ITV’s new true-crime drama, The Pembrokeshire Murders, recounts the solving of one of Wales’ most notorious crimes.
Luke Evans stars as newly promoted Detective Superintendent Steve Wilkins, responsible for reopening the unsolved Coastal Path Murders of the 1980s in 2006.
“None of us could believe it hadn’t been done before,” recalled Chloe Sarosh, discussing Wildstar Films’ natural history series about female-led societies. As the series producer and writer of Queens, she was there from the start.
Five years, 12 countries and more than 1,700 days in the field later, seven engrossing episodes have come to National Geographic and Disney+.
New documentary Brawn was described as “Succession with racing cars” at an RTS Midlands event in November. Executive producer Neil Duncanson said of the thrilling story: “Conspiracy theories, money, power, betrayal – it’s all there.”
Brawn: The Impossible Formula 1 Story, a four-part Disney+ series, tells how an underfinanced team bought for £1 managed to defeat the greatest names in F1. And it certainly appeals to far more viewers than just motor racing fans, as director Daryl Goodrich explained.
The first saw world renowned chef Carmy Berzatto (Jeremy Allen White), Sydney Adamu (Ayo Edebiri) and Richie Jerimovich (Ebon Moss-Bachrach)—all returning for the upcoming series—just about manage to save his family's grimy Chicago sandwich restaurant from financial ruin, thanks to the huge tomato can cash windfall.
The second will see them look to transform the joint into the city's next best eatery which, given the windfall, you'd expect to be plain sailing. But, reads the press release, "it turns out that the only thing harder than running a restaurant is opening a new one."
Tom Hiddleston, Sophia Di Martino, director Kate Herron and writer Michael Waldron discuss the making of the hit Disney+ series, Loki. Watch the event in full here.
Hiddleston left the sell out crowd at a panel discussion hosted by the Royal Television Society Wednesday evening (March 2) hungry for more details but the star of the Marvel show about the god of mischief and chaos, couldn't and wouldn't be drawn. "There is going to be a series two," Hiddleston smiled mischievously. "That's a complete sentence I think. I'll get into real trouble if I say more."
At the beginning of August, Reese Witherspoon sold her company, Hello Sunshine. Even in a world where film-stars-turned-brands have become 10 a penny, the Oscar winner made international headlines thanks to the jaw-dropping sale price – reportedly $900m. Witherspoon said she was “thrilled to be working with Blackstone, Kevin, and Tom to grow a next-generation media company”.
At first glance, the outlook looks less than sunny for traditional broadcasters faced with competition from Netflix and the other streamers. Dig a little deeper and the situation looks a lot more nuanced.
That was the main takeaway from the second of two Steve Hewlett Scholarship debates, “British broadcasting in crisis?”, organised jointly by the RTS and Media Society.
All my days have been starting the same way this year – like much of the country, I have spent most of them at home. I usually get up early, as I like the quiet tranquillity of the early morning.
After breakfast, the peace dissipates into the usual busyness of the day, when the phone starts ringing and emails start pinging. A cue for me to head to my home office.
One of my current projects is the animation Master Moley, for which I voice the title character and am an executive producer.
Over the past year, SVoD services such as Disney+, HBO Max, Peacock (NBCUniversal) and AppleTV+ have come on stream, joining the likes of Netflix and Amazon.
Alan Wolk, co-founder of media consultancy TV[R]EV, speaking from New Jersey, dubbed the streaming boom a “flixcopalypse”. He said two more – Paramount+ and Discovery+ – were due to launch soon.
Success is not guaranteed. The short-form streamer Quibi, launched by former Disney exec Jeffrey Katzenberg, collapsed this month after only half a year in business.
