In March 2018, CBeebies pulled off a spectacular staging of The Tempest, a pacy version that preserved all the best “O brave new world” lines, while gripping its audience of under-sevens.
The hour-long episode will be filmed using a single camera all in one take to mark the special occasion.
To create this, the mobile camera covering A&E will be required to be cable free and will also have to cover action from inside a moving ambulance. The sound will be achieved with 40 hidden radio microphones and five boom operators, disguised as part of the set.
The episode will mostly focus on Duffy mentoring two teenage girls, Chloe and Diamond, who are being shown around the department for work experience, but will also include the series' regulars.
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.
On 18 September 2016, Steve November has a problem. At 9:00pm that night, the slot arrives in ITV’s schedule that would normally be filled by the season premiere of Downton Abbey.
As Director of Drama for the ITV network, November has to find a replacement – Downton is ending, with the last ever episode to air this coming Christmas Day. And, given Downton’s blockbuster ratings performance, it’s going to be a fiendishly difficult act to follow.
In a smooth transition, the personable Polly Hill has become the BBC’s new Controller of Drama Commissioning. She takes over without so much as dropping a script from LA-bound Ben Stephenson.
Her new job is one of the most coveted and powerful positions in UK television. Hill is responsible for the wide range of drama across BBC One and BBC Two, an estimated budget of £200m annually, spiced with the challenge of devising a new online policy, principally for BBC Three. She also has oversight of EastEnders, Casualty and Holby City.