THE BIGGEST

NAMES IN GLOBAL TV INCLUDING:
200+ SPEAKERS A+E NETWORKS • AMAZON
BBC • ITV • NBC UNIVERSAL
60+ SESSIONS NETFLIX • SKY • TWITTER
VICE • YOUTUBE
400+ SPEED MEETINGS AND MANY MORE

DANNY GABAI HUMZA ARSHAD PAUL FEIG MO GILLIGAN

VICE MEDIA YOUTUBER & WRITER WRITER & CREATOR COMEDIAN

FIONA CAMPBELL KEVIN LYG0 DAN REED ZAI BENNETT

BBC THREE ITV DIRECTOR & PRODUCER SKY UK

EARLY BIRD & INDIE RATES FROM £495

BOOK NOW OFFER ENDS 20 JUNE
HEADLINE SPONSORS MAJOR SPONSORS
 A new fund that supports a world-class UK
production community can only be a good thing
LUCY MURPHY Interview P14
Young editors need more support
This key role needs to be seen as a positive and creative career choice, says Andrew Sheldon
A New Life In The Sun: long-running show
enables True North to offer structured
and supported career progression
IT’S ONE OF the most
common – and often anxiety-
inducing – questions you’ll
hear in the industry. From
Belfast to Bristol, from Soho
to Glasgow, the delight of a
greenlight is quickly tempered
by the anguish of knowing that you need one or
more of TV’s scarcest commodities: the editor.
It shouldn’t be this way. With the industry
booming, indies outside of London rapidly
gearing up for growth, and pretty much every
university and college in the land pouring out
‘film and television’ graduates, you would imagine
there would be no shortage of candidates.
Yes, editors run the risk of a few weeks locked
in a darkened room with a PD they don’t like, or
an exec magically appearing and offering to
‘sprinkle their stardust’, but it’s a technically
stimulating, creatively driven role offering the
chance of often long and well-paid contracts.
Yet in the north of England, the lack of
editors is now a serious inhibitor to the industry’s
growth, with the existing pool no longer
big enough to meet the demand of the new
companies and productions.
So why is there a shortage of people for one
of the great craft skills – the role in which the
raw material of rushes is shaped into what is
eventually seen by the viewers?
12 | Broadcast | 17 May 2019
Channel 4 is aware of the issue as it plans its
relocation to the nations and regions, and has its
part to play, along with the other broadcasters,
the local authorities and the universities. But is
it also time for the production sector to shoulder
more of the responsibility?
Historically, editors came through the ranks
on production with an extended period as an
assistant. Working alongside an experienced
practitioner, they gained technical and creative
experience and understanding; learning to tell a
story, whether on film, tape or file.
In the north of England, the lack
of editors is now a serious inhibitor
to the industry’s growth
Cut to today. Post-production is now seen
very much as a service sector – providing
edit assistants, online, grading and dubbing.
Critically, most post-production houses don’t
employ offline editors – they buy them in.
Producers, which drive the industry, contract
these freelance offline editors direct per show
or series, so there’s no longer the same connec-
tion between the assistants and offline editors.
This is made worse by the nature of being
an assistant – the emphasis is now on the
process, with technical proficiency highly
prized and storytelling nowhere to be seen.
The constant pressure on budgets means
there’s little room for on-the-job training, so
the shift from assistant to full editor, for which
there used to be a road map, is often now one
big ‘sink or swim’ leap.
Finally, there’s another strange anomaly. For
no explicable reason, editing is male-dominated,
with women outnumbered perhaps eight to one
– a balance that surely needs redressing.
It’s a situation that’s not sustainable if the
industry wants to grow. It will need support
from broadcasters and others, but the produc-
tion companies need to do far more themselves.
Rather than stumble into editing, we need
to sell the idea of it as a positive and creative
career choice, and then give edit assistants
real-world opportunities to grow, working with
experienced editors on real shows while others
provide formal skills training. At True North,
long-running shows like A New Life In The Sun
and Teen Mom UK have allowed us to offer
structured and supported career progression.
Other companies, such as The Garden and
Firefly, are already being proactive, but it’s
time for the sector to grasp our own ‘creative
renewal’ challenge with both hands and start
shaping the next generation of storytellers.
➤ Andrew Sheldon is creative director and
co-founder of True North
broadcastnow.co.uk
 Want to write a comment? Email:
jesse.whittock@broadcastnow.co.uk
HOW TO GET AHEAD IN TV LESSON 87
ITV theme park is a thrilling idea
Creating rides based on classic shows is a great way to extend the brand, says Steven D Wright
WHEN ATTEMPTING to
describe the complexities
of a career in TV, sometimes
the simplest descriptive terms
are the best. “Life is a roller-
coaster, you just gotta ride it,”
Ronan Keating once sang,
perfectly illustrating the ups and downs of
working in telly.
Sadly, despite Ronan’s rare philosophical
gifts, as we all know, TV is not really an amuse-
ment park full of thrills and spills – although it
is expensive, operated by cynical bosses and
often dangerous to the young people who turn
up expecting laughs and instead have a white-
knuckle experience.
However, in a shock twist, ITV has signed
a deal with The London Resort to open a real-
life amusement park in Kent. It promises
more than 50 rides and attractions, and could
take its cues from Thorpe Park’s The Walking
Dead experience.
A £3.5bn undertaking, the ‘UK’s Disneyland’
is being built on a former landfill site on the
Swanscombe peninsula near the Dartford
Crossing – which, if the locals are any indication,
will save money on costumes, make-up and
special effects for a Walking Dead ride.
“It will offer fans a whole new way to experi-
ence our brand,” boasted Steve Green, executive
vice-president, kids, at ITV Studios Global
broadcastnow.co.uk
Entertainment. “ITV Studios creates more
than TV and we look forward to seeing our
biggest global brands brought to life on such
a grand scale right here in the UK.”
Sounds ace, but it got me thinking: on
which ITV shows will the rides be based? Will
it be vintage series like Spitting Image or The
Sweeney, or modern-day hits like Britain’s Got
Talent? Can you imagine the delights of a This
Morning tilt-a-whirl? A Love Island log flume or
the Dickinson’s Real Deal dodgems?
I’m no party pooper but would
question if kids, who only watch
YouTube, really will enjoy an
immersive Doc Martin experience
I’m no party pooper but would question
if modern kids, who only watch YouTube,
really will enjoy an immersive Doc Martin
experience, in which an increasingly irate
animatronic Martin Clunes shouts abuse
at them as he simultaneously diagnoses
rare diseases with one glance at an uncom-
municative Cornish fisherman?
Of course, I shouldn’t be so cynical. Visiting
a TV set can be unbelievably glamorous – I
still remember my teenage trek to Liverpool
in 1983 to visit the Brookside set. Annoyingly, I
COMMENT
@WhittockTweets
couldn’t get past security, although I saw the
Brookside Close road sign and spotted teen
heart-throb Damon Grant.
Standing on the cobbles of the original
Coronation Street set in the mid-90s on the
Granada Studios tour was probably the most
exciting experience I’d ever had – making a
phone call to my mum from the working
telephone box outside Audrey’s Hair Salon
was just mind-blowing.
Actually, the Granada Studios tour really
was fantastic – and much missed – so no
wonder ITV is rubbing its hands with glee
at the thought of starstruck fans paying to
get close to their TV icons. Personally, I would
pay anything to experience Westeros World –
the Game Of Thrones attraction where you
can ride Daenerys’ dragons, enjoy sucking on
the Night King’s frozen ice lollies, eat one of
Tyrion’s tarts and take your chance with the all-
seeing, three-eyed raven Bran Tub (tag line:
‘Dare you stick your hand in?’).
I wish ITV well and will certainly be pre-
booking tickets. But for some reason, I still feel
uneasy as I can’t help but remember that every
scene set in an amusement park in a TV show
or film, from Scooby-Doo to Jurassic Park, ends
in disaster and death. But, then again, that’s
just an episode of Corrie these days.
➤ Steven D Wright is managing director
of Kerfuffle TV
17 May 2019 | Broadcast | 13
 Stephen Polliakoff’s work is dense – at first read, you
can’t appreciate the detail required to realise the script
HELEN FLINT Behind the Scenes: SUMMER OF ROCKETS P20
LUCY MURPHY SKY KIDS
Building a thriving
market for kids’ TV
Sky’s head of kids’ content tells Max Goldbart about her approach
to the YACF and how her team is adapting to the on-demand world
T
HIS YEAR COULD go down
in history as the year the chil-
dren’s TV sector was handed a
long-awaited kick up the proverbials.
The industry has been sparked into
life by the introduction of the Young
Audiences Content Fund (YACF),
which fired the starting gun on
applications last month.
When Broadcast catches up with
Sky head of kids’ content Lucy
Murphy at the start of May, she
welcomes the £57m pot and signals a
willingness to try to benefit from it.
The YACF is aiming to instigate a
U-turn after what has been a steep
decline in PSB-commissioned chil-
dren’s content, with first-run origina-
tions dipping by 30% over the past 10
years. Indies can pitch ideas alongside
a free-to-air channel partner for half
the funding of an original and initially
have three years to do so.
Murphy – who became Sky’s first
head of kids’ content four years ago –
knows better than most that a healthy
PSB kids’ sector benefits all and is
exploring ways the Comcast-owned
pay-TV giant could work with the fund.
“Funding is tricky, and producers
often [shy away] from pitching
content that isn’t as commercially
viable as a long-running animated
series,” she says. “To have a new fund
that supports a world-class UK pro-
duction community can only be a
good thing – the YACF could allow
genres that may not get that much
attention to flourish.”
Murphy confirms she has begun a
dialogue with the Jackie Edwards-led
fund about how Sky could benefit
from its launch.
The SVoDs – rarely kept away
from any TV funding debate for long
– are also potential funding sources.
Murphy views the US giants as more
friend than foe – she says Netflix, for
example, which has commissioned
kids’ programming including Lime
14 | Broadcast | 17 May 2019
A new Pictures’ Free Rein, has “raised the
quality of the children’s TV game”,
fund that adding: “SVoDs are reflecting the
supports reality of new viewing habits and
a world-class each has its own personality.”
UK production Murphy’s positive attitude is
indicative of a desire to find the very
community can
best co-producers. She believes super-
only be a good charging Sky Kids with premium,
thing – the YACF glossy and quality content depends
could allow entirely on working with a plethora
of partners, such as Finnish broad-
genres that may
caster YLE. The two worked together
not get that on Moominvalley, from The Curse Of
much attention The Were-Rabbit director Steve Box,
to flourish which is playing out on Sky 1 and
as a Sky Kids box set.
Family focus
The Tove Jansson adaptation was in
the offing for several years prior to
production and landed a primetime
family slot last month, as Sky attempts
to bring back family TV moments,
which are on the decline with the
advent of on-demand viewing.
“We can’t replicate the rollout
strategy with every show, but
Moominvalley works for many chil-
dren’s age ranges and also builds on
remembrances of yonderyear from
nostalgic parents,” says Murphy.
“This is a high-quality, premium
show sitting comfortably on Sky 1,
which will subsequently have a long
on-demand life.”
Family viewing is a key tenet of
Murphy’s strategy and she is looking
for more in the vein of Sky 1’s Emmy
Award-winning adaptation of David
Walliams’ Ratburger.
The oldest age group her team
caters for is 10 to 12s, which are
most clearly served by Bryncoed’s
drama The Athena – Sky Kids’ oldest-
skewing offering.
But with the BBC embarking on an
iPlayer teen-content drive and Netflix
Continued on page 17 ➤
broadcastnow.co.uk
 THE BROADCAST INTERVIEW

broadcastnow.co.uk 17 May 2019 | Broadcast | 15

N UT
W
O
O

WORKING
WITH
NETFLIX
This special report looks at what it takes to become a supplier
DQGSDUWQHUIRU1HW̩L[DQGSURYLGHV\RXZLWKWLSVRQKRZWRZRUN
with the world’s leading online platform.

Powered by

May early bird rate £250 – from the 1st June 2019 the price goes up to £395.
Buy it today at broadcastnow.co.uk/WWNF
Or contact our head of sales on +44 (0)20 8102 0934 | matthew.wright@mbi.london

LUCY MURPHY SKY KIDS
➤ Continued from page 14
rebooting franchises such as Sabrina
The Teenage Witch for older audi-
ences, could Murphy embrace
shows that appeal to adolescents?
For now, she accepts this is slightly
out of her remit but says 13 to 15s
are firmly in mind.
Murphy’s mission is to ensure
the Sky Kids app and its on-
demand service are equipped for
the digital age. The subscriber-
only app aggregates 5,000 epi-
sodes from 11 third-party channels,
including CBeebies, Nick Jr and
Disney, with many shows also
handed prominent on-demand
slots on Sky’s EPG.
The clear and
simple principle
is giving kids the
content they love in
an environment that
parents trust
She sees each channel partner
as contributing to an overarching
Sky Kids ecology that informs her
commissioning decisions.
The former Horrid Henry and
The Gruffalo producer says: “The
joy of having a range of channels
and platforms is we can provide
some content that may have narrow
appeal but a sub-set of kids would
simply love to watch, while our on-
demand offering means parents
don’t need to worry about a broad-
cast schedule. We’re not looking to
commission shows we can get from
our partner channels; we need to
complement and enhance rather
than do the same again.”
Indies are also being encour-
aged to pitch short-form ideas to
feed into the Sky Kids app, which
was launched with great fanfare
last year, and Murphy’s budget
to explore the space has increased
(see news, page 6).
Sky Kids has a desire to educate
kids while keeping them safe. The
strategy is being well served by
Fresh Start Media’s FYI: For Your
Info news programme, which
kicked off at the end of last year
and is being exec-produced by ex-
Newsround presenter Chris Rogers.
Partnering FYI is children’s
weekly newspaper First News,
broadcastnow.co.uk
which hosts weekly episodes on its
website, making shows available
to kids in schools across the UK.
FYI airs on Sky News each
Saturday and Sunday morning
as part of the wider bulletin and
includes segments with titles
like ‘Junior Prime Minister’s
Questions’, ‘I Don’t Get It’ and
‘LOL/OMG’.
The show was created following
extensive market research and
Murphy reveals the series will
soon be heading outside the UK,
with a host of FYI specials
planned, including an exploration
of climate change in Africa.
“Sky has a long heritage of
being a news broadcaster, so it
felt right to have a news show,”
says Murphy. “The key to FYI
is that kids present it and it allows
us to constantly ask them what
they think.”
Elsewhere, Murphy is firm on
the need to protect children from
inappropriate content, a subject
under considerable government
scrutiny. She hails Sky’s decision
last month to introduce a ‘Kids
Safe Mode’, allowing parents to
ensure no adult-themed program-
ming, such as Game Of Thrones
or The Walking Dead, can be
accessed by their children.
Ultimately, such an approach
feeds into Sky Kids’ commissioning
practices. “The clear and simple
principle is giving kids the content
they love in an environment that
parents trust,” she says.
The children’s TV renaissance
has begun, and Murphy wants to
ensure Sky is best placed to take
full advantage.
SEEKING SUPPORT FOR HOPE WORKS
Murphy has her sights set on
convincing more UK broadcasters
to board the global Hope Works
initiative, which she set up with
former CBeebies head of pro-
duction Alison Stewart.
The project aims to develop
shows for children that will guide
them through today’s complex
and sometimes scary media
landscape. The first suite of 12
short films aimed at four to 12
year olds, along with a set of
online resources, was distributed
THE BROADCAST INTERVIEW
Top down: The Athena caters for
10-12s; Emmy Award-winning
Ratburger; Moominvalley works
for children of all ages
via a dedicated website and
another six are in the offing.
The BBC and Sky provided
funding for the initiative’s
infrastructure, with the commis-
sioning budget drawn from a
network of partners and sup-
porters, including Cartoon
Network, Hop! and Disney.
“It’s been a positive experi-
ence working closely with broad-
casters from around the world
and we want more from the UK
to get involved,” says Murphy.
STANDOUT SHOWS
THE ATHENA
(26 x 30 minutes)
Drama series charting the
fortunes of a group of
students at a prestigious
London visual arts college.
MOOMINVALLEY
(13 x 22 minutes)
Adaptation of Scandinavian
writer and illustrator Tove
Jansson’s much-loved work,
which has been many years
in the making. The show tells
the story of the curious and
idealistic Moomintroll and his
family and friends.
FYI: FOR YOUR INFO
(15 x 52 minutes)
Broadcast as a segment of
Sky News’ Saturday and
Sunday morning offering,
this weekly news show is
presented by kids for kids,
with news ranging from the
most complex of topics to
viral videos.
THE AMAZING
ADVENTURES OF MORPH
(15 x 2 minutes)
Aardman’s stop-motion
animation brings together
Morph and friends and
includes a series of eight
movie-making Morph
tutorials, educating children
in how to make their own
animated films.
17 May 2019 | Broadcast | 17
Save time and be efficient when researching
and building your pitch strategy

The Commissioner Index lets you find out:

How to pitch

What to pitch

When to pitch

And Who to pitch to

Subscribe to access:
More than 370 UK & US commissioners looking for original content

Programme requirements and pitch preferences for each commissioner

Key contacts at more than 180 channels including the FAANGs

Team and reporting structures

40+ commissioners from major SVoDs, including Amazon and Netflix

Tariffs, response times, recent commissions and much more…

To find out more visit : broadcastintel.com/request-a-demo

 Commissioner Index
broadcastintel.com/commissioners

“ It’s been very handy – I refresh it throughout

the day to discover the latest commissions
and briefs.
– Ben Cooper, Head of Development

“ The Commissioner Index is easy to use.

It offers a lot of useful information about
British and US commissioners. It also allows
you to quickly filter through genres to find
specific commissioners, which is invaluable.
– Jessica Myles-Mills, Development Assistant

“ The Commissioner Index is the no. 1 tool

for finding out exactly what commissioners
need and how we can develop ideas catering
to their specific briefs.
– Connor McRae, Researcher

Or contact Matt Wright: E: matthew.wright@mbi.london – T: +44 (0)20 8102 0934

NEXT WEEK BEHIND THE SCENES
KILLER RATINGS
CARAVAN; QUICKSILVER FOR BBC2
SUMMER OF ROCKETS BBC2
Taking Britain back to the Cold War
The script for Stephen Poliakoff ’s semi-autobiographical series was characteristically dense
with detail – our biggest challenge was making sure nothing was missed, says Helen Flint
SUMMER OF
ROCKETS
Production company
Little Island Productions
Commissioner
Lucy Richer (BBC)
Length 6 x 60 minutes
TX 9pm, Wednesday
22 May, BBC2
Executive producers
Helen Flint; Hilary Bevan
Jones; Suzan Harrison;
Stephen Poliakoff
Writer/director
Stephen Poliakoff
Producer Jean Holdsworth
Post house The Farm
Helen Flint
My tricks of the trade
■ Production is essentially
an organic unit. As a
producer, a principal
responsibility is to
support the director,
writer, cast and crew.
■ Choose the best talent
but also look for the best
team players.
■ Get together all scripts
before prep starts.
■ When a budget is
being finalised, decisions
that will affect the script
should be made as soon
as possible, and in
collaboration with the
production team, the
writer and the script
team. This ensures
that the best creative
solutions are found.
■ Scheduling must
be realistic, with solid
contingency plans
in-built where possible.
■ It’s essential that cast
and crew are well fed,
warm and watered. Decent
catering is important.
20 | Broadcast | 17 May 2019
HELEN FLINT
Executive producer
W
RITER AND DIRECTOR
Stephen Poliakoff ’s latest
series, set in England in
1958, brings together three major
strands: racism against minorities,
the Cold War, with its whirling con-
spiracy theories and threat of nuclear
extermination, and the birth of
modern communication.
Our lead character Samuel Petrukhin,
played by Toby Stephens, is an amalgam
of Stephen’s father and grandfather,
who owned a factory in North London
where they developed the first hearing
aid to have a volume control.
They went on to invent the original
pager, which was adopted by St Thomas’
Hospital in London. In the factory,
they employed several deaf people
and, during their lunch breaks, they
would experiment with sounds and
vibrations to find out which ones
might be accessible to them.
Casting deaf actors
In Summer Of Rockets, Samuel is
obsessed by the British upper class,
their homes, clubs, finery and social
calendar. We first meet his family in
the Royal Enclosure at Goodwood
Racecourse along with Kathleen
(Keeley Hawes) and Richard Shaw
(Linus Roache). The two families
become entwined, and Samuel soon
finds himself embroiled in a conspiracy
and doesn’t know who he can trust.
The casting of the younger leads
was tricky as Samuel’s daughter
Hannah is 18, his son Sasha is nine
and Hannah’s friend Esther, who
works in the factory, is deaf. Casting
director Andy Pryor and his team
miraculously found our Esther, Rose
Ayling-Ellis, by advertising on the
BBC2 programme See Hear.
Toby Woolf (Sasha) and Lily Sacof-
sky (Hannah) were the next two gems
he found and, after a couple of recalls,
we knew we had a special young cast.
One unexpected problem was that
Rose needed to learn British Sign
Language (BSL). This has never been
taught in formal education and has
therefore developed informally,
varying from region to region.
Over the past few years, researchers
have found that a shift has taken place
in signs used by different generations
as younger people abandon the
traditional BSL signing used by older
signers. As Rose doesn’t use BSL in
her day-to-day life, we needed an
expert signer on the floor whenever
her character spoke in 1958 BSL.
Every day, we would
do a page turn for
the coming day’s
work to identify any tiny
but vital scene description
we had missed
Rose also needed to be able to under-
stand Stephen and the crew, so we had
a modern interpreter too. The crew
really enjoyed working with Rose and
her team and, within a couple of weeks,
pretty much everyone knew how to say
‘good morning’ in sign language.
Most of the extras in the factory
scenes were also deaf, and during a
lunchtime scene in which they hold
sound machines to their chests to feel
the vibrations of the music, it was
obvious how much they were enjoying
themselves. However, the noise was
deafening for the hearing crew.
The good challenge with Stephen’s
work is that it is dense – at first read,
you can’t appreciate the detail
required to realise the script. Every
day, our wonderful designer – the late
Michael Pickwoad – and I would do
a page turn for the coming day’s work
to identify any tiny but vital scene
description we had missed.
We would often spot something,
be it in a speech or deep in the scene
direction. Such detail is the hallmark
of Stephen’s work and hopefully we
managed to find them all.
Recreating London in 1958 is tough
and we had all the normal hurdles to
overcome. But the most unusual
problem we had to solve was how to
film on The Mall outside Buckingham
Palace in the middle of summer. With a
meagre vehicle budget, we parked half a
dozen vintage cars on The Mall and the
crew shot a tonne of plates so we could
replicate the cars and extras in post.
We also had to remove 21st century
furniture and road signs, along with
joggers and cyclists who preferred
exercise over a Sunday lie-in.
Due to the 4am start, with a turn-
over at 5am, we could only manage to
dress and make up 30 cast and extras,
which included 10 debutantes waiting
to enter the palace and a cluster of
policemen and chauffeurs. This meant
more replication of debutantes leaving
their cars and walking towards the
palace would be required.
By 9.30am, we were supposed to
move back to the facility vehicles to
shoot inside the family car, but a mili-
tary flypast and four sets of regiments
on horses readying for a parade put paid
to that. So we stayed still and by 10am
there were hundreds of tourists taking
selfies with period cars and policemen.
We got it all done, but only just.
broadcastnow.co.uk

Caught in a conspiracy: Kathleen (Keeley
Hawes) and Samuel (Toby Stephens)
Watching the action: writer
and director Stephen Poliakoff
Esther: Rose Ayling-Ellis had to
learn 1950s British Sign Language
Hannah: Lily Sacofsky gets ready
to shoot a scene on The Mall
Shooting outdoors:
exteriors looked glorious in
the summer 2018 sunshine
broadcastnow.co.uk
EVOKING THE COLD WAR ERA
ASHLEY ROWE
Director of photography
I have been cinematographer on Stephen
Poliakoff’s last three productions, and
Summer Of Rockets is the most visual, so
we strived to film it in a cinematic way.
Stephen and the production designer,
the late Michael Pickwoad, chose stunning
locations to tell the story. And the scale of
these locations meant we needed big lighting
rigs, which had to be pre-rigged early in the
morning and de-rigged after wrap to keep
on schedule. The title Summer Of Rockets
informed my lighting style and the summer
of 2018 was the most brilliant of seasons,
making our exteriors glorious.
The interiors replicated natural sunlight,
always considering the time of day. I was
keen to explore the look of the 1950s,
so we researched archive colour footage
from the time, and found that the images
had enhanced rich colours brought on by
the ageing of the film.
The location colours are muted, but
with reds and greens enhanced. We
managed to add a splash of colour to
BEHIND THE SCENES
Distinctive style: Ashley Rowe
(left) and Stephen Poliakoff on set
kick out, whether flowers, a colourful
costume, or a cushion.
Stephen has a distinctive style of framing
characters. We never frame an over-shoul-
der shot, and the eyelines are very tight to
the lens. Stephen’s reason for this is that
he wants images to be our character’s point
of view – we don’t have a shoulder in shot
when we look at things. Our camera also
moves in an elegant way; never intrusive,
but gentle and emotive. So many dramas
have camera moves that distract and
become evident to the viewer, which can
take you out of the moment.
Summer Of Rockets is Stephen’s own
family story and his most heartfelt yet. For
me, this is my most adventurous piece of
work to date.
17 May 2019 | Broadcast | 21
FOR ONLINE AND PRINT ADVERTISING OPPORTUNITIES
CONTACT: SHANE MURPHY 020 8102 0926
shane.murphy@broadcastnow.co.uk

SPECIALIST CAMERA EQUIPMENT TELEVISION FACILITIES

the world’s leading specialist

camera company

Aerial Camera Systems THE UK’S LEADING TELEVISION FACILITY

THE STUDIOS O
POST PRODUCTION

www.dock10.co.uk

Celebrating 40 years of CENTRAL LONDON GREEN SCREEN STUDIO

specialist cameras
G R E E N
S C R E E N
S O H O
CENTRAL LONDON’S PREMIER GREEN SCREEN STUDIO
LARGE INFINITY CYC, PRE-LIT WITH LOW-HEAT
PHOTON BEARD RIG, EXCELLENT ACOUSTICS
HUGE HOLDING AREA WITH DRESSING ROOM
MAKE-UP ROOM, SKY, WI-FI AND GAMING

£ 4 9 5 P E R D AY
020 7183 6236 / 020 3740 6818
BOOKINGS@GREENSCREENSOHO.COM

FACILITIES & REPAIRS

acsmedia.com 

SOUND
ENCODING:
ENCODING: ,ͬ^ďƌŽĂĚĐĂƐƚƚĂƉĞƐƚŽWƌŽZĞƐͬ,Ϯϲϰ͘͘͘
ůůƚĂƉĞĨŽƌŵĂƚƐ,ͬ^ƚŽWƌŽZĞƐͬ,Ϯϲϰ͘͘͘
DVD/BLURAY: DƵůƟƉůĞĐŽƉŝĞƐ͕ĂƵƚŚŽƌŝŶŐ͕ĨƵůĮůŵĞŶƚ 
DVD/BluRay: DƵůƟƉůĞĐŽƉŝĞƐ͕ĂƵƚŚŽƌŝŶŐ͕ĨƵůĮůŵĞŶƚ
HDDVD/BluRay:
FORMATS:ŝƐĐŵĂƐƚĞƌŝŶŐΘĚƵƉůŝĐĂƟŽŶ 
^Z͕,D͕,s͕^WĞƚĐ͘ƚŽ>dKͬĮůĞ
SD FORMATS: ϭŝŶ͕hŵĂƟĐ͕sh͕^W͕ϭͬϮͬϯͬϱ͕ĞƚĐ͘
REPAIRS: ĂŵĞƌĂƐ͕ƌĂĚŝŽŵŝĐƐ͕ƚƌŝƉŽĚƐ͕ĂƵĚŝŽĞƚĐ
LEGACY TAPES: s,^ͬĞƚĂŵĂdžͬ,ŝϴͬ^ƵƉĞƌϴĮůŵƚŽs
SALES:
LIBRARY>ĂŝĞͬ'dĞĐŚĚƌŝǀĞƐ͕yDĚŝƐĐƐ͕ŽƚŚĞƌŵĞĚŝĂ
SERVICE: KŶͲƐŝƚĞůŝďƌĂƌLJŵĂŶĂŐĞŵĞŶƚ
8LI %VX SJ 7SYRH REPAIRS: ĂŵĞƌĂƐ͕ƌĂĚŝŽŵŝĐƐ͕ƚƌŝƉŽĚƐ͕ĂƵĚŝŽĞƚĐ͘
10Ͳ11>ĂŝĞͬ'dĞĐŚĚƌŝǀĞƐ͕yDĚŝƐĐƐ͕ŽƚŚĞƌŵĞĚŝĂ
SALES: Percy Street, London W1T 1DN (0900Ͳ1800)
6IEPMWI XLI TSXIRXMEP SJ [LEX KVIEX 0207494
020 74944545
4545 sales@stanleys.london
ƐĂůĞƐΛƐƚĂŶůĞLJƐ͘ůŽŶĚŽŶ
WSYRH GER HS JSV ]SYV TVSHYGXMSR 10Ͳ11 Percy Street, London W1T 1DN (0900Ͳ1800)

)\TIVXW MR WSYRH QYWMG SPACE KIT BUYERS

IRXIVXEMRQIRX ERH IZIRXW
0MZI XIPIZMWMSR ERH TSWX TVSHYGXMSR

CASH4KIT
REDUCE YOUR OVERHEADS! 12:%8<,1*86('
MRJS$RSMWIWSJJXZ ` RSMWIWSJJXZ 

Serviced rooms in Percy St Ͳ a great ƇCameras

opportunity to base your business ƇDŝĐƌŽƉŚŽŶĞƐ
ŝŶĂƚŚƌŝǀŝŶŐĐƌĞĂƟǀĞĞŶǀŝƌŽŶŵĞŶƚ ƇdƌŝƉŽĚƐ
FOR ADVERTISING ŝŶtϭ͕ŶĞĂƌǀŝďƌĂŶƚŚĂƌůŽƩĞ^ƚ͊ ƇZĂĚŝŽŬŝƚ
ENQUIRIES ϯ͘ϬŵdžϮ͘ϳŵ;ϮͬϯƉĞƌƐͿ ƇLenses
ϯ͘ϲŵdžϯ͘Ϭŵ;ϯͬϰƉĞƌƐͿ
ƇsdZĚĞĐŬƐ
From £1200+VAT Ͳ ŶŽƟĞͲin, pay 
CONTACT monthly, includes all bills, aircon,
fast internet, shower/kitchen, etc.
Ƈ>ŝŐŚƟŶŐ

,PPHGLDWHFDVK
SHANE MURPHY 020 8102 0926 
shane.murphy@broadcastnow.co.uk space@tvset.com 6HQGDOLVWIRUDTXRWHWR
NLW#FDVKNLWFRP


020 7637 3322

22 | Broadcast | 17 May 2019 broadcastnow.co.uk

 MARKETPLACE / APPOINTMENTS

TO ADVERTISE
YOUR JOB
OPPORTUNITIES

PRODUCTION l DISTRIBUTION l TECH INNOVATION 2019 LAUNCH

FOLLOW US FOR

@BROADCAST_ JOBS
CONTACT SOCIAL UPDATES
richard.hewes@
mbi.london

VISIT Aimimage Camera Co are looking for an

broadcastnow.co.uk Experienced Client Contact

/sport Please send CV and cover letter to

PaulS@aimimage.com

To learn more
about stand and
sponsorship opportunities
at the Media Production Show
CONTACT
richard.hewes@mbi.london

broadcastnow.co.uk 17 May 2019 | Broadcast | 23

All BARB ratings supplied by Attentional

@broadcastnow

TOP 100 MON 6 MAY – SUN 12 MAY

Joy for ITV as

Durrells ends
on a high
The last-ever episode
of the drama beat the Trust Me: 1.8m/10% The Durrells: 3.8m/20%
Baftas, while Bradley

SOURCE: BARB
Walsh’s new pilot TOP 100 NETWORK PROGRAMMES
RANK AND PROGRAMME DAY START VIEWERS (M) SHARE (%) BROADCASTER/PRODUCER
showed promise 1 BRITAIN’S GOT TALENT SAT 20.00 7.38 40.33 ITV/Thames/Syco
2 CORONATION STREET WED 19.30 5.92 34.90 ITV
BY STEPHEN PRICE 3 EMMERDALE WED 19.00 5.73 35.93 ITV
4 CORONATION STREET FRI 19.30 5.51 34.88 ITV
In the sort of 5 EMMERDALE MON 19.00 5.49 31.54 ITV
story Have I Got 6 CORONATION STREET MON 19.30 5.47 30.00 ITV
News For You 7 EMMERDALE THU 19.00 5.33 33.85 ITV
likes to poke 8 CORONATION STREET FRI 20.30 5.32 30.71 ITV
fun at, the topical 9 EMMERDALE TUE 19.00 5.30 34.06 ITV
news show was 9 EMMERDALE FRI 19.00 5.30 36.24 ITV
dropped 1,200 11 CORONATION STREET MON 20.30 5.09 26.16 ITV
seconds before transmission 12 EMMERDALE THU 20.00 5.07 27.94 ITV
because an election campaign had 13 BBC NEWS AT SIX MON 18.30 4.96 30.95 BBC1
begun – apparently unnoticed. 14 CORONATION STREET WED 20.30 4.82 24.23 ITV
However, the week’s biggest 15 EMMERDALE TUE 20.00 4.76 25.45 ITV
drama was on BT in Amsterdam 16 EASTENDERS TUE 19.30 4.51 27.19 BBC1
and Liverpool, for which the sports 17 EASTENDERS THU 19.30 4.46 27.02 BBC1
broadcaster will have been deeply 18 EASTENDERS MON 20.00 4.37 23.10 BBC1
grateful. Meanwhile, an Olivia 19 BBC NEWS AT SIX WED 18.00 4.30 30.53 BBC1
Colman-free Baftas became a Waller- 20 BBC NEWS SUN 22.00 4.28 27.66 BBC1
Bridge fest, thanks in no small 21 EASTENDERS FRI 20.00 4.24 25.63 BBC1
measure to BBC America. Get 22 BBC NEWS AT SIX TUE 18.00 4.19 30.96 BBC1
ready for a mortal battle between 23 COUNTRYFILE SUN 19.00 4.17 26.41 BBC1
the two creative darlings for 24 BBC NEWS AT SIX THU 18.00 4.02 29.23 BBC1
national-treasure status. 25 BBC NEWS AT SIX FRI 18.00 3.83 30.65 BBC1
26 THE DURRELLS SUN 20.00 3.75 20.77 ITV/Sid Gentle Films
MONDAY 27 BBC NEWS AT TEN WED 22.00 3.67 24.06 BBC1
ITV’s The All New Monty: Who 27 BRADLEY WALSH’S LATE NIGHT GUEST LIST SAT 21.15 3.67 21.96 ITV/Hungry Bear Media
Bares Wins drew 3.1 million/ 29 ITV EVENING NEWS MON 18.30 3.65 22.57 ITV/ITN
18% (135,000 +1) at 9pm. It was 30 BRITISH ACADEMY TELEVISION AWARDS SUN 20.00 3.55 19.72 BBC1
too much for BBC1’s comedy 30 ITV EVENING NEWS WED 18.30 3.55 23.78 ITV/ITN
duo of Not Going Out at 9pm 32 THE CHASE THU 17.00 3.48 31.74 ITV/Potato
(2.6 million/14%) and Ghosts 33 THE CHASE WED 17.00 3.44 30.45 ITV/Potato
at 9.30pm (2 million/11%). 33 ITV EVENING NEWS TUE 18.30 3.44 23.64 ITV/ITN
35 POINTLESS MON 17.45 3.41 23.64 BBC1/Remarkable Television
TUESDAY 36 CASUALTY SAT 21.10 3.36 19.34 BBC1
The All New Full Monty: Ladies 37 BBC NEWS AT TEN MON 22.00 3.33 22.37 BBC1
Night attracted 2.6 million/15% 37 THE CHASE MON 17.00 3.33 25.84 ITV/Potato
(225,000 +1), 400,000 and two 39 BBC NEWS AT TEN THU 22.00 3.31 23.06 BBC1
share points fewer than the men’s 40 BBC NEWS AT TEN TUE 22.00 3.30 20.88 BBC1
edition and the Monty franchise’s 41 ITV EVENING NEWS THU 18.30 3.28 22.56 ITV/ITN
lowest so far in overnights. It was 42 THE ALL NEW MONTY: WHO BARES WINS MON 21.00 3.25 19.29 ITV/Spun Gold TV
still quite some distance ahead 43 AMBULANCE THU 21.00 3.23 18.53 BBC1/Dragonfly
of the finale of BBC1’s lacklustre 44 BRITAIN’S BRIGHTEST FAMILY WED 20.00 3.21 17.77 ITV
four-part drama Trust Me 45 ITV EVENING NEWS FRI 18.30 3.17 23.40 ITV/ITN
(1.8 million/10%). For an hour at 46 VICTORIA SUN 21.00 3.12 17.37 ITV/Mammoth Screen
9pm, BT Sport 2’s coverage of the 47 THE CHASE TUE 17.00 3.11 29.39 ITV/Potato
stunning Liverpool V Barcelona 48 ITV EVENING NEWS SAT 18.00 3.08 24.21 ITV/ITN
Champions League semi-final 48 NINJA WARRIOR UK SAT 18.30 3.08 21.39 ITV/Potato
averaged 2.5 million/14% to come 50 IN FOR A PENNY SAT 19.30 3.03 19.92 ITV/ITV Studios/Mitre TV
second in the slot. Figures are for all homes and include HD and +1 where applicable

24 | Broadcast | 17 May 2019 broadcastnow.co.uk

 RATINGS

WEDNESDAY
In a globally themed doc battle at
9pm, BBC1’s Earth From Space
finished with 2.8 million/15%,
defeating the second part of ITV’s
three-part Planet Child (1.9 million/
10%; 106,000 +1). BT Sport 2’s
coverage of Ajax V Tottenham
The All New Monty – Who Bares EasyJet – Inside The Hotspur in the second Champions
Wins: 3.3m/19% Cockpit: 2.2m/12% League semi-final averaged 2.2
million/12% for an hour at 9pm.
TOP 100 NETWORK PROGRAMMES
RANK AND PROGRAMME DAY START VIEWERS (M) SHARE (%) BROADCASTER/PRODUCER THURSDAY
51 THE CHASE FRI 17.00 3.02 28.88 ITV/Potato The winner at 9pm was BBC1’s
52 WATCHDOG WED 20.00 3.01 15.86 BBC1 Ambulance (3.2 million/19%),
53 THE ONE SHOW MON 19.00 3.00 17.23 BBC1 nipping past ITV’s EasyJet: Inside
54 HOLBY CITY TUE 20.00 2.92 15.72 BBC1 The Cockpit opposite, which fell
55 GOGGLEBOX FRI 21.00 2.88 17.24 C4/Studio Lambert 162,000 and one share point on
55 THE ONE SHOW THU 19.00 2.88 18.28 BBC1 last week’s launch (or take-off ) to
57 THE ALL NEW MONTY: LADIES NIGHT TUE 21.00 2.85 16.75 ITV/Spun Gold TV 2.1 million/12% (163,000 +1).
58 EARTH FROM SPACE WED 21.00 2.81 15.12 BBC1
58 BBC NEWS SAT 22.00 2.81 18.24 BBC1 FRIDAY
58 THE ONE SHOW WED 19.00 2.81 17.61 BBC1 Channel 4’s Gogglebox won at
61 TONIGHT THU 19.30 2.77 16.76 ITV 9pm with 2.5 million/15%
62 BBC NEWS AT ONE WED 13.00 2.76 42.46 BBC1 (340,000 +1), ahead of ITV’s The
63 THE ONE SHOW FRI 19.00 2.75 18.81 BBC1 Bletchley Circle: San Francisco
64 POINTLESS SAT 19.35 2.74 16.45 BBC1/Remarkable Television (1.3 million/8%; 88,000 +1).
65 THE ONE SHOW TUE 19.00 2.73 17.53 BBC1 BBC1’s repeat of Would I Lie To
66 LOVE YOUR GARDEN MON 20.00 2.68 14.14 ITV/Spun Gold You?, promoted to 9pm after
67 BBC NEWS AT TEN FRI 22.00 2.65 19.42 BBC1 replacing Have I Got News For You,
68 THE REPAIR SHOP MON 17.00 2.63 20.83 BBC1/Richochet mustered 2.3 million/13%, while a
69 JOHN BISHOP’S IRELAND FRI 20.00 2.59 15.67 ITV/Lola Ents/Twofour/Moondog Prods Mrs Brown’s Boys repeat, drafted
70 NOT GOING OUT MON 21.00 2.58 14.16 BBC1/Avalon Television in to fill the 9.30pm slot, attracted
71 SAVE MONEY TUE 19.30 2.55 15.38 ITV/Twofour 1.6 million/10%.
72 QUESTION TIME THU 22.35 2.45 25.54 BBC1/Mentorn
73 BBC NEWS AT ONE MON 13.00 2.35 31.28 BBC1 SATURDAY
74 BBC NEWS AT ONE THU 13.00 2.33 40.74 BBC1 At 8pm, ITV’s Britain’s Got Talent
75 WHO DARES WINS SAT 20.30 2.32 12.50 BBC1/12 Yard Productions drew 7 million/38% (410,000 +1),
76 GARDEN RESCUE MON 19.30 2.31 12.69 BBC1/Spun Gold TV well ahead of BBC1’s Who Dares
76 POINTLESS WED 17.15 2.31 19.87 BBC1/Remarkable Television Wins at 8.30pm (2.3 million/13%).
76 POINTLESS TUE 17.15 2.31 21.03 BBC1/Remarkable Television At 9.15pm, ITV’s one-off Bradley
79 THE GRAHAM NORTON SHOW FRI 22.35 2.30 23.08 BBC1/So Television Walsh’s Late Night Guest List
79 THE FAMILY CHASE SUN 18.05 2.30 18.39 ITV/Potato showed promise with 3.3 million/
81 MATCH OF THE DAY SUN 22.30 2.29 27.19 BBC1 20% (335,000 +1), ahead of BBC1’s
81 HAVE I GOT NEWS FOR YOU FRI 21.00 2.29 13.19 BBC1/Hat Trick Productions Casualty opposite from 9.10pm
83 POINTLESS THU 17.15 2.26 20.01 BBC1/Remarkable Television (3.4 million/19%) thanks to +1.
84 POINTLESS FRI 17.15 2.23 20.78 BBC1/Remarkable Television
85 ITV NEWS SAT 22.15 2.21 15.85 ITV/ITN SUNDAY
85 EASYJET: INSIDE THE COCKPIT THU 21.00 2.21 12.67 ITV/ITN Productions BBC1’s coverage of The British
85 GARDENERS’ WORLD FRI 20.30 2.21 12.71 BBC2 Academy Television Awards
88 HARD TO PLEASE OAPS TUE 20.30 2.20 11.97 ITV/Avalon averaged 3.6 million/20% for two
88 MARTIN CLUNES: MY TRAVELS AND OTHER… THU 20.30 2.20 12.64 ITV/Buffalo Pictures hours from 8pm – 75,000 and
90 PANORAMA WED 19.30 2.16 12.74 BBC1 one share point more than last
91 TIPPING POINT THU 16.00 2.15 26.67 ITV/RDF Television year. Opposite, ITV’s last-ever
92 BBC NEWS SAT 18.50 2.14 14.87 BBC1 episode of The Durrells attracted
93 TIPPING POINT MON 16.00 2.13 19.83 ITV/RDF Television 3.7 million/20% (99,000 +1)
94 THE REPAIR SHOP FRI 16.30 2.12 23.99 BBC1/Richochet – 315,000 and two share points
95 TIPPING POINT WED 16.00 2.12 25.01 ITV/RDF Television more than last week. At 9pm, free
96 TIPPING POINT FRI 16.00 2.12 27.61 ITV/RDF Television from AC-12’s grip for its finale,
97 OUR DEMENTIA CHOIR WITH VICKY MCCLURE THU 20.00 2.11 11.90 BBC1/Curve Media ITV’s Victoria perked up to
98 THE CHASE SAT 17.00 2.10 19.06 ITV/Potato 3 million/17% (117,000 +1) –
98 STILL OPEN ALL HOURS FRI 19.30 2.10 13.27 BBC1 its best overnight since launch.
100 ITV NEWS MON 22.30 2.09 17.88 ITV/ITN
Tables exclude programmes timed under 5 minutes long and omnibus editions, eg soaps Channel Overview on page 26 ➤

broadcastnow.co.uk 17 May 2019 | Broadcast | 25

 All BARB ratings supplied by Attentional

@broadcastnow

CHANNEL OVERVIEW MON 6 MAY – SUN 12 MAY

Jury’s out on CHANNEL SHARE

WEEK 19 BBC1 BBC2 ITV1 C4 C5 OTHERS TOTAL

Sex On Trial
AVERAGE HOURS PER VIEWER 3.87 1.05 3.46 0.98 0.82 9.83 20.00
DAYTIME SHARE (%) 18.40 5.14 16.58 4.30 4.26 51.32 100.00
PEAKTIME SHARE (%) W/C 06.05.19 18.58 6.13 21.19 5.77 3.98 44.35 100.00

BY STEPHEN PRICE PEAKTIME SHARE (%) W/C 07.05.18 20.73 6.34 21.87 5.96 3.93 41.17 100.00

YEAR TO DATE BBC1 BBC2 ITV1 C4 C5 OTHERS TOTAL

Somewhat metaphysically, Louis AVERAGE HOURS PER VIEWER 4.70 1.25 3.87 1.17 0.86 10.22 22.07
Theroux introduced himself on AUDIENCE SHARE (%) 21.28 5.65 17.54 5.31 3.89 46.32 100.00
BBC2 just as he was winning a AUDIENCE SHARE (%) 2018 21.19 6.14 16.85 5.60 3.88 46.35 100.00
Bafta on BBC1. Elsewhere, Daytime is 09.30 – 18.00. Peaktime is 18.00 – 22.30. Figures include HD and +1 where applicable
Channel 5 went back to nature
with Steve Backshall and Queen TOP 30 O BBC2 O CHANNEL 4 O CHANNEL 5

guitarist Brian May, who got us RANK AND PROGRAMME DAY START VIEWERS (M) SHARE (%) BROADCASTER
worrying about hedgehogs. 1 GOGGLEBOX FRI 21.00 2.88 17.24 C4
On Bank Holiday Monday, 2 GARDENERS’ WORLD FRI 20.30 2.21 12.71 BBC2
Channel 4’s Sex On Trial opened 3 SNOOKER MON 19.00 2.08 11.68 BBC2
with 400,000/3% (52,000 +1) at 4 FORENSICS: THE REAL CSI WED 21.00 1.89 10.17 BBC2
10pm, behind BBC2’s Earth’s 5 LOCATION, LOCATION, LOCATION WED 20.00 1.64 8.65 C4
Greatest Spectacles (700,000/ 6 SNOOKER MON 14.00 1.60 17.78 BBC2
6%) and C5’s Police Code Zero: 6 FORMULA 1 SUN 19.00 1.60 9.45 C4
Officer Under Attack (500,000/ 8 GREAT BRITISH MENU FRI 20.00 1.59 9.60 BBC2
4%; 42,000 +1). Sex On Trial 9 YOUR HOME MADE PERFECT TUE 20.00 1.44 7.73 BBC2
achieved 119,000/4% for ABC1 10 GREAT BRITISH MENU THU 20.00 1.39 7.83 BBC2
women, compared with a slot 10 BAKE OFF: THE PROFESSIONALS TUE 20.00 1.39 7.48 C4
average of 200,000/6% for the 12 GRAND DESIGNS THU 21.00 1.37 7.85 C4
year so far. The show’s 80,000/3% 13 UNDISCOVERED WORLDS WITH STEVE BACKSHALL SUN 20.00 1.35 7.47 BBC2
for ABC1 men was fewer than the 14 SURGEONS: AT THE EDGE OF LIFE TUE 21.00 1.31 7.40 BBC2
slot average of 140,000/5%. 15 24 HOURS IN A&E TUE 21.00 1.30 7.34 C4
C4’s Bake Off: The Professionals 16 THE YORKSHIRE VET TUE 20.00 1.27 6.96 C5
drew 1.2 million/7% (154,000 +1) 17 TRAVEL MAN MON 20.30 1.24 6.39 C4
at 8pm on Tuesday, behind BBC2’s 18 THE GIRL ON THE TRAIN SUN 21.00 1.21 7.95 C4
Your Home Made Perfect (1.4 19 INSIDE THE FACTORY MON 20.00 1.18 6.16 BBC2
million/8%) but ahead of C5’s 20 FORMULA 1 SAT 19.30 1.17 6.78 C4
The Yorkshire Vet (1.2 million/7%; 21 SUPERSHOPPERS MON 20.00 1.16 6.15 C4
72,000 +1). All lost to BT Sport 2’s 22 GREAT BRITISH MENU WED 20.00 1.12 5.91 BBC2
Champions League coverage, 23 LOUIS THEROUX: MOTHERS ON THE EDGE SUN 21.00 1.11 6.19 BBC2
which was averaging 2.1 million/ 24 ADELE: IN HER OWN WORDS FRI 21.00 1.09 7.57 C5
11% for the hour as Liverpool 25 MASTERMIND FRI 19.30 1.07 6.77 BBC2
pondered an impossible dream. 26 POLICE INTERCEPTORS MON 20.00 1.06 5.50 C5
On Wednesday at 8pm, C5 27 QI WED 22.00 1.01 6.73 BBC2
launched its two-part crusade 28 DRAGONS’ DEN SUN 19.00 0.98 6.22 BBC2
Saving Britain’s Hedgehogs with 28 EGGHEADS THU 18.00 0.98 7.14 BBC2
900,000/5% (67,000 +1), just 30 SAVING BRITAIN’S HEDGEHOGS WED 20.00 0.96 5.08 C5
behind BBC2’s Great British Menu Figures are for all homes and include HD and +1 where applicable

(1.1 million/6%) and further

behind C4’s Location, Location,
Location (1.4 million/7%; 241,000 PEAKTIME SHARE (%) THE DEBUT DAYTIME SHARE (%)
+1). Over in Amsterdam, BT Sport 2’s

80
Ajax V Tottenham Champions
League coverage was averaging Multichannel BBC1 18.58 Multichannel BBC1 18.40
44.35 51.32
rather more: 2 million/11%. Multichannel BBC1 xx Multichannel BBC1 xx
BBC2’s single doc Louis xx xx
Theroux: Mothers On The Edge BBC2 6.13 BBC2 5.14
attracted 1.1 million/6% at 9pm
on Sunday, fewer than the doc-
ITV 21.19 ITV 16.58
makers last outing: Louis Theroux:

k
The Night In Question (1.4 million/
7%) on 4 March. Opposite,
C4’s film The Girl On The Train
averaged 1.1 million/7% (107,000
+1), while C5’s Funniest Ever C5 3.98 ABC1 men watching C4’s Sex On C5 4.26
TV Cock Ups mustered C4 5.77 Trial were down on the 140,000 C4 4.30
800,000/5% (36,000 +1). Source: Attentional slot average (10pm Mon) Source: Attentional

26 | Broadcast | 17 May 2019 broadcastnow.co.uk

 RATINGS

GENRE OVERVIEW MON 6 MAY – SUN 12 MAY

Bradley Walsh’s Late Night

Cardinal: 690,000/4% Guest List: 3.7m/22% Great Art: 350,000/4%

DRAMA ENTERTAINMENT
RANK AND PROGRAMME DAY START VIEWERS (M) SHARE (%) CHANNEL RANK AND PROGRAMME DAY START VIEWERS (M) SHARE (%) CHANNEL
1 THE DURRELLS SUN 20.00 3.75 20.77 ITV 1 BRITAIN'S GOT TALENT SAT 20.00 7.38 40.33 ITV
2 CASUALTY SAT 21.10 3.36 19.34 BBC1 2 BRADLEY WALSH’S LATE... SAT 21.15 3.67 21.96 ITV
3 VICTORIA SUN 21.00 3.12 17.37 ITV 3 THE BRITISH ACADEMY… SUN 20.00 3.55 19.72 BBC1
4 HOLBY CITY TUE 20.00 2.92 15.72 BBC1 4 THE CHASE THU 17.00 3.48 31.74 ITV
5 TRUST ME TUE 21.00 1.77 10.01 BBC1 5 THE CHASE WED 17.00 3.44 30.45 ITV
6 THE BLETCHLEY CIRCLE... FRI 21.00 1.39 8.33 ITV 6 POINTLESS MON 17.45 3.41 23.64 BBC1
7 VERA THU 20.00 1.04 5.91 ITV3 7 THE CHASE MON 17.00 3.33 25.84 ITV
8 ENDEAVOUR WED 20.00 0.69 3.66 ITV3 8 BRITAIN’S BRIGHTEST... WED 20.00 3.21 17.77 ITV
8 CARDINAL SAT 21.00 0.69 3.84 BBC4 9 THE CHASE TUE 17.00 3.11 29.39 ITV
10 ENDEAVOUR MON 20.00 0.68 3.65 ITV3 10 NINJA WARRIOR UK SAT 18.30 3.08 21.39 ITV

CHILDREN’S (AGE 4-15) FACTUAL

RANK AND PROGRAMME DAY START VIEWERS SHARE (%) CHANNEL RANK AND PROGRAMME DAY START VIEWERS (M) SHARE (%) CHANNEL
1 PETER RABBIT'S SQUIRREL... WED 16.40 232,900 29.61 CBeebies 1 COUNTRYFILE SUN 19.00 4.17 26.41 BBC1
2 GIGGLEBIZ WED 17.00 231,500 28.73 CBeebies 2 THE ALL NEW MONTY: WHO... MON 21.00 3.25 19.29 ITV
3 MADDIE'S DO YOU KNOW? WED 16.25 217,400 27.51 CBeebies 3 AMBULANCE THU 21.00 3.23 18.53 BBC1
4 GO JETTERS WED 16.50 215,000 26.98 CBeebies 4 WATCHDOG WED 20.00 3.01 15.86 BBC1
5 ANDY’S PREHISTORIC... WED 16.10 192,400 30.17 CBeebies 5 THE ONE SHOW MON 19.00 3.00 17.23 BBC1
6 WAFFLE THE WONDER DOG WED 17.15 185,100 23.03 CBeebies 6 THE ONE SHOW THU 19.00 2.88 18.28 BBC1
7 BITZ & BOB WED 15.55 154,900 29.40 CBeebies 7 THE ALL NEW MONTY... TUE 21.00 2.85 16.75 ITV
8 PETER RABBIT’S SQUIRREL... WED 7.45 152,100 17.17 CBeebies 8 EARTH FROM SPACE WED 21.00 2.81 15.12 BBC1
9 GO JETTERS WED 7.55 139,600 15.28 CBeebies 8 THE ONE SHOW WED 19.00 2.81 17.61 BBC1
10 APPLE TREE HOUSE WED 17.30 134,700 17.24 CBeebies 10 THE ONE SHOW FRI 19.00 2.75 18.81 BBC1

COMEDY ARTS
RANK AND PROGRAMME DAY START VIEWERS (M) SHARE (%) CHANNEL RANK AND PROGRAMME DAY START VIEWERS (M) SHARE (%) CHANNEL
1 NOT GOING OUT MON 21.00 2.58 14.16 BBC1 1 ADELE: IN HER OWN WORDS FRI 21.00 1.09 7.57 C5
2 STILL OPEN ALL HOURS FRI 19.30 2.10 13.27 BBC1 2 ADELE: IN HER OWN WORDS SUN 18.05 0.59 4.17 C5
3 GHOSTS MON 21.30 2.01 11.33 BBC1 3 POP CHARTS BRITANNIA... FRI 21.00 0.50 3.21 BBC4
4 DAD’S ARMY SAT 20.30 0.90 4.84 BBC2 4 TOP OF THE POPS FRI 22.30 0.42 4.22 BBC4
5 THE BIG BANG THEORY THU 20.00 0.85 4.70 E4 5 GREAT ART THU 22.45 0.35 4.14 ITV
5 THE SIMPSONS TUE 18.00 0.67 4.95 C4 6 STATUS QUO: LIVE AND... SAT 22.25 0.33 3.19 BBC4
5 THE SIMPSONS WED 18.00 0.67 4.76 C4 7 GIRL IN A BAND: TALES... FRI 23.30 0.30 5.60 BBC4
8 BACK TO LIFE MON 23.00 0.66 9.05 BBC1 8 TOP OF THE POPS THU 19.30 0.25 1.50 BBC4
9 YOUNG SHELDON THU 20.30 0.65 3.76 E4 9 TOTP2 SAT 19.30 0.24 1.61 Yesterday
10 DON’T FORGET THE DRIVER TUE 22.00 0.64 4.08 BBC2 10 TOP OF THE POPS FRI 19.30 0.23 1.49 BBC4

SPORT CURRENT AFFAIRS

RANK AND PROGRAMME DAY START VIEWERS (M) SHARE (%) CHANNEL RANK AND PROGRAMME DAY START VIEWERS (M) SHARE (%) CHANNEL
1 MATCH OF THE DAY SUN 22.30 2.29 27.19 BBC1 1 TONIGHT THU 19.30 2.77 16.76 ITV
2 WORLD SNOOKER CHAMPS... MON 19.00 2.08 11.68 BBC2 2 QUESTION TIME THU 22.35 2.45 25.54 BBC1
3 MATCH OF THE DAY MON 22.30 1.81 16.59 BBC1 3 PANORAMA WED 19.30 2.16 12.74 BBC1
4 LIVERPOOL V BARCELONA TUE 19.00 1.69 9.83 BT Sport 2 4 RIP OFF BRITAIN MON 09.00 1.61 28.36 BBC1
5 WORLD SNOOKER CHAMPS... MON 14.00 1.60 17.78 BBC2 5 RIP OFF BRITAIN WED 09.15 1.32 29.24 BBC1
5 FORMULA 1 SUN 19.00 1.60 9.45 C4 6 RIP OFF BRITAIN THU 09.15 1.23 28.94 BBC1
7 AJAX V TOTTENHAM WED 19.00 1.51 8.76 BT Sport 2 7 RIP OFF BRITAIN FRI 09.15 1.20 29.31 BBC1
8 FORMULA 1 SAT 19.30 1.17 6.78 C4 8 THE ANDREW MARR SHOW SUN 10.00 1.19 21.65 BBC1
9 FINAL SCORE SUN 16.15 1.13 11.49 BBC1 9 SUPERSHOPPERS MON 20.00 1.16 6.15 C4
10 FOOTBALL FOCUS SAT 12.00 1.00 17.58 BBC1 10 RIP OFF BRITAIN TUE 09.15 1.09 27.62 BBC1

broadcastnow.co.uk 17 May 2019 | Broadcast | 27

All BARB ratings supplied by Attentional

@broadcastnow

DIGITAL AND DEMOGRAPHIC FOCUS MON 6 MAY – SUN 12 MAY

TOP 30 MULTICHANNEL PROGRAMMES
BBC4’s Cardinal RANK AND PROGRAMME DAY START VIEWERS (M) SHARE (%) BR OADCASTER
1 LIVERPOOL V BARCELONA TUE 19.00 1.69 9.83 BT Sport 2
finds its flock 2
3
AJAX V TOTTENHAM
VERA
WED
THU
19.00
20.00
1.51
1.04
8.76
5.91
BT Sport 2
ITV3
BY STEPHEN PRICE 4 FYI DAILY SUN 21.00 0.87 4.73 ITV2
5 THE BIG BANG THEORY THU 20.00 0.85 4.70 E4
6 FOOTBALL MON 19.00 0.82 4.87 Sky Sports ME
This week, BBC4 went back to
6 F1 – GP 2019: RACE SUN 14.05 0.82 10.55 Sky Sports F1
the wilds of Canada in search of
8 LIVE RENAULT SUPER SUNDAY SUN 14.00 0.77 8.60 Sky Sports PL
Bullwinkle and some TV baddies,
9 CHELSEA V EINTRACHT FRANKFURT THU 19.15 0.70 4.24 BT Sport 3
while ITV2’s flagship stalwarts
10 ENDEAVOUR WED 20.00 0.69 3.66 ITV3
proved there’s rarely any connec-
10 CARDINAL SAT 21.00 0.69 3.84 BBC4
tion between overall ratings and
12 SKYFALL SUN 21.05 0.67 4.17 ITV2
what teenagers want.
13 LIVE EFL PLAY-OFF SEMI-FINAL SAT 17.00 0.66 5.23 Sky Sports ME
On ITV2, Britain’s Got More
14 YOUNG SHELDON THU 20.30 0.65 3.76 E4
Talent drew 500,000/3% at
15 BUNDESLIGA THU 22.45 0.64 6.40 BT Sport 3
9.15pm on Saturday – the lowest
16 VALENCIA V ARSENAL THU 19.15 0.56 3.43 BT Sport 2
overnight for this series so far.
17 BRITAIN'S GOT MORE TALENT SAT 21.15 0.51 3.09 ITV2
However, in the contrary world
17 AGATHA CHRISTIE’S POIROT SUN 20.00 0.51 2.83 ITV3
of youth, its 60,000/8% for 16-24s
19 POP CHARTS BRITANNIA: 60 YEARS OF THE TOP 10 FRI 21.00 0.50 3.21 BBC4
was the second-best overnight
19 DOC MARTIN FRI 21.00 0.50 2.99 ITV3
for this series so far.
19 QUANTUM OF SOLACE FRI 22.05 0.50 4.30 ITV2
At 10pm on Thursday, episode
22 MIDSOMER MURDERS TUE 20.00 0.49 2.71 ITV3
eight of Celebrity Juice series
22 CELEBRITY JUICE THU 22.00 0.49 3.61 ITV2
21 also drew 500,000 for ITV2,
22 JOHNNY ENGLISH REBORN MON 20.00 0.49 2.54 ITV2
though its share was higher at 4%.
22 TASKMASTER WED 21.00 0.49 2.62 Dave
This was 136,000 more than last
26 HOLLYOAKS TUE 19.00 0.47 3.03 E4
week’s series low. Contrarily, its
27 SHIPWRECKS: BRITAIN’S SUNKEN HISTORY MON 20.00 0.44 2.31 BBC4
16-24 rating (29,000/5%) was
27 GIGGLEBIZ WED 17.00 0.44 4.26 CBeebies
the lowest for this run so far.
27 JASON BOURNE THU 21.00 0.44 3.16 Film 4
At 9pm on Saturday, the opener
30 JURASSIC PARK III SAT 19.25 0.43 2.65 ITV2
of BBC4’s third series of Canadian Figures include HD and +1 where applicable. Only the top-ranked episode of each show is included
detective yarn Cardinal scored
the channel’s best rating of the
week: 700,000/4%. Episode two at
9.40pm drew 600,000/4%.
E4’s best of the week was US
BROADCAST CAN
Become a registered user and sign up to our ratings
SEND YOU RATINGS
DATA EVERY WEEK

sitcom The Big Bang Theory on newsletter at SUBS.BROADCASTNOW.CO.UK/REGISTERNOW

Thursday at 8pm (850,000/5%).

CHANNEL DEMOGRAPHIC DIGITAL HOMES

CHANNELS INDIVIDUALS % ADULTS ABC1 % ADULTS 16-34 % MALE % FEMALE % CHANNELS SHARE (%)
SHARE SHARE1 PROFILE2 SHARE1 PROFILE2 SHARE1 PROFILE2 SHARE1 PROFILE2 BBC1 19.66
BBC1 19.66 23.61 51.35 11.48 6.40 19.49 45.29 19.80 54.71 ITV 17.52
ITV 17.52 15.62 38.12 15.65 9.79 13.81 35.98 20.65 64.01 BBC2 5.24
BBC2 5.24 6.54 53.40 3.17 6.64 5.68 49.57 4.86 50.44 C4 4.79
C4 4.79 5.52 49.37 5.81 13.32 4.52 43.10 5.01 56.90 C5 4.03
C5 4.03 3.95 41.91 4.23 11.48 3.54 40.09 4.45 59.90 DIGITAL CHANNELS SHARE (%)
ITV3 2.27 2.19 41.16 0.54 2.59 1.68 33.71 2.77 66.29 ITV3 2.27
ITV2 2.08 1.48 30.34 5.66 29.76 1.92 42.16 2.22 57.85 ITV2 2.08
FILM 4 1.45 1.13 33.49 1.21 9.12 1.76 55.44 1.19 44.60 FILM 4 1.45
E4 1.44 1.34 39.87 5.08 38.73 1.48 46.94 1.41 53.03 E4 1.44
BT SPORT 2 1.38 1.98 61.03 2.46 19.50 2.03 67.06 0.84 32.94 BT SPORT 2 1.38
SKY SP’TS ME 1.24 1.57 54.35 2.15 19.09 1.90 70.21 0.68 29.79 CBEEBIES 1.30
DRAMA 1.18 1.13 40.84 0.36 3.31 1.02 39.29 1.32 60.71 SKY SPORTS MAIN EVENT 1.24
ITV4 1.14 0.94 35.10 0.73 7.02 1.65 65.84 0.72 34.14 DRAMA 1.18
MORE 4 1.09 1.04 40.84 0.90 9.06 0.88 36.74 1.27 63.18 BBC NEWS 1.15
DAVE 1.04 1.05 42.92 1.67 17.50 1.41 61.87 0.73 38.13 ITV4 1.14
BBC4 1.01 1.33 56.50 0.57 6.13 1.28 57.86 0.78 42.14 MORE 4 1.09
5 USA 0.93 0.66 30.49 0.56 6.59 0.71 34.61 1.12 65.39 DAVE 1.04
YESTERDAY 0.86 0.73 36.56 0.24 3.12 1.25 66.49 0.53 33.54 BBC4 1.01
SKY 1 0.71 0.75 44.97 1.68 25.94 0.82 52.45 0.62 47.55 TOTAL MULTICHANNEL 48.76
Share covers all hours. Figures include HD and +1 where applicable. 1Each channel’s share of total demographic 2Demographic as a percentage of the channel’s total viewers

28 | Broadcast | 17 May 2019 broadcastnow.co.uk

 RATINGS

NON-PSB MON 6 MAY – SUN 12 MAY

Taskmaster: 486,000/3% Bangers And Cash: 291,500/2% Chernobyl: 230,000/1%

TOP 50 NON-PSB PROGRAMMES

RANK AND PROGRAMME DAY START VIEWERS SHARE (%) BROADCASTER/PRODUCER Taskmaster
sees off rival
1 LIVERPOOL V BARCELONA TUE 19.00 1,690,600 9.83 BT Sport 2
2 AJAX V TOTTENHAM HOTSPUR WED 19.00 1,505,600 8.76 BT Sport 2
3 MANCHESTER CITY V LEICESTER CITY MON 19.00 824,300 4.87 Sky Sports Main Event
4 F1 – GP 2019: RACE SUN 14.05 822,800 10.55 Sky Sports F1 BY STEPHEN PRICE
5 LIVE RENAULT SUPER SUNDAY SUN 14.00 766,100 8.60 Sky Sports Premier League
6 CHELSEA V EINTRACHT FRANKFURT THU 19.15 698,700 4.24 BT Sport 3 As if life isn’t stressful enough,
7 LIVE EFL PLAY-OFF SEMI-FINAL SAT 17.00 656,700 5.23 Sky Sports Main Event this week Sky Atlantic reminded
8 BUNDESLIGA THU 22.45 642,400 6.40 BT Sport 3 us of the 1986 nightmare that was
9 VALENCIA V ARSENAL THU 19.15 564,900 3.43 BT Sport 2 Chernobyl. Meanwhile, Dave’s
10 TASKMASTER WED 21.00 486,300 2.62 Dave/Avalon Television task-addled comedians returned
11 GAME OF THRONES MON 21.00 430,600 2.56 Sky Atlantic to see off an old sparring partner.
12 F1 – GP 2019: QUALIFYING SAT 13.55 407,700 5.72 Sky Sports F1 Sky Atlantic’s fourth episode of
13 SALVAGE HUNTERS WED 21.00 398,000 2.14 Quest/Curve Media HBO’s Game Of Thrones drew
14 F1 – GP 2019: ON THE GRID SUN 13.30 379,300 5.78 Sky Sports F1 431,000/3% for its 9pm Monday
15 LAST OF THE SUMMER WINE THU 19.20 326,800 1.99 Drama episode, the lowest in that slot so far.
16 THE MEG FRI 12.30 323,800 5.96 Sky Cinema Premiere However, it followed the 2am trans-
17 FATHER BROWN FRI 21.00 323,500 1.94 Drama mission, which achieved a series of
18 THRONECAST MON 22.30 305,200 3.38 Sky Atlantic/Znak & Co high of 3.5 million/75%, including
19 GILLETTE SOCCER SPECIAL SUN 14.30 303,200 3.40 Sky Sports News those who watched it later.
20 WOULD I LIE TO YOU? SAT 21.40 301,000 1.88 Dave/Zeppotron Sky Atlantic launched its HBO
21 BANGERS AND CASH THU 20.00 291,500 1.64 Yesterday/Air TV co-production Chernobyl on
22 ROSEMARY AND THYME WED 21.00 284,800 1.53 Drama/Carnival Tuesday at 9pm with 230,000/1%.
23 THE SIMPSONS THU 19.00 283,900 1.80 Sky 1 Another 8,000/0.2% tuned in for
24 NEW TRICKS FRI 22.00 280,700 2.44 Drama/Wall to Wall Wednesday’s 11.20pm repeat to
25 CAPTURING THE ICC WORLD CUP – 1992 SAT 19.00 269,200 1.80 Sky Sports Cricket total 238,000. That is better than
26 CRICKET SAT 10.30 268,600 3.37 Sky Sports Cricket Sky’s Bafta-winning Showtime
27 ANTIQUES ROAD TRIP FRI 19.00 261,800 1.72 Really/STV Productions co-production Patrick Melrose,
28 MOCK THE WEEK SAT 23.00 261,300 3.12 Dave/Angst Productions which launched on 13 May 2018
29 ’ALLO, ’ALLO! SUN 20.35 261,100 1.41 Yesterday with a total of 209,000.
30 HARROW SAT 21.00 258,400 1.47 Drama Dave’s Taskmaster returned on
31 HAWAII FIVE-0 SUN 21.00 257,100 1.43 Sky 1 Wednesday at 9pm for its eighth
32 TOTP2 SAT 19.30 244,500 1.61 Yesterday series with 486,000/3%, beating
33 WHEELER DEALERS THU 21.00 242,900 1.39 Quest/Attaboy TV its nemesis Salvage Hunters
34 CALL THE MIDWIFE SUN 18.40 241,900 1.60 Drama/Neal Street Productions (400,000/2%) on Quest. However, it
35 GREY’S ANATOMY WED 21.00 241,800 1.30 Sky Witness was behind the series seven launch
36 ABANDONED ENGINEERING TUE 20.00 240,600 1.30 Yesterday/Like A Shot Entertainment on 5 September 2018 (620,000/4%)
37 CHERNOBYL TUE 21.00 229,500 1.31 Sky Atl’tic/Sister Pics/Mighty Mint/Word Games and the sixth series opener on
38 THE CORONER FRI 20.00 225,800 1.33 Drama 2 May 2018 (675,000/4%).
39 NCIS: LOS ANGELES SUN 22.00 223,100 1.66 Sky 1 BT Sport 2 averaged 1.7 million/
40 EFL ON QUEST SAT 21.00 221,500 1.26 Quest 10% from 7pm on Tuesday for the
41 MURDOCH MYSTERIES SAT 20.00 220,300 1.21 Drama Liverpool V Barcelona Champions
42 SKY SPORTS NEWS AT TEN TUE 22.00 214,800 1.61 Sky Sports News League semi-final, just ahead of
43 OPEN ALL HOURS THU 21.40 214,600 1.34 Yesterday Wednesday’s coverage of Ajax
44 LIVE AT THE APOLLO WED 22.00 212,700 1.65 Dave/Open Mike V Tottenham Hotspur at 7pm
45 OUTBACK OPAL HUNTERS MON 21.00 210,200 1.17 Quest (1.5 million/9%).
46 WE’RE NOT REALLY HERE: MAN CITY ’98 SUN 18.00 208,300 1.77 Sky Sports Premier League Sky Sports Main Event’s coverage
47 THE INSPECTOR LYNLEY MYSTERIES THU 20.00 204,900 1.16 Drama of the Manchester City V Leicester
48 NCIS FRI 21.00 204,400 1.22 Fox City Premier League match aver-
49 ROOM 101 SAT 23.35 202,500 3.31 Dave/Hat Trick Productions aged 824,000/5% on Monday from
50 SINGS BEE GEES SAT 20.30 202,300 1.09 Yesterday 7pm, with 396,000/2% simultane-
Figures are for all homes and include HD and +1 where applicable. Only the top-ranked episode of each show is included ously on Sky Sports Premier League.

broadcastnow.co.uk 17 May 2019 | Broadcast | 29

RATINGS All BARB ratings supplied by Attentional

CONSOLIDATED RATINGS MON 29 APRIL – SUN 5 MAY

TOP 30 RANKED BY GAIN
RANK AND PROGRAMME DAY START VIEWERS (M) SHARE (%) GAIN (M) GAIN (%) BROADCASTER
1 LINE OF DUTY SUN 21.00 12.14 45.43 3.05 33.60 BBC1
2 BRITAIN’S GOT TALENT SAT 20.00 9.52 43.77 1.99 26.40 ITV
3 THE WIDOW MON 21.00 5.96 25.24 1.89 46.50 ITV
4 VICTORIA SUN 21.00 4.44 15.60 1.85 71.20 ITV
5 THE WIDOW TUE 21.00 5.45 24.13 1.68 44.60 ITV
6 GHOSTS MON 21.30 3.42 14.81 1.30 61.10 BBC1
7 CORONATION STREET FRI 20.30 6.53 31.95 1.26 24.00 ITV
8 EASTENDERS FRI 20.00 5.25 28.16 1.09 26.10 BBC 1
9 CORONATION STREET FRI 19.30 6.70 38.23 1.07 19.00 ITV
10 CORONATION STREET WED 20.30 6.18 27.88 1.06 20.60 ITV
11 GAME OF THRONES SUN 02.00 5.12 78.65 1.03 25.20 Sky Atlantic
12 EASTENDERS THU 19.30 5.18 29.88 1.02 24.40 BBC1
13 THE DURRELLS SUN 20.00 4.56 22.13 1.00 28.10 ITV
14 CASUALTY SAT 21.15 4.69 24.46 0.99 26.70 BBC1
15 EXTREMELY WICKED, SHOCKINGLY EVIL... FRI 07.45 1.38 21.65 0.97 232.70 Sky Cinema Premiere
16 CORONATION STREET WED 19.30 7.08 38.21 0.88 14.20 ITV
17 CORONATION STREET MON 20.30 6.78 32.37 0.84 14.20 ITV
18 GOGGLEBOX FRI 21.00 3.69 16.72 0.83 28.80 C4
19 EASTENDERS MON 20.00 5.33 28.08 0.82 18.20 BBC1
19 THE BIG BANG THEORY THU 20.00 1.81 8.68 0.82 82.40 E4
21 HAVE I GOT NEWS FOR YOU FRI 21.00 4.23 18.73 0.79 23.00 BBC1
22 NOT GOING OUT MON 21.00 3.28 14.07 0.77 30.90 BBC1
23 TRUST ME TUE 21.00 2.15 9.70 0.76 54.10 BBC1
24 EMMERDALE TUE 20.00 5.55 25.57 0.72 15.00 ITV
24 EASTENDERS TUE 19.30 5.40 30.33 0.72 15.40 BBC1
24 FORENSICS: THE REAL CSI WED 21.00 2.62 11.73 0.72 37.70 BBC2
27 CELEBRITY SAS: WHO DARES WINS FOR SU2C SUN 21.01 1.82 6.43 0.71 64.30 C4
27 THE GRAHAM NORTON SHOW FRI 22.35 3.29 27.74 0.71 27.50 BBC1
29 CORONATION STREET MON 19.30 6.91 39.98 0.67 10.70 ITV
30 BAKE OFF: THE PROFESSIONALS TUE 20.00 2.35 11.10 0.64 37.30 C4
Figures include HD and +1 where applicable

Line Of Duty

3.1
BBC1: LINE OF DUTY ITV: THE WIDOW
The fifth series of BBC1’s critically ITV’s eight-part drama The Widow,

nicks top spot acclaimed drama finished with a

BY STEPHEN PRICE
It comes to something when
dramas are so complicated, they’re
like a school test. There you are
relaxing in front of the TV and
suddenly you are hunting down
the dictionary and completing a
maths problem just to cling on to
the plot. Still, Line Of Duty is done
now and we can spend the down-
time swotting. Meanwhile, another
unusually patterned ITV drama
– eight episodes over four weeks –
finished in decent style, in what so
far has been quite the year for the
channel’s newbie dramas.
BROADCAST
SUBSCRIBE NOW
SUBSCRIBE NOW
for
for daily
daily ratings
ratings
analysis in your inbox
feature-length episode on Sunday
5 May at 9pm that drew 12.1
million/45% after 3.1 million
recorded and watched. That is
the best rating of the year so far
for any TV show, ahead of ITV’s
Britain’s Got Talent launch on
6 April (10.2 million/49%).
Some 561,000 watched the Line
Of Duty finale on non-TV devices
(with 289,000 via PC/laptop) to
total 12.7 million.
Last autumn, the finale of BBC1’s
hit drama Bodyguard consolidated
to 14.3 million/50%, with another
865,000 watching via non-TV
devices to total 15.2 million seven
days after transmission.
Line Of Duty began life on BBC2
in June 2012, where it averaged
3.8 million/15%. This year’s run
– the second series to appear on
BBC1 (the fifth overall) – averaged
10.6 million/40% over its six roller-
coaster-like weeks, compared with
8.2 million/29% for BBC1’s debut
m recorded and watched).
The number that recorded and
watched the Line Of Duty
finale on BBC1
series in 2017. The new run
averaged 1.4 million/39% for
16-34s, which was nearly double
the 2017 series’ 800,000/20%.
It averaged 6.7 million/47% for
ABC1 adults, compared with
5.1 million/ 35% two years ago.
Another 481,000 watched
this year’s run via non-TV devices
to push the overall average up
to 11.1 million.
which played over four Mondays
and Tuesdays, finished on Tuesday
30 April with 5.5 million/24% after
1.7 million recorded and watched.
That is 513,000 fewer than
Monday’s penultimate episode
(6 million/25% after 1.9 million
A further 125,000 watched
Monday’s episode on non-TV
devices to push the rating to
6.1 million. Data for Tuesday’s
episode was unavailable.
Overall, the series averaged
5.6 million/23% on TV, with the
Monday 8 April episode the highest
(6.6 million/25%). That is the lowest
rating of ITV’s collection of five new
hit 9pm drama titles this year,
behind The Bay’s 24 April finale in
fourth (7.3 million/28%).
The Widow averaged 2.9 million/
24% for ABC1 adults, with the
opener’s 3.4 million/25% the
highest – once again putting it
fifth behind The Bay’s finale
(3.8 million/29%).

30 | Broadcast | 17 May 2019 broadcastnow.co.uk

 Awards 2019
Collaboration | Innovation | Creativity

OPEN FOR ENTRIES

Entry Deadline 7 June
The inaugural Broadcast Tech Innovation Awards celebrate the exceptional teams
behind the most outstanding broadcast productions and projects of the past year.
Open to all UK & International entries

AWARDS NIGHT
17 October | 8 Northumberland Avenue, London

BroadcastTechAwards.co.uk
For entry enquiries contact – Shane Murphy Shane.Murphy@mbi.london

Sponsored by Brought to you by

For sponsorship enquiries contact – Richard Hewes Richard.Hewes@mbi.london

OFFCUTS
ALL A TWITTER
Chernobyl ep #1 is incredible
TV drama. I watched with my
teeth clenched. Horror like a
John Martin painting and the
sickening dead hand of politics
taking precedence over
humanity. Stunning writing
from Craig Mazin @clmazin
I’m in awe.
@Stevevolkwriter (Stephen Volk)
Writer
Just love #BBCGhosts.
Brilliant show.
@ferrifrump (Jennifer Saunders)
Comedian
Very sad news that Brian
Walden has died. His inter-
views on Weekend World were
the stuff of legend. A former
Labour MP who interviewed
everyone in the same forensic
way. I’d certainly put him in the
top 5 political interviewers of
all time.
@IainDale (Iain Dale)
Broadcaster
Not to take anything whatsoever
away from Joan Bakewell’s
considerable talents and
achievements, but she is proof
that women do not need to stop
wearing a red lip after 40. It’s
sexist nonsense. She looks
increds. Too chic. #BAFTATV
@salihughes (Sali Hughes)
Broadcaster
Helen McCrory basically wins
the BAFTAs. #BAFTATV
@dudleycruse (Dudley Cruse)
TV producer
32 | Broadcast | 17 May 2019
Do you have a story to share? Email:
paul.weatherley@broadcastnow.co.uk
AND FINALLY...
Samson Kayo
Writer/actor, Sliced
If you could perpetuate a
myth about yourself, what
would it be?
That I am very good at backflips
or hot yoga.
What subject would you
choose if you appeared
on Mastermind?
Sport – specifically football.
Which TV shows would appear
in you fantasy schedule?
Wall-breakers: Gentleman Jack’s Gemma Whelan (left) and Suranne jones Breaking Bad, Game Of Thrones,
The Wire and Sliced, of course.
Suranne’s camera rival House hunter’s own goal How do you get your own way?
Actor Gemma Whelan managed Never mind Location, Location, By being stubborn.
to tread on Suranne Jones’ turf Location, it was timing, timing, What keeps you awake
in the upcoming BBC1/HBO series timing that went awry for one at night?
Gentleman Jack. Creator, writer househunter last week. The Fifa, Red Dead Redemption,
and director Sally Wainwright unnamed Liverpool fan turned down Call Of Duty: Modern Warfare,
originally intended only for Jones’ a ticket for the club’s Champions Call Of Duty: Black Ops 3 and
character Ann Lister to break League semi-final tie with Barcelona Spider-Man.
the fourth wall – until she saw because he/she was attempting to Which law would you most like
Whelan having a crack at it. find a new abode with the help of to break?
Whelan said she was allowed Phil Spencer and Kirstie Allsopp – I would love to re-enact lawless
one look to camera per episode, missing the Reds’ historic 4-0 film The Purge – not to kill people,
while Jones was heard to mutter victory. Hopefully completion isn’t just for the free food. Free bagels
“that was my thing”. scheduled for the 1 June final. in Shoreditch!
If you could be reincarnated,
who or what would you come
back as?
Goku from Dragon Ball Z but
in the real world – not in the
cartoon world.
What are the best and worst
things about working in TV?
Worst: the waiting around,
because there are a lot of set-ups.
Best: having that core relationship
with cast and crew – on Sliced, the
cast and the crew really gelled
and everyone was cool with one
another, which is rare.
What’s the one thing you
couldn’t live without?
Chicken.
What’s your hidden talent?
Nish Kumar only agreed to host last week’s I can play the harmonica. An actor
Edinburgh TV Fundraiser We Love TV quiz after called Simon Kunz – the butler
being informed by Zeppotron that it was prepared from the Parent Trap – taught me
how to play.
to install Romesh Ranganathan as host of The Mash What word or phrase do you
Report if he refused. Kumar (third from left) went most overuse?
on to reveal his suspicions that he had only been “What’s happening, bruv?”
invited to appear on Question Time because Romesh Who would you like to play you
in a movie?
was busy, a turn of events that led to him meeting Eddie Murphy.
Piers Morgan – described by Kumar as “white ➤ Sliced airs at 10pm on Dave from
privilege injected into a gammon steak”. Wednesday 15 May
broadcastnow.co.uk
 Speaker highlights | Visit mediaproductionshow.com to see the full line-up

Yesterday Disobedience

Session Session
Keynote Interview The Future of British Film
Audio Theatre – Tuesday 11 June 10:30 Keynote Theatre – Tuesday 11 June 15.30

Glen Freemantle Eva Yates

Sound editor and sound designer Commissioning executive, BBC Films

Snatch Sex Education

Session
TŞƎƑūDŽĚNjūƭƑDžūƑŒǜūDžƙ Session
from Post to Distribution (IMF) Women in Sound
BroadcastTECH Theatre – Tuesday 11 June 16:00 Audio Theatre – Tuesday 11 June 11:30

Peter Collins Emma Butt

Head of scripted pipeline, The Farm Group Freelance sound editor, dubbing mixer & ADR recordist

FREE entry, register now | mediaproductionshow.com

 5 REASONS TO ATTEND
2
 days packed with launches, content and inspiration

The only UK event showcasing the talent and technology behind content creation

£6.99 G
 et hands on with the latest technology and kit

O
 ver 80 FREE seminars to attend featuring key industry names

N
 etwork with over 150 exhibitors and sponsors

NEW EXHIBITORS

CHARITY

Visit our website to see all of our exhibitors, speakers and sponsors
mediaproductionshow.com