BBC

It was time to take stock. After three days of intense and stimulating debate, Lorraine Heggessey corralled some of broadcasting’s big beasts onstage to chew the fat at the final session of Cambridge 2015. Was television heading for Happy Valley or was the House of Cards about to collapse?

Today, there is more power in your pocket than in Buzz Aldrin’s wildest dreams, thanks to the rise and rise of the smartphone. This was the starting point for a high-speed peek at how mobiles are changing and building on television content, from potentially enriching natural history programmes to explaining magic tricks.

Did the broadcasters’ coverage of the last general election actually determine its outcome? This was one of the key questions asked during what session chair Martha Kearney called an “inquest” into how television handled the run-up to polling day on 7 May.

Former Liberal Democrat leader Nick Clegg certainly thought so. He argued that there was too much of a focus on the possibility of a Labour/SNP tie-up and this “had two very big consequences. One, it had a determining factor on the outcome.

Today, I want to talk about one thing: content, programmes – the reason we’re all here. In this country we have a really vibrant creative ecology of broadcasting. It’s a great national success story.

But the question I want to talk about this afternoon is whether one part of that ecology will continue. Will we carry on making content to the degree and quality that we do now?

I’m concerned that, in all the arguments and debate about the BBC’s Charter, in a decade’s time we might look back and say that we missed something crucial – a big trend.

It is the question that British writers and commissioners perennially ask: which system works best – the UK’s single voice or the US’s showrunner model?

Former head of BBC Worldwide Productions turned independent producer Jane Tranter tried to answer this key question with a panel of writers, who outlined their experiences to see how they compared.

She pointed out that, during her seven years in the US, it was not a subject the industry there generally debated openly.

Audiences at the Cambridge Convention have grown accustomed to Ofcom chiefs who either “don’t think television is as special as people who work in television think it is” (Stephen Carter), or who are not averse to regulating more of the BBC (Ed Richards).

John Whittingdale was introduced by Convention Chair Tony Hall as “a rare beast, a politician who watches television”, and he began his speech by reminding delegates that, for him, this convention was no baptism of fire.

His first appearance at Cambridge came 12 years ago as Shadow Secretary of State for Culture; he had set up his own panel to review the future funding of the BBC. Then, as now, the corporation’s Charter and licence fee were the key issues on the agenda.

Who will own the future – the broadcasters, the content owners or the global tech behemoths, such as Google, Facebook and Apple? The question is not new, but it is becoming ever more pressing for people in television.

James Purnell, the BBC’s Director, Strategy and Digital, led this comprehensive opening debate, “Happy Valley or House of Cards? Television in 2020”.

Plans to put BBC Three online could rob a new generation of comedy writers and performers of the opportunity to find an audience, said Jessica Knappett, creator of E4 sitcom Drifters.

Knappett, who writes and stars in the series said: "I feel like BBC Three going online is a door closing, it's an opportunity that's been taken away from me. I feel personally it's exactly the sort of channel I would write for and I found it difficult enough to get an audience on E4."