"Fist fight” and “a perfect storm” are how producers are describing the current scarcity of crew, kit, studio space and talent in the British TV industry. The situation has arisen primarily due to the pre-Covid-19 content boom driven by the expanding streaming market and the post-lockdown rush back to production. And it is putting production schedules under strain.
If so, check out a BBC Studios’ initiative which is offering 14 one-year contracts to researchers who have a minimum of three researcher credits.
The successful 14 people will be employed and paid as assistant producers and work on productions as well as receive training.
The 14 roles are for different genres and are based throughout the UK. Applications must be in by January 31.
The genres include natural history, history and documentaries, science and arts, factual and factual entertainment, and entertainment and music.
Daniell Morrisey, Senior Editorial Early Careers Schemes Manager, Carrie Britton, Scripted Talent Executive for Drama and Comedy at BBC Studios, and Caroline Carter, Talent Executive for The Documentary Unit at BBC Studios, guide you through each section of the CV, giving their top tips on what to include – and not, and how to make your CV stand out for your next TV job.
Marcus Arthur may be a BBC veteran, but the winds of change blowing through UKTV these past nine months or so have been like no other in his lengthy BBC career.
Last June, he succeeded Darren Childs as the outfit’s CEO. His appointment followed the end of the joint venture with Discovery, which finally gave BBC Studios full control of UKTV and its seven-channel portfolio (its three lifestyle channels were acquired by Discovery as part of the separation) and the online hub, UKTV Play.
The two-year deal will involve the development of new comedy and comedy drama projects from the duo for the UK and international market.
Pemberton and Shearsmith, who also wrote and starred in Psychoville, commented: “We are delighted to continue working under the umbrella of BBC Studios.
“As a large and colourful umbrella it affords us the creative freedom to develop new and exciting ideas to shape the future of international television and keeps our skin from burning on hot days”.
Earlier, the RTS convention had been told that, as a brand, Netflix today enjoyed the same high levels of public trust as the BBC. As for the TikTok-using, mobile-addicted members of Generation Z, the BBC looked to be completely under the radar.
Now it was the time for Tony Hall, the BBC’s Director-General, to respond. He did so in a wide-ranging, troop-rallying speech, and argued that, in today’s age of uncertainty, characterised by propaganda and disinformation, the BBC and public service broadcasting were more important than ever.
For a straight-talking man, it’s hard to define Werner Herzog. “Legend” is perhaps the easiest way to describe the 76-year-old, at least based on the reverential whispers that run around Sheffield’s Crucible Theatre ahead of his appearance at the city’s annual DocFest. Best known as the writer, director and producer of more than 60 films, Bavarian-born Herzog is also an author, actor and opera director.
Led by former BBC and Channel 4 Head of Drama John Yorke, the Writers’ Academy will offer writers in the early stage of their careers the chance to develop their skills on some of the BBC’s long-running drama series.
The paid scheme will see successful applicants complete an intensive 13-week classroom period, followed by three months scripting episodes of Casualty, Holby City and EastEnders.
Participants will graduate with up to four scripts to their name, and will have their services optioned by BBC Studios for the next two years.
Jon Brennan, Google’s regional manager for broadcast, entertainment and media partnerships, said that television “is still central” to people’s lives. He claimed that although TV consumption had declined by 3% over the past six years, if online viewing was included, consumption of video has, in fact, risen by 25%.