Poldark

As the cost of failure in TV gets ever higher, particularly in drama, it is no surprise when commissioners turn to the past to fill tomorrow’s schedules. Some of these second-life shows become huge hits.

Poldark returned from 1975 to score as one of the biggest new dramas of 2015. Some reboots, such as Doctor Who, become such an established part of the TV landscape that it’s hard to believe they ever went away. Others, such as ITV’s revival of Stars in Their Eyes last year, misfire.

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.

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.

RTS Futures assembled a panel of pioneers for its sold-out event at London's Hospital Club in late April, "I made it in... digital". An enthusiastic, youthful audience was eager to learn from their experiences of working at the cutting edge of new media. It learnt, perhaps surprisingly, that television – the dancing dad at an achingly hip party – still has a big role to play in the digital age.