BBC

Michaela Coel and Cynthia Erivo to headline BBC virtual Creative Diversity Xperience

The online event will bring together some of the best talent in TV and the creative industries from Black, Asian and Minority Ethnic backgrounds.

Faron McKenzie, Head of CDX, said: “I’m proud that our team of creators looked like and shared a similar lived experience to our audience.

“It is important for the BBC to champion Diversity and Inclusion and not be afraid to lean into these subject matters.”

How The Luminaries was adapted for the small screen

It is a brave screenwriter who takes on the task of squeezing a Booker-prizewinning doorstopper of a novel into six hours of television, even if that writer is the book’s author herself. It took Eleanor Catton seven years to adapt her 2013 novel The Luminaries for the screen (after a relatively brief five years writing the book), and plenty of playing with both form and story that another writer might not have dared.

The joy of difference in BBC's The A Word

Max Vento in the A Word (Credit: BBC)

Over three series, The A Word has been widely praised for its honest portrayal of autism and the tensions this unleashes on a family. But The A Word is also laugh-out-loud funny and joyful – and, given its Lake District setting, beautiful to look at.

The BBC One drama, which finished its third series in early June, tells the story of Joe, a young boy with autism, and his fractious, larger-than life extended family.

BBC News' Fran Unsworth: No compromise on impartiality

Fran Unsworth (Credit: BBC)

Fran Unsworth used her recent conversation with the RTS to support incoming Director-General Tim Davie’s statement of 5 June, when he stressed the need for impartiality across the organisation, regardless of whatever battles between the BBC and government might be going on behind the scenes. “The more valuable we are to audiences, the greater our standing is going to be with the Government,” the BBC’s director of news and current affairs said firmly.

The sounds of BBC's Normal People

Niall O’Sullivan recorded the location sound, which Steve Fanagan mixed in post-production – along with added dialogue, Foley sounds, music and sound effects – to create the final sound.

Fanagan described his task as one of “creating a world soundwise that feels truthful to the world portrayed on screen”.

Two clips illustrated the work of the sound specialists. The first – Marianne and Connell’s first romantic encounter in the former’s family home – was recorded by O'Sullivan with two boom microphones.