Best Short Form Format: Nella Rose’s Flight Mode

‘Full of authenticity’

Multichannel Production Company of the Year: Yeti

‘An emerging Welsh powerhouse which proves that a smaller company can punch above its weight’

Best Short Form Documentary: Kingpin Cribs: Drugs, Death And Pet Tigers

‘Eye-opening and terrifying, subversive and totally unexpected’

Best Entertainment Programme: Don’t Hate The Playaz

‘An exhilarating watch, edged with a joyous sense of danger, in a format that is coming into its own’

Gamechanger Programme of the Year: Bangers and Cash

‘Genuine warmth and authenticity’

Best Digital Children’s Content: Newsround Special – Ukraine: The Children’s Story

‘A masterclass in storytelling with incredible access’

Best Comedy Programme: Extraordinary

‘Everything about this show is extraordinary’

Best Digital Support for a Programme: Hollyoaks

‘The digital support has the potential to be a real force for good’

Best Programme Acquisition: The Dangerous Rise of Andrew Tate

‘An innovative approach to a very assured format’

Best Popular Factual Programme: Big Zuu’s Big Eats

‘An innovative approach to a very assured format’

Best Sports or Live Event Coverage: The Hundred

‘Exciting, impressive coverage’

Best Documentary Programme: The Footballer, His Wife and the Crash

‘An enthralling story in which nothing is quite as it seems’

Action and accessibility hold key to Blindspot appeal

Director Jordan Hogg on how simple questions made producing the Clapperboard/Channel 5’s drama a better experience

Shark Eat Shark, National Geographic

Big Wave Productions’ director of natural history Emma Ross on proving that sharks off the coast of South Africa are eating each other

Creative Review: Stormy seas and old masters

UK post houses’ best recent work, from creating CG oceans for No Escape to drawing inspiration from great artists for The Gallows Pole

Why range is key for Passion Pictures

The documentary maker on choosing to pursue an eclectic mix of films rather than specialise

NHU chief on the ‘moral responsibility’ to support overseas filmmakers

Jonny Keeling shares his long campaign for more in-country training

Andy Waters: Pushing boundaries is vital – especially in tough times

Embracing tech such as virtual production can help navigate challenging periods in a sustainable way, says the Dock 10 head of studios

Seen on screen: LGBTQ+ stories come out of the closet

Three figures involved in shows with LGBTQ+ themes discuss the significance and creativity of the likes of I Kissed A Boy and Heartstopper

Simon Evans: Bringing down the curtain on Staged

The lockdown comedy is the product of a strange time, but it continues to resonate even as it draws to a conclusion

Black Mirror: reflections on true crime

Charlie Brooker’s pastiche in Loch Henry serves to reinforce the importance of the documentary staple in popular culture argues Will Hanrahan

Emmys spotlight: Jack Lowden on Slow Horses

Lead actor discusses the See Saw Films drama, moving into producing and his ‘funny career’

Puzzling, Channel 5

12 Yard Productions’ head of entertainment Paul McGettigan on the speedy turnaround of a new quiz format

Katie Piper’s Jailhouse Mums, W

Series producer Kate South explains how her team unlocked the stories of Americas mothers behind bars

Marcus Ryder: AI presents an existential threat to media diversity

Here’s how we can protect the precious progress with have made on diversity from the biases built into artificial intelligence

Look See Wow!, Sky Kids

Executive producer Eline van der Velden explains how her team got hands on to make an ASMR-inspired immersive show for toddlers

Jean Mackenzie: ‘My sources could have been executed – I haven’t stopped thinking about it’

The BBC’s Korea correspondent talks to Broadcast about her BBC2 doc North Korea: The Insiders

The complex journey to air Blackadder's pilot episode

Executive producer Tom Edwards explains the challenges of bringing the 40-year-old pilot of a beloved show to TV for the first time

Gwenda Carnie: Deal-making tips for creative people

Ahead of the Sheffield Doc Fest, here are some helpful hints for a moment creatives anticipate and dread in equal measure

Frankie Dettori: An Ascot Legacy, Sky Sports Racing

Little Dot Sport creative producer Will O’Sullivan on how to make the most of limited time with a documentary star

John Cassy: It’s early days, but Apple’s virtual reality headset really could change everything

VR will bring in new ways of experiencing and telling stories – and the TV world must be prepared to evolve

The Writers Strike: Broadcast on the picket line

From Paramount to Netflix, Sony to CBS, an on-the-ground account from writers and WGA members about the cause for which they are fighting

My Husband the MMA Fighter, BBC1

Director Christine Johnston explains the challenges of directing and producing her first documentary film

Monster In The Morgue: David Fuller, Sky Documentaries

Series director Andrew Parkin on the challenge of making a documentary about one of the biggest taboos

A Paedophile in My Family: Surviving Dad, Channel 4

Producer-director Sophie Oliver on how she navigated complex duty of care needs to tell a difficult story

Meet Sky’s new cohort of commissioners

Broadcaster recruits seven creatives from different walks of life to help it deliver more authentic stories

Richard Sharp exit highlights flaws in system

The BBC chair’s resignation has raised concerns over the corporation’s governance and spotlighted the political nature of the recruitment process

Ukrainian producers come out fighting

War has devastated Ukraine but a group of production companies have come together to kickstart the country’s TV industry

Fatima Salaria: Taking time out has given me a fresh perspective

The value of journalism and the challenges that women and people of colour face have been brought into focus, says Fatima Salaria

State of the Nation: The view from the post sector

The Post-Production: State of the Nation panel at MPTS brought together three execs from leading facilities to discuss the challenges they face

Schedules and familiar shows take us back to the future

Clear release patterns and even clearer programme concepts appear to be the order of the day

How pots of funding can help middle ground indies

Candour Productions director of development Hannah Demidowicz on the vital support available to indies

Silverpoint: Imagining the impossible

Series producer Trevor Klein on bigger expectations and a bigger budget for series two

Ten Pound Poms, BBC1

Executive producers Danny Brocklehurst and Joel Wilson on making a drama series with ‘dirt under its fingernails’

First look: Mary & George, Sky Atlantic

Hera Pictures’ seven-part series airs later this year

Eurovision Song Contest Postcards, BBC1

Series producer Tom Cook reveals how his team put together the Eurovision VTs showcasing the different countries involved

Sara Putt: While we celebrate our industry’s excellence, let’s remember tomorrow’s talent

We must level the playing field if we want the best creatives, says the deputy chair of BAFTA and chair of the BAFTA TV Committee

Therapy: Tough Talking, BBC3

Northern Child creative director Andrew Eastel on balancing duty of care with opening up the world of therapy

Behind the scenes on Kids, Channel 4

Producer-director Paddy Wivell explains how the power of obs docs help contributors tell previously unheard stories

Content Summit: What's the game plan with social media?

Three leading sports content makers on how they produce engaging films for social media platforms and the best way to hook the target audience

​The rise of France as a VFX hub

Tony White explains why France could soon lay claim to being the next big home for visual effects

The regional SVoDS taking on the big guns of streaming

In a David vs Goliath scenario, regional streamers are going toe to toe with the giants of the industry and holding their own

N&R indies call for greater commissioning autonomy

While broadcasters’ nations and regions push is praised, decision-making is still seen as too Londoncentric

Analysis: Grabbing a slice of online original content

With online platforms stepping back from ordering original content, what are the opportunities for indies working in the space?

Broadcast Indie Summit: Indies raise concerns over mid-market squeeze

Fears over dwindling appetite for mid-priced shows as broadcasters focus more on cut-through or low-price content

Leo Pearlman: The industry overlooks the north east at its peril

The TV sector stands to reap significant benefits if it follows Fulwell 73’s lead and invests in this incredible region

First look: The Gallows Pole, BBC2

Shane Meadows’ series, produced by Element in association with Big Arty, is based on Benjamin Myers’ book

Christopher Yip: TV must trust people of colour to tell their own stories

The industry needs to embrace the wealth of talent that exists if it wants to make honest, authentic shows

The US writers’ strike: What will it mean for the UK industry?

British peers show solidarity with fight for fair pay

How an ageing professor inspired James Reed’s latest Netflix epic

Oscar winner embraced the drama of handheld cameras to keep up with battling chimps

The Missing Heiress: Betrayals In The Riviera

‘The originality of the series is the Shakespearian element of betrayal and tragedy’

Factual leads the charge in Cannes

“Unscripted programming is the driving force as documentary accounts for half our Hot Picks”

Deborah James: Bowelbabe In Her Own Words, BBC2

Director Sara Hardy explains the challenges of creating an archive documentary using very 21st Century material

The Last Secrets Of Humankind

‘It’s a high-quality production where you can see the budget on screen’

Formats

Competition titles continue to dominate as buyers look for multi-layered storytelling

The Chameleon: The Killing Of Ronald Platt

‘Stranger than fiction is more than just true crime and this film embodies that’

Hot Wheels: Ultimate Challenge

‘This is a shiny floor general entertainment show that is universally relatable’

Bend it Like Bollywood

‘You feel like you can’t walk away from the screen in case you miss a critical piece of information’

The Pez Outlaw

‘Steve broke the law, but he was also an underdog and you can’t help rooting for him’

Competition in the streaming business is growing FAST

Revenues from free-ad supported TV channels are predicted to triple by 2027 and the battle is on to win the biggest share, says Kate Bulkley

Ob-docs put true crime in the shade

Analysis of Broadcast’s 100+ Hot Picks submissions reveals nearly 75% are unscripted, with just a single UK drama making the final list

Fifteen-Love

‘It’s a love letter to what sport can and should be, but it’s also an unflinching look at it’

Scripted

Character-driven series span fantasy, sci-fi, crime and families in this international-driven selection

A Body That Works

‘It is a very emotional watch. Audiences will find themselves laughing and crying’

Will Hanrahan: look to journalists when setting true crime standards

Established journalistic good practice balances ethical conundrums with exposing wrongdoing – so let’s not reinvent the wheel

Brink Of Disaster

‘There has always been a fascination with this genre and it hasn’t diminished’

What can Wrexham’s Hollywood takeover teach other sports brands?

Chris Whitson, global head of strategy at creative agency Iris, explains how other rights holders could follow in Wrexham’s footsteps

Job uncertainty threatens progress made on diversity

Great strides have been made in attracting people from diverse backgrounds – but now we need to keep them, says Lorraine Heggessey

What producers look for in a post house

Two leading producers discuss what they want from a post facility, from talent and technology to the quality of biscuits

Diversity roundtable: We’re in it together

Amazon, Banijay and Fremantle diversity heads say more collaboration between broadcasters & indies is essential for true progress on inclusion

HiddenLight: Shining a light on trailblazing women

Chelsea and Hillary Clinton’s indie aims to create change by bringing remarkable stories of female pioneers to screen

Interview: Studio Lambert discuss the triumphant Traitors and the Squid Game controversy

Chief executive Stephen Lambert and creative director Tim Harcourt discuss scale, ambitions, the secrets behind Traitors and the Squid Game: The Challenge controversy

Indie Survey 2023: funding and inflation top list of indie concerns

As inflation bites and belts tighten due to the rise in the cost of living, the UK production sector is feeling the squeeze

PSBs win praise in tough times

After a difficult year for both broadcasters, the BBC is voted the strongest broadcaster and Channel 4 is named the best to work with

Bumps along the road to recovery

‘Given what we have all endured, there is much to celebrate in this year’s survey’

UK indies feel the effects of Brexit

Increased costs and bureaucracy involved with filming on the continent among UK producers’ biggest concerns

Indies feel pinch as inflation squeezes margins

While total turnover is up £600m on 2022, respondents to the Indie Survey 2023 say that cost inflation & funding gaps are their biggest concerns

BBC: Whisper breaks into top three

The Uefa Women’s Euros helps propel the indie into second place

UKTV: Originals bring in fresh suppliers

Air TV, Zeppotron, King of Sunshine and Rare TV were among the indies to have benefitted from orders

Channel 4: Hits and misses as C4 prepares for new phase

2022 saw the launch of the Roughcut comedy Big Boys and Fable Pictures’ Hullraisers

Consolidators bounce back

As All3Media once again leads the pack, indie owners and consolidators look to be firmly back on track, with revenues up 41% year on year

Indie Survey Table 2023

Click to view the top performing companies

The key to not ruining a good series: knowing when to stop

It’s tempting to continue season after season with a hit series, but that’s when you put its legacy at risk, says Danny Brocklehurst

Robin Elias: We forget the sacrifices of frontline news teams at our peril

20 years on from the start of the Iraq war, the International News Safety Institute chair reflects on colleagues he’s lost and the value of their work

Gallery: Ted Lasso, Apple TV+

Selection of images from the third series of Doozer Productions’ football comedy

Vine FX: Why we moved out of Soho

Michael Illingworth of Vine FX explains his company’s journey out of Soho to Cambridge while establishing a global workforce

First look: The Killing Kind, Paramount+

Eleventh Hour Films six-parter stars Emma Appleton and Colin Morgan

Why do BBC’s editorial guidelines still carry foreword by Tony Hall?

Staff are raising the question because the guidance is fronted by DG who left almost three years ago, writes Tara Conlan

Q&A: Becoming Frida Kahlo, BBC2

Creatives behind Rogan Scotland’s doc series discuss how they got to know the iconic artist in order to tell her story through her eyes

Neil Duncanson: How Create Central is turning Birmingham into a global media player

The opening of the Bond creative hub is a key step in reinvigorating the West Midlands’ TV industry and inspiring the next generation of local talent

Arctic From Above, Sky Nature

Director Olly Bootle explains why the Arctic is best explored from the air

Murder in the Pacific, BBC2

Director Chloe Campbell explains how she directed a documentary about the bombing of the Greenpeace ship Rainbow Warrior

Creative Review: New worlds and deep fakes

From lighting up the land of the dead to creating the London of the future and turning actors into celebrity doppelgangers

Formats fight it out at London TV Screenings 2023

With multiple competition formats battling it out, Broadcast highlights the trends and shows shaping this year’s event

True crime’s most wanted

Eye-catching titles from All3MI, Banijay Rights and Blue Ant International are among raft of true-crime shows up for grabs at the London TV Screenings

Analysis: Northern Ireland indies battle to be noticed

NI producers say they feel left out by the PSBs, struggle to establish relationships with commissioners and lack returnable formats

Realscreen reveals intense competition

Reboots, true crime, cookery and dating shows were the talk in Austin, as entertainment, factual, and fact-ent come to the fore

End Credits: Nicky Huggett

The HiddenLight Productions head of development on inspiring women, Craig David and fish and chips

Ama’s Story, Sky Kids

Creative director Jesse Cleverly explains how Wildseed Studios helped new talent find their voice on screen

Go Hard or Go Home, BBC3

Executive producer Michael Fraser explains how the tropical island-set fitness format came to be

First look: Wolf, BBC1

Hartswood thriller is based on the Jack Caffery novels

Victor Lewis-Smith’s final act of TV rebellion

In Fix or Fail, the acerbic broadcaster takes aim at fluffy business reality shows - and shaped my own philosophy, says collaborator Ryan Howsam

Dinosaur with Stephen Fry, Channel 5

Tayte Simpson, executive producer on how the team had just six months to send the presenter back in time

Celebrating the best of British TV

‘What they share is the alchemy that takes place when clever, creative ideas combine with amazing production and top-tier on-screen talent’

Channel of the Year: BBC1

‘BBC1 did its primary job last year to perfection: uniting, entertaining and inspiring a nation’

Emerging indie of the year: Forest

‘Mobeen Azhar and Jez Lee have proved fearless in their commitment to digging below the surface of communities to uncover bigger truths’

Special recognition: Huw Edwards

‘He has been an informative, authoritative and deeply reassuring presence during many of the key moments of nation’s recent history’

Best drama series or serial: This Is Going To Hurt

‘The series seamlessly combines sharp wit, harrowing realism, perfectly formed characters and award-worthy acting’

Best documentary programme: The Real Mo Farah

‘An important, powerful and moving film. It is a revelatory piece of television with incredible twists and turns’

Best daytime programme: Moneybags

‘Moneybags stands out due to its sheer originality, ingenuity, casting, cunning format twists and effervescent host’

Best multichannel programme: DRYCH: Fi, Rhyw ac Anabledd

‘It is a raw, positive and life-affirming film, and Rhys’s attitude to life is really moving. This is a brave and original commission for S4C’

Best news/current affairs programme: The Whistleblowers Inside the UN

‘The film is full of fresh perspectives and new information. Huge kudos to the production team’

Best single drama programme: Then Barbara Met Alan

‘A vibrant, entertaining and important show, bolstered by outstanding performances’

Best pre school programme: Lovely Little Farm

‘The judges were impressed with this sustainable, diverse production & its use of gentle storytelling to invoke joy & wonder’

Best documentary series: Jimmy Savile: A British Horror Story

‘A powerful documentary that has used the archive in a chilling way to foreshadow and tell this horror story’

Best international programme sales: The 1% Club

‘The show launched on ITV1 in the UK in April 2022 to huge critical acclaim, an incredible response on social media and strong viewing figures’

Bringing TV soap royalty to life

Nolly director Peter Hoar on harnessing nostalgia and finding inspiration from Netflix’s The Crown

PSBs buck trend as streamers lead decline in commissions

Broadcast Intelligence’s Programme Index logged 1,748 commissions in 2022, down 9% on the previous year

End Credits: Sarah Sapper

The Cornelia Street Productions managing director on jam-making, Blue Peter and cheesy scones

Gallery: Broadcast Best Places to Work event

Winners in this year’s annual list attended a special event in London last week

Sustainability comes to the fore in production

The amount of waste created making TV shows remains a concern but indies, broadcasters & suppliers are finding new ways to tackle the problem

It’s too soon to mourn the death of the premium doc

The boom may have slowed down, but there is still life in the genre as streamers continue to want the best ideas, says Roy Ackerman

C4 saga is far from over as industry rings the changes

U-turn on privatisation comes during a period of flux for broadcasters and indies alike, writes Chris Curtis

Best firms make staff feel valued

‘The top workplaces are offering more tangible support as the cost-of-living crisis unfolds’

A helping hand in tough times

BPTW employers are both supporting their staff financially during the cost-of-living crisis and looking after their mental health

​No-one must be left behind in the streaming revolution

The fabric of our industry is at risk if we don’t protect universality, warns Jonathan Thompson, as DUK unveils a rebrand

Opening the doors: Top initiatives to improve diversity

This year’s BPTW are committed to improving inclusion through recruitment & training, and making the industry more accessible

Offspring Films

‘We want people to feel valued, to know there is no such thing as a daft question or suggestion’

Boom Cymru TV

‘We take time to thank teams for the smallest thing, but particularly for their hard work at the end of productions’

Objective Media Group

‘We want freelancers to feel part of the team - they are treated the same as our core staff’

Voltage TV

‘We recognise the huge importance of making time for family and friends’

Remarkable Television

‘Social events are organised as often as possible’

Initial

‘We believe kindness and collaboration breed productivity, that good business starts with being good to each other’

Strawberry Blond TV

‘All of the perks, schemes and initiatives have come from our staff’

Fulwell 73

‘We invest heavily in staff development and have a strong reputation for nurturing talent’

Raise The Roof

‘We are passionately committed to developing people, and internships, initiatives and mentoring are a central part of our strategy to achieve this’

RDF West

‘We are very open and good at sharing in each other’s little wins and successes’

Sixteen South

‘Over the past 15 years, we’ve crafted and recrafted our manifesto, which is posted on our website. It is our North Star’

Workerbee TV

‘We believe in rewarding hard work and promoting an atmosphere of teamwork’

The Garden Productions

‘It’s important for us to be ‘best in class’ when it comes to looking after people’

Dancing Ledge Productions

‘Our team outings include trips to concerts, plays and football games’

Blue Zoo

‘We care about our teams and appreciate that individuals have a specific set of requirements based on their own circumstances and needs’

Studio Ramsay Global

‘Many members of the Studio Ramsay family have risen through the ranks – we are always keen to promote key players and reward their success’

Outline Productions

‘We aim to be a generous workplace and set up a yearly Christmas charity collection for local homeless charities’

The Finish Line

‘We constantly evaluate salaries so we can be pre-emptive in paying people what they deserve’

Shine TV

‘We have policies to protect everyone, from H&S to grievance procedures and disciplinary protocols’

Lifted Entertainment

‘We create a culture of learning and offer shadowing opportunities’

Blink Films

‘We want to create a creative, generous, supportive workspace for all our staff’

All3Media International

‘We strive to inspire, guide and nurture all individuals, and to reflect our values’

TV must put its money where its mouth is on diversity

Reluctance to listen to or pay black creatives reveals the darker side of shallow diversity intiatives, says Gabriella Lafor

Richard Wallis: The voice of the production manager must be heard

The current talent shortage in production management is emblematic of a bigger challenge - and it’s time to find out more

Gallery: Writers’ Guild of Great Britain Awards

Selection of images from this year’s WGGB ceremony, held in London on Monday

Gallery: Michelle Donelan visits C4 in Leeds

Culture secretary toured Majestic building and met the team behind 4Skills

​Why technical support is heading for a perfect storm

Ian Somerville at Jigsaw24 Media explains why dedicated specialist tech support is more essential than ever before

Keely Winstone: Time for an alternative to factual drama

The Stonehouse doc maker asks whether the way we label retellings of history could actually be the problem

C4 is safe – but now faces in-house dilemma

Broadcaster will now enter a new era, irrespective of avoiding privatisation

Quiz of the year

Test yourself in our TV quiz of 2022

Top 10 comment articles of 2022

Including Ian Katz, Marcus Ryder, Jules Hussey and Steven D Wright

Top 10 interviews of 2022

Including Anne Mensah, Kevin Lygo and Jane Featherstone

End Credits: Diane Dunbar

Tern Television’s head of production on office dogs, emojis and Life on Mars

Year in Review: Three prime ministers and a funeral

From Paddington at the palace to C4’s My Massive Cock, we look back at the most sensational and unmissable moments in TV in 2022

Vardy v Rooney: A Courtroom Drama, Channel 4

Executive producer Tom Popay on distilling the court case that gripped the nation into two episodes of TV

Top 20 news stories of 2022

Click for a round-up of the year’s most significant events

Broadcast Sport Tech Innovation Forum: City Studios sets the standard for in-house content

A panel of execs from Manchester City FC’s new studio set-up discuss how it has transformed the way the club creates content

Roundtable: Doc-makers stand up for right to take risks

Four winners of this year’s Grierson Awards share their concerns about the documentary space

Podcast: how far has the TV industry come since #MeToo?

Times Up UK chair Heather Rabbatts discusses the progress made and setting up the Independent Standards Authority

The Snowman: the film that changed Christmas, C4

Producer/director Robert Neill on exploring the legacy of a short but magical film

​Paul Sumpter: Creating the new sound of ITV and ITVX

The creative director of the sound house behind the musical aspects of ITVX explains how it came about

My Dead Body, Channel 4

Director Sophie Robinson on the challenges of honouring life and dignity in a film about dissection

How deaf, disabled and neurodivergent people are claiming their place in Bafta

Hester Phillips explores how Bafta has shifted its approach to tackling ableism and accessibility in the industry

Broadcasters overlook the Midlands at their peril

The Midlands region accounts for more than a quarter of BBC licence fee income - it’s time some of that was reinvested, Will Hanrahan says

End Credits: Steve Monger

The Roughcut TV producer on his love of foreign crisps, boxing and Ian Wright

Podcast: Ben Willbond and Laurence Rickard

Comic duo behind Horrible Histories, Ghosts and Yonderland discuss their feature-length alien invasion comedy We Are Not Alone

Kanaval, BBC4

Producer Natasha Dack Ojumu on the long journey to the Jacmel carnival

How AI can automate multi-language dubbing

Jesse Shemen, co-founder and CEO of Papercup explains how AI can help your content reach big global audiences on FAST platforms

Llinos Griffin-Williams on the quiet revolution at S4C

With a focus on co-productions and younger audiences, the chief content officer is leading a transformation of the Welsh-language channel

First look: Vardy v Rooney: A Courtroom Drama, C4

Chalkboard’s docu-drama following the high-profile court case will air next month

C4 at 40: What does the future hold?

Stewart Purvis, David Abraham, Jan Younghusband and Stephen Lambert reflect on a successful past and the bumpy road ahead

Dean Possenniskie: A+E will grow through programming not M&A

A+E Networks EMEA and UK chief says company is focused on factual brands through third parties rather than owning indies

Who completed the Commissioner Survey?

More than a third of UK commissioners provide a vital insight into the thinking of the industry’s key decision-makers

Danny Brocklehurst: Think hard before bringing a real-life murder case to screen

Audiences love true crime, but film-makers need to consider its impact on the community involved, says Danny Brocklehurst

SVoDs’ grip on content loosens

The tug-of-war for the best ideas is still fierce – but traditional broadcasters sense that there are cracks in the appeal of the streaming giants

Kate Bulkley: Economic uncertainty won’t put the brakes on M&A boom

Hunger for intellectual property will continue to drive acquisitions from strategic buyers in spite of rising debt costs, says Kate Bulkley

Three-way tie at top of peer poll

Ben Frow, Anne Mensah and Shaminder Nahal share the honours

Three Mothers, Two Babies and a Scandal, Amazon Prime

Series director Alice McMahon-Major on telling a complicated, emotional story while evoking the early days of the internet

Risk-taking is required to find next gen hits

Telly’s not rubbish says Andrew Newman, but it wouldn’t hurt if it got a bolder

Tech updates offer a photo-real future for virtual production

Rob Chandler of Morden Wolf explains why Unreal Engine 5 and nVidia’s 4000 series graphic card will revolutionise virtual production

Gallery: Outsiders, Dave

Selection of images from the outdoor challenge series, produced by Renegade Pictures and The Mitchell & Webb Co

First look: Significant Other, ITVX

Quay Street Productions comedic-drama airs in 2023

Gallery: Grierson Awards

Selection of images from this year’s Grierson Trust Awards ceremony, held in London on Thursday

Podcast: Hugo Blick unpacks The English

Creative team behind BBC/Amazon epic western on ambition and emotional connection

Gallery: The Crown, Netflix

Selection of images from the fifith season of Left Bank Pictures’ royal drama

Mariupol: The People’s Story (Panorama), BBC1

Producer Hilary Andersson on the challenges of getting footage and eyewitness testimony out of a besieged city

BBC and C4 must fight for their future amid political turmoil

A grown-up debate is required – but will the circumstances allow for a nuanced and intelligent exchange?

Gogglebocs Cymru, S4C

Executive producer Sioned Wyn on the challenges of bringing a beloved reality format to a Welsh language audience

Escaping the frozen middle: can TV develop clearer career pathways?

The lack of opportunities for people in mid-level roles to advance their careers is a problem across the industry

Top marks to Strictly for putting inclusivity at its core

The BBC1 show is leading by example, but now the rest of the industry should follow suit, says Fatima Salaria

Talent shines bright in a record year

‘It is reassuring to know that for the stars of the future, talent and kindness are compatible attributes’

Hot Shots 2022: Development

Dean Webster, Tom Price, Dorsa Nam, Harald Lummis, Jacqui Baker, Jack Browne, Alice Boorman, Hollie Abbott, Samuel R Palmer, Jack Dargov

Sam De Villiers

‘Her grasp of the clearance process is well beyond some of the most experienced series producers’

Krizzah Policarpio

‘Krizzah is someone really going places and we just hope we can hang on to her coat tails’

James Phillips

‘James is brilliant at finding new and surprising ways to improve ideas and formats’

Hot Shots 2022: Writers

Daisy Martey, Kaamil Shah, Amanda Duke, Amy Ng, Ameir Brown, Jamie Davis

Zara Powell

‘Zara is at the top of her game in every role and project. She is on a meteoric trajectory within the industry’

Ameir Brown

‘Everything you could ask for – interesting, interested, able to bring a seemingly limitless number of ideas to the table’

Harald Lummis

‘Harald has a fresh voice that is desperately needed in this industry’

Dorsa Nam

‘I was struck by Dorsa’s confidence and breadth of knowledge of uscripted television’

Rebecca Hathway

‘Rebecca will no doubt keep climbing the production management ranks until she hits the top’

Trent Williams-Jones

‘Trent is a real talent. His taste, judgement, commitment to vision and overall nous is unchallenged’

Abigail Dankwa

‘A creative visionary and a breath of fresh air’

Amy Ng

‘Amy’s voice sings out with her natural characters and refreshing worlds’

Alex Thomas

‘He has that genuine curiosity and derring-do that you need to make compelling films – and he shoots beautifully’

Jack Dargov

‘In his short time with us, Jack has already elevated our work enormously. He’s bound for the greatest of things’

Tasha McLintock

‘Tasha has razor-sharp judgement, a proven track record of excellent storytelling and thrives around the edit’

Evelyn Yilin Liu

‘Evelyn is an energetic and resourceful new talent who makes the most of every opportunity that this industry throws up’

Adam Bouabda

‘No matter the challenges, he got up, smiled, networked and pushed onwards and upwards’

Laura Robinson

‘She has vision, flair and ideas, and knowledge and understanding of communities that many others don’t’

Hot Shots 2022: Producers

Faith Musembi, Riva Japaul, Molly Boughen, Zara Powell, Adam Bouabda, Tasha McLintock, Rebecca Hewett-Farmer, Rebecca Arnold, Trent Williams-Jones

Hollie Abbott

‘To be such a bright and capable department head at her age is remarkable’

Yasmin Amey

‘She can handle anything with confidence and style’

Hot Shots 2022: Commissioners

Alice Ramsey, Cicelia Deane, Janine Thomas

Molly Boughen

‘With skills in storyfinding, access, shooting and cutting taster tapes, she’s a core member of development’

Jules Hussey: why I quit producing

Ralph & Katie and Guilt producer sets out her reasons for focusing on fledgling indie Brazen

Crew photo: Unapologetic

Channel 4’s topical debate show from Cardiff / SBTV returned for a second six-part run last night, produced by a diverse crew

Gallery: BBC at 100

Highlights from the BBC’s first centenary of broadcasting

The Hunt for the World’s End Killers, BBC1 Scotland

Executive producerMick McAvoy on making a true-crime doc two-parter about a gruesome doube murder

Netflix hastens ad-supported plan to take on Disney+

GlobalData, the new owner of Broadcast / MBI, expects budget-conscious consumers to embrace Basic with Ads tier

Martin Compston’s Scottish Fling

‘Martin and Phil are rediscovering Scotland as they’ve never known it before, as is the viewer’

Mipcom Hot Picks: Factual

True crime dominates this space, but science & history and royal docs have strong footing, while body positivity is back on the agenda

Air Cocaine

‘The story is captivating, bold and unique’

Raising the Mary Rose: The Lost Tapes

‘The story has the potential to travel more widely and appeal to streamers’

Prince Andrew: Banished

‘Banished delivers a premium, access-driven documentary, thoroughly researched and investigated’

Send Nudes: Body SOS

‘It’s studio-based, with a host, strong format beats and technology that is wholly replicable’

Beacon 23

‘Beacon 23 is a high-end production – like a feature film spread out across a series’

Below

‘It takes on complex themes through a multi-layered character’

Mipcom Hot Picks: International Scripted

The tension of a modern warfare thriller, environmental dystopia and a poignant comedy drama centred on disability lead this year’s titles

Dark Hearts

‘The topic will resonate due to the international awareness of and involvement in the war in Iraq’

Loaded In Paradise

‘We wanted something that had all the sunshine and aspiration of a great dating show, but wasn’t about dating’

Undressed

‘It has classic makeover and transformation show elements, where you get the big reveal, but it also goes deeper’

A Cut Above

‘The series is pretty universal in the structure but still has a Canadian feel’

The English

‘Everything feels huge and cinematic. It doesn’t feel like an everyday piece of television’

Maxine

‘It’s a sensitive and impactful drama in which audiences can explore the reasons why she protected him and assess her level of culpability’

Mipcom Hot Picks: UK scripted

Spanning 19th century Wild West to World War II, our UK scripted titles travel from the epic to the intimate

Wreck

‘We are in a period of high competition between streamers and local broadcasters, and one of the main lines of product driving that is young adult’

Secret Superpowers with Tom Daley, Snapchat

Tom Hemsley, executive creative director at Little Dot Studios, explains the challenges and opportunities of creating a show for mobile

Trawlermen: Hunting the Catch, BBC1

Executive producer Jamie Balment on casting and co-ordinating a show at the mercy of the elements

First look: I Hate Suzie Too, Sky Atlantic

Bad Wolf’s three part special airs in December

Vice TV targets Gen X with nostalgic storytelling

US cable network tackles familiar subjects with dark and edgier tone in pivot to older demographic

Ryan Pirozzi & Lauren Anderson: Leading Amazon’s AVoD charge

Freevee head and content chief reveal their plans to build up the service’s slate of originals and bring in a younger audience

Reginald The Vampire: Comedy with bite

How the Syfy series is subverting the comedy horror genre by sinking its teeth into issues such as race, sexuality and body positivity

Red Bull Studios puts creative risk-taking at heart of strategy

From music and dance to future technology, RBS is on the hunt for high-end ideas with global reach

Distributors Survey 2022: Distributors bounce back after Covid

Revenues up year on year as production gets back on track, but still below pre-pandemic levels

Kelly Day: Prime Video is in it for the long haul

Vice-president of international on why the streamer remains a core part of Amazon’s growth strategy

John Landgraf on pushing hard to keep FX special

In an industry awash with content, the FX Networks chair is convinced that curated and well-crafted shows can stand out

Fifth Season bids to be a borderless business

Graham Taylor & Chris Rice on their ambition to source projects from around the globe and leave the industry better than they found it

Hollyoaks’ Big Autumn Stunt, Channel 4

Series producer Phil Dodds on creating ever more spectacular stunts while maintaing an emotional heart

WWII: Secrets From Above, National Geographic

Series director Johnny Shipley explains the painstaking research and VFX work that went into this Second World War doc series

First look: Save Our Squad with David Beckham, Disney+

Twenty Twenty and Studio 99 series launches 9 November

One Day in Ukraine, BBC1

Writer and director Volodymyr Tykhyy on the process of capturing a the realities of life on single day in Ukraine during the Russian invasion

Marcus Ryder: Queen’s death has exposed UK media’s diversity problem

‘At important national moments such as these, it is vital that the whole country is represented in all its diversity’

Ninja Warrior UK: Race For Glory, ITV

Executive producer Michael Kelpie on attempting to return with a bigger, better, and stronger show than ever before

End Credits: Michelle Singer on her TV career

Rockerdale Studios’ chief operating officer on netball, Telly Addicts and Steve Backley

Dead Canny, Dave

TriForce’s Fraser Ayres explains how the initiative which created its comedy pilot sought to platform new and underrepresented talent

Revivals can give broadcasters the edge over SVoDs

Debates over the ’laziness’ of reboots dominated  Edinburgh but Scott Bryan argues familiar formats can be challenging and rewarding

Bad Sisters, AppleTV+

Executive producer Faye Dorn on the making of Merman’s dark comedy thriller

Gallery: Edinburgh International Television Festival, day one

The best pictures from the first day of this year’s event

Katz: a C4 recommission is about more than viewing figures

Linear and All 4 audience data, cost of production and whether a show hits our public service remit all come into play

Winners all round as Uefa divvies up broadcast rights

With BT, Amazon and the BBC sharing the spoils, the latest rights auction offers pointers to how the market is evolving, says Mike Darcey

Wayne Yip: fantasy fan lands his dream job

From cinema assistant in Tolkien’s Oxford to director on The Rings Of Power, Wayne Yip’s career has rocketed since his Channel 4 debut

Going up: the rising cost of production

Production has never been more expensive. So how are indies navigating a period of super-inflation?

Breakout British hits can help Netflix navigate its wobble

Dip in subscribers increases the stakes in the streaming wars

Doc series: hunting British stories with global appeal

First interview with Adam Hawkins and Nelesh Dhand

Feature docs on Netflix: moving beyond true crime

Kate Townsend and Jonny Taylor want to dial up risk-taking

When it comes to training, we need more than sink-or-swim

A more structured approach could reduce the skills gap, open opportunities to freelancers and boost the health of the industry, says Kate Fletcher

Podcast: House of the Dragon bonus episode

Sky director of programmes Zai Bennett discusses HBO, dragons and more

Meet Jonathan Indie-Boss, hirer of the disabled

Stu Richards takes a sideways look at what comes after the diversity recruitment box gets ticked

Britain’s Secret War Babies, Channel 4

Exec producer Emily Shields on documenting history and helping contributors search for their US relatives to better understand their black heritage

First look: Jungle, Amazon

Nothing Lost’s grime and drill series will launch next month

Gallery: TVC Breakthrough Leaders summer drinks

The TV Collective, in partnership with Fremantle, hosted summer drinks with figures from its 2021 and 2022 Breakthrough Leaders programme

Alex Morris: five tips for creating social-first content

The director of LadStudios explains why there’s more to social video opportunities than just “shortform”

C5 keeps focus on regions as Paramount+ eyes UK orders

Commissioner Lucy Willis’s team strives to predict the nation’s mood while working with the UK’s newest streamer

Grace Boswood and Sinead Greenaway: What next for tech innovation?

In the keynote session at the Media Technology Conference, C4’s Grace Boswood and the BBC’s Sinead Greenaway discussed how technology should evolve to meet the challenges the industry faces

Bernard Cribbins: A TV life in pictures

The career of the versatile actor who has died aged 93

Peter Bazalgette: Change of PM must not derail a vital media bill

Government upheaval should not distract those in power from getting the regulatory regime in order

Heatwave offers chance to seize climate change challenge

From reducing carbon emissions to influencing behaviour through storytelling, the industry has a chance to make a difference

Why reforming advertising rules could make PSBs masters of their own destiny

Nick Swimer says change to the limits on PSB advertising is overdue - but warns it may not lead to an increase in budgets

Podcast: Ben Frow and Sebastian Cardwell

Channel 5 duo reveal major schedule shake up

Take the Looking Glass survey to help us improve the industry

As the deadline is extended, FTVC’s Alex Pumfrey explains that the Looking Glass Survey is the catalyst for real change

Gallery: Broadcast Digital Awards 2022

Familiar faces from across the industry gathered for the annual Broadcast Digital Awards, hosted by Tom Allen

Channel of the Year: CBBC

‘It provides compelling content that improves children’s lives – and keeps them happy while doing it’

Multichannel Production Company of the Year: Fulwell 73

Serving an incredible range of digital customers from a broad range of bases and across an impressive raft of genres

Best Original Web Channel: LADbible TV

‘The yardstick by which other non-scripted online channels are judged’

Best VR or AR Experience: The Green Planet AR Experience – Powered by EE 5G

‘A stunning experience that could have a truly significant role to play in learning and education’

Best Short Form Scripted: Zen School of Motoring

‘Original, weird, brilliant and full of heart’

Best Short Form Documentary: Tagged: Women on Tag

‘Incredible casting and bringing us scenes that we haven’t seen on television before, with real honesty and bravery from the contributors and crew’

Best Entertainment Programme: Race Around Britain

‘Funny, thought-provoking and relevant’

Best Sports or Live Event Coverage: The Hundred

‘A total revolution of cricket coverage’

Best Short Form Format: Drunk History – Black Stories

‘A perfectly executed version of the format’

Best Popular Factual Programme: Big Zuu’s Big Eats

‘To see Big Zuu and Harry Redknapp connecting over Sierra Leone Plantain recipes and wally gravy is well worth a prize’

Best Programme Acquisition: The Commons

‘Impressive figures from a bold acquisition which has helped STV move from just a Scottish catch-up service to a UK-wide digital destination’

Best Comedy Programme: Meet the Richardsons

‘Fresh, clever and funny’

Podcast: Broadcast Behind the Screens Reality TV Special

Reality TV experts weigh in on the genres

Richard Watsham on taking UKTV all the way to the Baftas

Director of commissioning discusses Big Zuu’s success, making W free-to-air and broadening the range of originals across UKTV channels

Streamers turn their sights on family-friendly content

Streamers are prioritising co-viewing, with a slate of new stories as well as reboots of classic brands

BBC Comedy Festival puts regional comedy in the spotlight

Top of the agenda was harnessing new voices to come up with the next generation of hits

LA Screenings: US execs split on scripted boom

While some welcome the impact of the streamers, others point to the number of mediocre shows and the difficulty of standing out in a crowd

Great shows give succour, even as overnights tumble

Judging performance has never been trickier – but quality will always cut through, says Chris Curtis

ITV genre heads welcome green light for risk-taking

Polly Hill, Nana Hughes & Jo Clinton-Davis explain how ITVX will allow them to experiment with talent and tone

Behind The Scenes: Murder in the Alps, Channel 4

Series producer and director Catey Sexton on shaping a true crime story with no official police narrative to follow

Scouting for Girls: Fashion’s Darkest Secret, Sky Documentaries

Rebecca Templar and Jacqueline Edenbrow on balancing stories of abuse from the past with a present day journey towards justice

Behind the Scenes: Zelensky’s hologram, Founders Forum

Talesmith founder Martin Williams visits Kyiv to produce a Star Wars-style speech

Podcast - Broadcast Behind the Screens: Jack Rooke

Big Boys creator discusses his Channel 4 comedy debut

First look: Industry, BBC1/HBO

Bad Wolf Productions drama returns for a second series this autumn

First look: The Undeclared War, C4

Playground, Stonehenge Films and Universal International Studios drama launches 30 June

Gallery: Sherwood, BBC1

Selection of images from James Graham’s six-part crime drama. Produced by House Productions

What Killed The Whale?, Channel 4

Rosy Marshall-McCrae on STVS’ doc about a stranded whale, an animal autopsy and an environmental crime scene

The inside story of Everything I Know About Love

Dolly Alderton and Surian Fletcher-Jones on adapting bestselling millennial memoir for BBC1 primetime

Ralph & Katie: How the A Word spin-off put inclusivity first

The first British drama to feature two lead actors with Down’s has raised the bar for accessibility on set

End Credits: Misbah Alvi on her career on TV

The Windfall Films executive producer on her love of musicals, and getting her big break

Lorraine Heggessey: Plaudits and awards don’t excuse bad behaviour

TV needs to get its house in order if it is to continue to attract the brightest and best creative talent

Four key takeaways from the broadcasting white paper

The latest proposals for the biggest overhaul of the sector in years

Playing it safe with familiar content is a risky tactic

Broadcasters are holding their own against the streamers, but too many reboots could undermine that

How two deaf friends became Hunted competitors

Executive producer Lucy Shepherd talks casting, communication and cohorts

Finding value in artificial intelligence

Dan Carew-Jones at Arrow International Media explains how covid-restrictions led to previously untapped opportunities using AI

Behind the scenes: Y Golau / The Light in the Hall, S4C

Director Andy Newbery on the complexities of producing a back-to-back production in different languages

The Dry, BritBox

Executive producer Emma Norton on the long hunt to find a broadcast partner for Nancy Harris’ comedy drama

The Spy Who Died Twice, Channel 4

Director Keely Winstone explains how her documentary on a scandal with striking parallels to the politics of today finally made it to the screen

First look: The Outlaws, BBC1/Amazon

Big Talk / Four Eyes’ comedy drama returns for a second series next month

Why talent is never an excuse for bullying

Workplace relationships expert Arran Heal sets out the need for a ‘clear air’ culture

Building positive narratives across our communities

Departing Together TV chair Caroline Diehl calls for greater investment in impact-driven media

Life After Life, BBC2

Producer Kate Ogborn on the complexities of shooting scenes set across five decades

Industry must plan ahead to solve talent crunch in the long term

A better relationship with education and government is crucial to address long-term skill shortages, writes Seetha Kumar

End Credits: Eddie Evelyn-Hall on his career in TV

The Gramafilm creative director of development on The Xtra Factor, RuPaul and Notorious B.I.G

Lovestruck High: Creating an American high school in Devon

Studio Lambert pays homage to classic US high-school movies in its new reality dating format for Amazon Prime Video

History Hit to boost content with help from small indies

The online history channel and podcast is keen to collaborate as it increases its original content output

Broadcast Indie Summit: Indies squeezed but still optimistic

Senior executives remain positive about the future of the sector despite spiralling inflation, talent shortages and stagnant domestic tariffs

The linear vs streaming battle is a phony war

Rather than one destroying the other, streamers and broadcasters have never been better aligned

Tan France: Beauty and the Bleach, BBC2

Line producer Lindsay Davies on making a special film on colourism

Primark – How Do They Really Do it?, Channel 5

Firecrest’s executive producer Nicole Kleeman on gaining access to the secretive retailer

Gallery: Chivalry, Channel 4

Selection of images from the six-part Baby Cow comedy drama

White Hot: The Rise And Fall of Abercrombie & Fitch: review

The fascinating and horrifying story behind the all-American image of Abercrombie & Fitch

Idris Elba’s Fight School, BBC2

Executive producer Michelle Chappell on getting this special programme on air despite a series of setbacks

Creative Review: Surviving Paradise, The Speedshop, Toast of Tinseltown and Rooney

A look at some of UK post houses’ best recent work

Gallery: Derry Girls

Selection of images from the third and final series of Hat Trick Productions’ award-winning Northern Irish comedy

Nikki Grahame: Who Is She?, Channel 4

A personal promise was at the heart of this intimate doc says executive producer Ollie Durrant

C4 disrupts the narrative around disability

Broadcaster is seeking a gamechanging unscripted show from a disabled-led indie

End Credits: Helen Nightingale on her career in TV

UKTV’s senior commissioning editor on tears, teenagers and charging elephants

Behind the scenes: Inside the Superbrands, C4

Balancing access with editorial integrity was key to our factual series, says editor Anoushka Roberts

Behind the Scenes: Trust No One, Netflix

Director Luke Sewell explains why a man wearing a fox mask didn’t feel out of place in this cryptocurrency-conspiracy doc

Plan B

‘The anthology structure gives buyers the flexibility to find the storyline that fits their brand’

Factual and formats to the fore at Mip TV

‘In the fight for eyeballs, the supremacy of drama is being eroded’

Starting out: how new talent beat the pandemic to begin their careers

Four young people new to the industry discuss their experiences of trying to get a foot on the ladder during the pandemic

Roughcut options Nina Millns debut novel

Darly comic Goddesses forms part of indie’s push into drama

Time for broadcasters to dare to be different

ITV’s move into the on-demand world signals a new era as PSBs start to push the boundaries

UK indies tap global demand for content

International commissions are now a crucial part of the mix as producers look to boost their revenues

French firms make a splash

Asacha enters the market with Red Planet and Wag deals, while Red Production Company dramas power StudioCanal’s growth

Indie Survey Table 2022

Click to view the top performing companies

Peer Poll: top 10 revealed

Which company does the production sector rate the highest?

Cautious optimism as industry recovers

‘Given what we have all endured, there is much to celebrate in this year’s survey’

BBC: Indie numbers down as broadcaster eyes future

Named joint best broadcaster to do business with alongside Channel 4

Channel 4: Streaming growth but gripes remain

It’s A Sin racked up 18m streams in the first three months of 2021

Beyond Reasonable Doubt: Britain’s Rape Crisis, BBC1

Our Panorama special attempts to highlight the human cost behind rape conviction headlines, says producer/director Rebecca Coxon

The Great Big Tiny Design Challenge, More 4

Bringing this tiny world to life has been no small feat, but the result is one of which I couldn’t be prouder, says Sarah Stevenson

Discovery: Growth bolsters supplier base

Worked with 12 suppliers that had not been contracted for at least a decade

Newark, Newark, Gold

It took five years for our regional comedy to be greenlit, but it was worth the wait, says executive producer Dave Evans

Year Zero

‘The stories are diverse and multicultural, and enhanced by the epic music composition’

The Last Overland

‘What makes it interesting is comparing the world now with what it would have been like in 1955’

End Of The Rope

‘It has breathtaking visuals, fascinating engineering and edge-of-your seat drama’

Reginald The Vampire

‘This hits the young adult market with a recognisable genre while working to subvert it’

Limitless Win

‘It’s a big idea with a simple hook – a quiz show with an unlimited jackpot’

How the Breakthrough Leaders programme benefited my career

It’s important to remember why these programmes need to exist, says factual producer Dani Carpanen

First look: Chivalry, C4

Baby Cow drama is co-written by Steve Coogan and Sarah Soleman

First look: The Birth of Daniel F Harris, C4

Clerkenwell Films drama will air later this year

Lower cost drama needn’t mean lower quality shows

Chalkboard managing director Mike Benson on getting creative to finance primetime TV

First look: The Split, BBC1

Sister’s legal drama returns for a final series next month

​5 Tips for Cloud Production

Jakub Majkowski, COO of Tellyo, offers his advice if you’re planning a cloud production project

The Three Drinkers in Ireland, Amazon

Booze co-founders Aidy Smith and Helena Nicklin on overcoming multiple challenges for their exploration of the burgeoning drinks trade

First look: Everything I Know About Love, BBC1

Working Title Television series adapted from Dolly Alderton’s bestselling memoir

IWD: Setting the scene for a more inclusive industry

Discovery’s Clare Laycock shares her views on improving inclusivity and effecting lasting and meaningful change

Our House, ITV

Red Planet Pictures’ stripped drama plays in the present and past, which provided us with multiple challenges, says producer Tom Mullens

Peaky Blinders: portraying Birmingham in Manchester

Screen Manchester’s Bobby Cochrane on producing the drama in the heart of a busy city

End Credits: Richelle Wilder reflects on a career in TV

The Adorable Media exec producer on Ronnie Corbett, The Amazing Mr Blunden and getting injured in Cannes

First look: Marriage

Stefan Golaszewski’s BBC1 drama, produced by The Forge and The Money Men

The Ipcress File: giving the spy classic a modern spin

Exec producer Will Clarke & director James Watkins on retaining the feel of the 1960s film while giving their ITV adaptation a modern sensibility

Jazz Gowans: the West Midlands has tonnes of untapped talent

The region is buzzing and the industry would do well to tap into the opportunities it has to offer, says the Nine Lives Media co-creative director

Neil & Rob Gibbons: From Partridge to The Witchfinder

Writer and director twins on their new comedy series along with their plan to set up a production label

Roundtable: the ups and downs of running a small indie

Sohail Shah, Louis Bamber, Ed Stobart and Emily Dalton discuss the advantages and challenges of running a smaller production business

Thatcher & Reagan: A Special Relationship

‘It’s a very warm, personable piece’

Stacey Dooley: Stalkers

‘We’re bringing programming to market that fits broadcaster needs’

Murder: First on Scene

True-crime, high-end history and specialist factual all feature in programmes most likely to grab the attention of buyers

Gallery: Peaky Blinders, BBC1

Selection of images from the final series of the Caryn Mandabach Productions and Tiger Aspect period gangster drama

Question Team

‘Everyone’s trying to make a buzzy show while adhering to Covid regulations - Question Team really ticks off a lot of boxes”

Mobile 101

‘It’s the story of an underdog, and audiences nowadays seem to gravitate to recent history true stories’

Love Me

‘It is an emotional story with elements that many people will recognise in themselves as well as universal family dynamics’

10 reasons why I quit production

Fanta Jarjussey worked in production for 13 years before opting to leave, below is her open letter to the industry published in full

Crossfire

‘Because of the nature of the show, it is something that we think will be very transferable’

Faraz Osman: Don’t let the UK’s thriving kids’ content sector wither

With the BBC licence fee frozen and the YACF culled, this vital part of the industry needs as much support as it can get

Life After Life

‘As a piece of distinctive storytelling, it could work on any platform and would be a highlight in most buyers’ schedules’

Rob Carey and Camilla Lewis on broadening the scope of Curve Media

Our Dementia Choir indie founders on landing bigger commissions, navigating Covid, moving into feature docs and working with streamers

Getting to the bottom of comedy’s cancel culture

Comedy is about saying the unsayable but in a fast-changing landscape it’s hard to know what is acceptable

Wildflame Productions

‘We don’t clock-watch or call people out if they happen to leave the office early or arrive late. We trust our staff to do their jobs’

Blast! Films

‘We reach out beyond the established pool of talent to find people outside the London TV bubble – and even outside the industry’

MG Alba

‘We celebrate success together – everyone across the organisation makes a contribution to all the work we do’

M2AMedia

‘Our staff are always professional, approachable and helpful, and it is this atmosphere that we foster’

Asolute Post

‘The bedrock for our growth has always been creating an environment with a family feel, in which creativity can flourish’

How the best companies are broadening the talent pool

A commitment to recruiting and retaining diverse talent is a key feature of all the firms represented in this year’s survey

Best firms strike the right balance for staff

‘A diverse cadre of companies has recognised the challenges and is addressing them head on’

Stellify Media

‘Making TV is hard work – but it should also be fun’

We Are Black and British, BBC2

Exec Narinder Minhas on how appointing a production team with different opinions and backgrounds was key

​Transforming production through digital transformation

Karen Dewey of Lumi.Media offers three ways the TV industry can unlock the power of digital transformation

The best companies in TV focus on nurturing staff

Robust training, employee benefits and a corporate culture are among the key factors that define the Best Places to Work in TV 2022

Workerbee TV

‘Our staffing flexibility has increased the number of people worldwide we can employ and opened the door to new talent’

Why inclusivity and healthy culture are key for indies

Indielab’s Victoria Powell sets out the commercial imperative for inclusive leadership as the 2022 TV Accelerator opens for applications

Blink Films

‘Blink has a high staff retention, and we love to give people a break when they are ready’

Dragonfly

‘Our priority is to be a nice place to work, and that means being kind, respectful, safe, fair, inclusive and supportive’

Firecrest Films

‘We invest heavily in staff development and training, promoting from within with careful support and mentoring’

Fulwell 73

‘We believe in enabling and empowering everyone to be an entrepreneurial creative who treats fellow family members with love and respect’

Icon Films

‘We look for individuals who can demonstrate their passion, desire and drive to be the best they can be’

Raise The Roof

‘To retain the best talent, we will always consider requests for flexible working’

Remarkable Television

‘We encourage a relaxed, friendly and inclusive atmosphere with creativity and ambition at the forefront of all development and production’

Strawberry Blond TV

‘We want everyone to feel valued and that they have a stake in the company’

The Whisper Group

‘We do quarterly wellness activities and offer talks from wellness experts’

First look: The Witchfinder

Historical comedy from Baby Cow stars Tim Key and Daisy May Cooper

First look: The Dry, BritBox

Element Pictures comedy-drama written by Nancy Harris

Devil’s Advocate, Sky Documentaries

Wonderhood producer Tom Garton on telling the story of one of Britain’s most notorious conmen

How to network like a ninja

Former BBC commissioner and Fast Track to Fearless chief Tracy Forsyth shares five tips for getting ahead

A new way to monetise indie films

Rishi Kapoor from Paus TV explains why he created a streaming platform for indie films, run entirely by tipping

Best independent production company: World Productions

“World’s impeccable recent track record points to an indie firmly in tune with the tastes of British viewers”

Best original programme: Krept & Konan: We Are England

“Krept and Konan were engaging and self-assured as they tackled sometimes difficult topics with heart and honesty”

Best music programme: Charles Hazlewood: Beethoven & Me

“An insightful, honest and personal approach to a well-known composer”

Best multichannel programme: Defending Digga D

“A genuine and authentic look inside a world rarely represented on TV”

Best single drama: Help