Fleabag

A finale, then, is a touchy affair, as the emotional stability of a show’s entire fandom rests in the palms of the showrunners’ hands. And if you think I’m exaggerating, just ask a Game of Thrones fan what they thought of The Iron Throne.

That was an extreme case but it did prove the power of a finale to tarnish a show’s legacy (although House of the Dragon is so far doing some good damage limitation). Here, however, we take a look at the ones who secured theirs.

Needless to say, the SPOILERS abound.

Published last year, BBC’s Annual Plan outlined research that confirmed there remains a broadcast television audience for the channel.

In recent years BBC Three has given the BBC some of its biggest hits, including Killing Eve, Fleabag and last year’s internet-breaking Normal People.

Having recently announced a doubling of investment for BBC Three commissions over the next two years, the BBC says it wants to showcase that content to a wider audience.

An RTS Republic of Ireland event in late October looked at how the June fundraiser brought stars, including Normal People‘s Marianne and Connell and Fleabag‘s Hot Priest, to the small screen.

RTÉ entertainment producers Clare and Michael Hughes (they are not related) were given just six weeks to get the show ready for transmission on 26 June.

The unique connection between the lead characters Marianne and Connell, played by Paul mescal and Daisy Edgar-Jones, unfolded over 12 episodes and shows two young people learning how to love.

With the BBC series now over, if you’re missing out on your dose of romance, here are some of the best TV shows to watch next.

Run

Sky Comedy

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.

From her first days working in television as a founder member of Meridian, the South of England regional ITV company, Jane Turton knew that she’d landed in exactly the right place professionally.

“I’ve always loved being in TV. It’s full of interesting people,” she says. “TV is always exciting. The product – if we’re allowed to call it that – is fascinating – part manufacturing business, part creative, part art, part commerce. TV brings all that stuff together in a way that is challenging and interesting.”

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.

From scratch nights writing music for plays performed above pubs, to composing for Black Mirror, Vanity Fair, Fleabag and The ABC Murders, Waller-Bridge is making an impact in the film and TV industry.

“I absolutely love film. I love the world they can take you to, what they can do with your imagination,” Waller-Bridge enthuses.

Throughout our conversation, she talks a lot about collaboration, how important it is and the key part it plays in why she loves her job.

Not many people know what a dubbing mixer is. 

David Drake wants to change that, having worked on shows like Fleabag, The Bay and The End of the F***ing World.

There are a few key roles in a sound team: the dialogue editor effects editor, foley artist, composer and dubbing mixer. 

“A dubbing mixer is someone who takes all those elements, the dialogue, effects, music, then mixes, processes and treats them so you end up with a finished soundtrack,” Drake explains.

Some 20 years in the making, Sally’s Wainwright’s new television drama, Gentleman Jack, was originally rejected by every broadcaster she took it to. The story of an openly gay woman who farmed in 19th-century rural Yorkshire was considered a non-starter by TV networks. Starting this month, the topic is getting eight hours of BBC One Sunday-night primetime.

It’s common for writers to describe their latest work as a “passion project” – often industry-accepted shorthand for what they hope is infectious enthusiasm for their new offering.