Television Magazine

Ade Adepitan's TV Diary

(credit: John Noel Management)

This will be my third time presenting the Paralympics. I was a pundit for the BBC in Beijing. In 2012 and 2016, I was a presenter in London and Rio for Channel 4.  

To prepare, I have been updating my knowledge of the athletes. I still play wheelchair basketball at club level. Quite a few of the players, such as Gaz Choudhry and Helen Freeman, who are in the national team, I know well. I trained some of them as they worked to get into the team.  

BBC Nations' serious bid to reach past the M25

Rhodri Talfan Davies (credit: BBC)

It is regarded as the BBC’s biggest transformation in decades, as the corporation prepares to further shift its centre of gravity away from London in favour of the likes of Birmingham and Newcastle.

In March, Director-General Tim Davie pledged to better reflect the UK’s nations and regions by moving expenditure amounting to £700m by March 2028 and hundreds of jobs outside the capital as part of a new “Across the UK” strategy.

Television adverts bounce back

Love Island (credit: ITV)

The obituary of TV advertising has been written many times since the 2008 financial crisis and, each time, it has confounded the doomsayers. The television ad market suffered its steepest downturn on record between April and June 2020. There were declines of close to 50% during the worst of the pandemic, yet it has bounced back.

ITV has told investors it expects its ad revenues to be up as much as 90% in June – thanks in part to the Euros, rescheduled from 2020, and the return of Love Island.

BritBox lifts the lid on The Beast Must Die

Bringing a cherished project to television can take several years’ hard graft; for it to take decades is much more unusual. But, thanks to BritBox, an adaptation of The Beast Must Die – written by Poet Laureate Cecil Day-Lewis under his crime-writer pen name, Nicholas Blake – has finally reached the TV screen.

Korea’s technicolour dream shows

Crazy and cool with a K” is a good moniker for the jaw-dropping South Korean entertainment formats delivering jaw-dropping audience figures around the world. In the UK, The Masked Singer, I Can See Your Voice and, most recently, The Masked Dancer have featured celebrities disguised as everything from a bee and an octopus to a sausage, good and bad singers from the great British public hiding in plain sight and dance routines from a llama, chicken and knickerbocker glory.

TV's treatment of young workers behind closed doors

(credit: Ricardo Diaz)

"Television documentaries changed me and inspired me when I was growing up and, as an adult, I wanted to be part of that,” one young researcher tells me.

“I’m from a working-class background, and working in factual TV, bringing people’s stories to screen, that is no small thing. It’s incredibly important to a lot of people,” says another.

Charlene Chika Osuagwu's TV Diary

Charlene Chika Osuagwu (credit: Charlene Chika Osuagwu)

After eight months working across two productions for Zinc Media, it is officially my last day here. During my time at the company, I have produced Brook Lapping’s Ian Wright: Home Truths, a single documentary exploring the devastating impact of physical and psychological abuse in childhood, and two glitzy, feature-length episodes for Blakeway’s series about Hollywood in 1939. Cue the old adage: “no two days in TV are ever…”

Working Lives: Fight director

What does the job involve?

I choreograph the physical action in the story, whether it’s with swords, a punch up or just a slap, ensuring that the motivation for the action lies in the story and the characters. It’s not about being fancy or funky: it’s about making the action the vehicle for the story, not the other way around.

 

So you must work closely with the director?

Ear Candy: Inside Inside No. 9

So, if ever the fans of a TV series might have pleaded for a podcast that deconstructs each episode, Inside Inside No. 9 answers that call.

Becoming even more granular than the series itself, the two creators and stars, Reece Shearsmith and Steve Pemberton, dissect each episode after it has aired.

Every week, the masters of mis­direction are joined by a different member of the Inside No. 9 team to talk about the making of the programmes.