The creators of Netflix's The Crown explain why sometimes its necessary to forsake accuracy, but never truth, in a drama based on real events
The lavish ten-part Netflix series became another outstanding triumph for writer Peter Morgan and a distinguished team . Critics noted a “startling attention to detail in everything from costumes to sets” and thought it hard to see how it could be better.
The show set out to tell the inside story of the most famous addresses in the world, Buckingham Palace and 10 Downing Street, and it did just that, exploring the intrigues, love lives and machinations of post-war Britain.
Series binging over weekly releases has become the new norm, and brand new, high-quality TV content seems to be in endless supply.
The competition for viewers’ attention has intensified tenfold, and the leading broadcasters have risen to the challenge.
At the beginning of a new decade, we look back at some of the most memorable performances and series of the last ten years.
Based on a first-hand account of the Windrush scandal in 2016, the drama follows Anthony Bryan (Robinson) who is classed as an illegal immigrant despite living in the UK for over 50 years.
After deciding to visit his mother in Jamaica, Bryan is shocked to discover that there are no records of him at the Passport Office, requiring him to prove his citizenship to the Immigration Office.
Bryan is later forced to leave his job without the ability to claim benefits and is forcibly removed from his home when he is detained as an illegal immigrant.
The freelance producer and trainer gave a demonstration of the smartphone’s filming capability at an RTS London event in early November.
“No matter how big the tool, it comes down to the person who is actually using [it],” said Mulcahy. “Storytelling is about where the focus is – and understanding how you shoot.”
The series takes place during a rapidly changing Britain that faces a failing financial climate and the rise of political agendas against royalism.
The new trailer opens with The Queen reflecting on her reign and the inner tensions within the Royal family as they endure personal struggles in service of their subjects.
The late-September event was hosted by the University of Westminster, and chaired by media producer and consultant Aradhna Tayal. It featured Bloomberg media reporter Joe Mayes, London Centre Chair Phil Barnes and James Cordell, a London committee member and first-time attendee at the convention.
The panel noted that one of the key themes throughout was the rise of streaming and whether the already established subscription video on demand (SVoD) companies – with more set to enter the market – will dominate the UK broadcast industry.
I Hate Suzie follows Suzie Pickles (Piper), a celebrity whose career is put in jeopardy when she becomes the victim of a hacking scandal that causes a compromising photo of herself to be leaked.
The eight-part series follows Suzie’s excruciating journey to hold her life together alongside her best friend and manager Naomi (Farzad), as she struggles to keep her career afloat and her marriage to her husband, Cob (Ings), begins to hang by a thread.
The new series will see Olivia Colman and Tobias Mezies take over the reins from Claire Foy and Matt Smith as The Queen and the Duke of Edinburgh.
The upcoming series will cover The Queen’s reign from 1964 up to 1977 and see the beginning of Prince Edward’s life, the marriage of Princess Anne and Captain Mark Phillips and the celebrations of The Queen’s Silver Jubilee.
The film team liaises between National Trust properties and film and TV location managers on projects ranging from daytime shows to big-budget dramas.
They have assisted on several upcoming series including Poldark series 5, The Crown series 3, new Netflix show Watchmen and the BBC’s latest adaptation of A Christmas Carol, starring Tom Hardy, plus the Downton Abbey film.