Heat and lust on ITV - June 2019 - Royal Television Society
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June 2019 Heat and lust on ITV
TIMELESS STORIES UNFORGETTABLE MUSIC OUR APPROACH TO THE CL ASSICS IS UNIQUE We’ve arranged, recorded and mixed the key repertoire specifically for your editing needs, using the biggest and best orchestras, choirs and soloists, recorded at Abbey Road Studios. AVAIL ABLE FOR LICENSE AT AUDIONETWORK.COM/DISCOVER/CL ASSICAL-COLLECTION FIND OUT MORE: Rebecca Hodges r.hodges@audionetwork.com (0)207 566 1441
Journal of The Royal Television Society
June 2019 l Volume 56/6
From the CEO
A sultry period drama Returning to the 21st century, Shilpa Recently, I was privileged to be the
set in the shimmering Ganatra has written a timely feature guest of the RTS’s Isle of Man Centre.
heat of 18th-century on how TV coverage of women’s sport Every year, the island welcomes
India is our June cover is gaining a higher profile. I, for one, around 15,000 motor cycles and
story. ITV’s new Sun- am enjoying BBC One’s coverage of 40,000 visitors for the annual TT
day night treat, Bee- the Women’s World Cup and hope the Races, broadcast by ITV4.
cham House, looks likely Lionesses can raise their game fol- I was told that it takes up to three
to be the perfect antidote to our own lowing their hard-won victory over weeks to transport everyone and their
– so far – less than scorching summer. Scotland. bikes to the Isle of Man. Two intrepid
In Steve Clarke’s interview with the Elsewhere in this issue, I would like travellers made it all the way from
series’s director and co-creator, to highlight a new regular column, Argentina.
Gurinder Chadha, the film-maker Working Lives. I’m confident that Sadly, bad weather led to the racing
looks back on her extraordinary this will become a popular feature being cancelled on the day I was
career and explains why she was in Television. In this month’s edition, there. So I missed the spectacle this
inspired to make a long-form, cos- Pippa Shawley interviews intimacy year. The legendary Isle of Man hospi-
tume drama. director Ita O’Brien, who opens our tality more than made up for this.
Previously, her films, such as Bhaji eyes to a job that many readers will What was that again about the Great
on The Beach and Bend It like Beckham, not have heard of. British Summer?
have focused on Indians living in We also carry reports from some
England. By contrast, the central char- recent RTS events. These include a
acter in Beecham House is an English celebration and screening of 63 Up,
entrepreneur in India, the dashing and a timely and important discus-
John Beecham, played by Tom Bate- sion about what we need to do to
man, who recently starred in another promote wellbeing and mental health
ITV period piece, Vanity Fair. in the TV industry. Theresa Wise
Contents
5 Sophie Lanfear’s TV Diary
Natural history film-maker Sophie Lanfear leaves
her natural habitat for Hollywood and encounters
a television great
16 Seeing through the secrets and lies
A panel of investigative journalists share their
approaches to unearthing stories with Matthew Bell
6 Bend it like Beecham
Steve Clarke talks to Gurinder Chadha, who explains the
background to her Sunday-night ITV costume drama set
19 Stop harming, start helping
The way we make TV can make people ill, behind and in
front of the camera, hears Matthew Bell
in 18th-century India
22 Our Friend in Wales
Judith Winnan celebrates 60 years of RTS Cymru Wales
9 The dramady comes of age
Caroline Frost hails a style of show, typified by Mum and
and applauds the help it gives to new TV talent
Home, that is reinvigorating the comedy genre
24 Private lives lived in public
Carole Solazzo meets the team behind one of factual
12 Working lives: the intimacy director
Pippa Shawley interviews Ita O’Brien, who does one
television’s most iconic experiments, 63 Up
of those extraordinary TV jobs you’ve never heard of
26 Food, glorious food
Tara Conlan finds much to chew on at an RTS event on
14 Game changers
The profile of women’s sport on TV has never been
higher, discovers Shilpa Ganatra
TV food shows
Cover: Gordon Jamieson
Editor Production, design, advertising Royal Television Society Subscription rates Printing Legal notice
Steve Clarke Gordon Jamieson 3 Dorset Rise UK £115 ISSN 0308-454X © Royal Television Society 2019.
smclarke_333@hotmail.com gordon.jamieson.01@gmail.com London EC4Y 8EN Overseas (surface) £146.11 Printer: FE Burman The views expressed in Television
News editor and writer Sub-editor T: 020 7822 2810 Overseas (airmail) £172.22 20 Crimscott Street are not necessarily those of the RTS.
Matthew Bell Sarah Bancroft E: info@rts.org.uk Enquiries: publication@rts.org.uk London SE1 5TP Registered Charity 313 728
bell127@btinternet.com smbancroft@me.com W: www.rts.org.uk
Television www.rts.org.uk June 2019 3
RTS NEWS Your guide to
upcoming events.
Book online at
www.rts.org.uk
RTS MASTERCLASSES
National events Tuesday 5 November and
Wednesday 6 November
RTS Midlands
RTS AGM RTS Student Masterclasses TV Careers
Tuesday 25 June Venue: IET, 2 Savoy Place,
All RTS members welcome. 6pm London WC2R 0BL Fair 2019
Venue: RTS, 7th floor, Dorset Rise,
London EC4Y 8EN RTS AWARDS
7 October
10:00am-4:00pm
Monday 25 November Edgbaston stadium, Birmingham
RTS AWARDS RTS Craft & Design Awards
Friday 28 June 2019 Book via Eventbrite.co.uk
RTS Student Television Sponsored by Gravity Media
Awards 2019 Group
Sponsored by Motion London Hilton on Park Lane Friday 29 November SCOTLAND
Content Group 22 Park Lane, London W1K 1BE RTS Midlands Awards ■ April Chamberlain
Venue: BFI Southbank, Belvedere Venue: International Convention ■ scotlandchair@rts.org.uk
Road, London SE1 8XT Centre, Broad Street,
Local events Birmingham B1 2EA SOUTHERN
RTS EARLY EVENING EVENT ■ Jayne Greene 07792 776585 ■ Stephanie Farmer
Thursday 29 August DEVON AND CORNWALL ■ RTSMidlands@rts.org.uk ■ SFarmer@bournemouth.ac.uk
In conversation with Jeff Pope ■ Jane Hudson
Jeff Pope is head of factual ■ RTSDevonandCornwall@rts. NORTH EAST AND THE BORDER THAMES VALLEY
drama at ITV Studios org.uk ■ Jill Graham ■ Tony Orme
Venue: TBC ■ jill.graham@blueyonder.co.uk ■ RTSThamesValley@rts.org.uk
EAST
RTS CAMBRIDGE CONVENTION ■ Nikki O’Donnell NORTH WEST WALES
2019 ■ nikki.odonnell@bbc.co.uk Wednesday 19 June 3-10 August
18-20 September An evening with Judge Rinder National Eisteddfod 2019
Content, consumers and ISLE OF MAN Hosted by Lucy Meacock, Gran Eisteddfod events details TBC
everything in between ■ Michael Wilson ada Reports. 6:30pm for 7:00pm Venue: Llanrwst, Wales
Principal sponsor: ITV. Confirmed ■ michael.wilson@isleofmedia.org Venue: Compass Room, Lowry ■ Hywel Wiliam 07980 007841
speakers include: Jeremy Dar- Theatre, Salford Quays M50 3AZ ■ HWiliam@rts.org.uk
roch, CEO, Sky; Howard Davine, LONDON
executive vice-president, busi- Wednesday 4 December Thursday 26 September WEST OF ENGLAND
ness operations, ABC Studios; Christmas Lecture: Awards launch party Tuesday 2 July
Tony Hall, Director-General, BBC; David Abraham Details TBA AGM
Alex Mahon, CEO, Channel 4; 6:30pm for 7:00pm Venue: Compass Room, Lowry Venue TBC
Jane Turton, CEO, All3Media; Venue: Cavendish Conference Theatre, Salford Quays M50 3AZ ■ Belinda Biggam
Sharon White, CEO, Ofcom; Centre, 22 Duchess Mews, ■ belindabiggam@hotmail.com
Rt Hon Jeremy Wright MP, London W1G 9DT Saturday 23 November
Secretary of State, DCMS; and ■ Daniel Cherowbrier RTS North West Awards YORKSHIRE
David Zaslav, President and CEO, ■ daniel@cherowbrier.co.uk Venue: Hilton Deansgate, 303 Thursday 4 July
Discovery. Chaired by Carolyn Deansgate, Manchester M3 4LQ Adjusting perspective: Getting
McCall, CEO, ITV. MIDLANDS ■ Rachel Pinkney 07966 230639 more BAME crew on set
Venue: King’s College CB2 1ST Monday 7 October ■ RPinkney@rts.org.uk Joint event organised by Creative
RTS Midlands TV Careers Diversity Network and RTS
STEVE HEWLETT MEMORIAL Fair 2019 NORTHERN IRELAND Yorkshire. To attend, please
LECTURE 2019 Book via Eventbrite.co.uk. Thursday 7 November RSVP directly to: projects@
Tuesday 24 September Early bird tickets £5 until 1 July, RTS NI Programme Awards creativediversitynetwork.com.
Speaker Mark Thompson thereafter £10. Tickets cannot be Venue: The MAC, 10 Exchange 4:30pm-6:30pm. Registration
Mark Thompson is President purchased on the door. Minors Street West, Belfast BT1 2NJ 4:15pm; drinks and networking
and CEO of the New York Times must be accompanied by a fee- ■ John Mitchell from 6:30pm.
Company, and a former Direc- paying adult. 10:00am-4:00pm ■ mitch.mvbroadcast@ Venue: John Charles 2 Room, The
tor-General of the BBC. Drinks Venue: Edgbaston stadium, btinternet.com Queens Hotel, City Square, Leeds
reception sponsored by BBC Birmingham B5 7QU LS1 1PJ
Studios. 6:00pm for 6:30pm REPUBLIC OF IRELAND ■ Lisa Holdsworth 07790 145280
Venue: University of Westminster, ■ Charles Byrne (353) 87251 3092 ■ lisa@allonewordproductions.
London W1W 7BY ■ byrnecd@iol.ie co.uk
4
TV diary
Natural history film-maker Sophie Lanfear
leaves her natural habitat for Hollywood
and encounters a television great
I
t’s a lot smaller than the telly ithout even realising it, a part of
w a cohesive structure for a film that
makes it seem,” I think to your nature gets suppressed. a mass audience will understand.
myself as I stare out at the I came away feeling relieved at My day is spent assimilating as
infamous Hollywood sign. having acknowledged this and opti- much information as I can from a
LA is the last place you’d mistic that women are gradually wide variety of sources to work out
expect to find a wildlife film- reaching those higher places. Hope- which animal stories/behaviours best
maker who’s more accus- fully, we will get to a place where fit the narrative.
tomed to being holed up in a shack in gender difference is appreciated and From YouTube videos of squeaking
the Arctic wilderness. I’m on the 10th drawn upon, with the result that there frogs, to academic papers that make
floor of a Hollywood hotel pondering is more varied and emotionally com- me remember why I didn’t stay on at
the events of the last week. plex content. university to do a PhD, the quest to
I’m here courtesy of Netflix, which find the perfect stories often feels
invited me to join its “Rebels and rule ■ I have lived and breathed Our relentless and arbitrarily boundless.
breakers” panel as part of its Emmy Planet since early 2015. It has been Everything is up in the air. Quite
campaign for Our Planet. I didn’t want two months since the series went how it will all fall into place, no one
to spoil things by telling them that: a) global (one of the joys of working knows. From the seeming chaos, one
I am not really a rebel, because b) I’m for a streaming giant), and the tragic has to trust that order will somehow
far too rule-abiding for my own good. walrus sequence that ends my Frozen prevail.
Still, I was honoured to be along- Worlds film went viral.
side some of Netflix’s leading female Since then, life has been unusually ■ Some form of order has to be
talent, including the legendary Marta busy. The film helped fuel a global presented to Netflix as we meet to
Kauffman, co-creator and executive conversation about the impact of discuss the new series and some of
producer of Friends. climate change. the editorial challenges facing us.
We question how we can make the
■ While I wasn’t sure about the value ■ This morning, I was interviewed series distinctive and deliver the
of an all-female panel (I feel that for American radio station SiriusXM. incredible visuals that audiences
true gender equality means gender They wanted to talk about what expect from high-end natural history
invisibility), it was inspiring to hear people could do to support a more television.
women speak unhindered about the sustainable future. There is so much Demand for natural history content
challenges they have faced in tradi- I learnt while making Our Planet. It has never been higher; Apple, Netflix,
tionally male-dominated industries. is especially rewarding to be able to the BBC, BBC Earth, Discovery and
impart some of this knowledge to Nat Geo are all after their slice of the
■ I hadn’t appreciated the shortage people who want to do what they pie. Which is great for us, but one
of female role models in TV (espe- can to make a difference. consequence is that the industry has
cially at senior producer and exec- become much more clandestine.
utive level), and the impact that can ■ I have started work on the next So it will be several years before
have on trying to develop your own big wildlife documentary series for I am able to able to divulge all the
leadership style and other facets of Netflix. We are in the initial stages exciting details.
your career. of production. This requires you
With only men to look up to, this to turn into a sponge and absorb Sophie Lanfear is a producer/director at
lopsided influence means that, everything possible to come up with Silverback Films.
Television www.rts.org.uk June 2019 5
Bend it like Beecham
I
t’s 4pm on a Friday afternoon, a It sounds like familiar Chadha terri-
Drama time of the week when most of tory – the story of a how a British
us are preparing to wind down Pakistani teenager marooned in Luton
Steve Clarke talks the working week. Not during Thatcher’s Britain finds solace in
Gurinder Chadha, co-creator the music of Bruce Springsteen.
to Gurinder Chadha, and director of ITV’s new The director first found acclaim for
who explains the period drama, Beecham House, other-
wise known as “Downton in Delhi”.
her award-winning debut, Bhaji on the
Beach, followed by Bend It Like Beckham,
background to her She’s at work in a Soho edit suite, a low-budget comedy whose central
putting the finishing touches to character is a football-obsessed Punjabi
Sunday-night ITV another project, her latest movie, girl living in Southall.
costume drama set in Blinded by the Light. The film is based on
journalist and broadcaster Sarfraz Man-
Both were backed by Film4; Bend It
Like Beckham became an unlikely global
18th-century India zoor’s memoir, Greetings from Bury Park. box office hit and turned Chadha into a
6
It stars Tom Bateman as the appar- There is nothing new in India being
ently morally scrupulous ex-East India used as eye candy for TV period
Company trader John Beecham. His drama. While Beecham House lacks the
swaggering portrayal is likely to give gravitas of, say, Jewel in the Crown, its
Poldark’s Aidan Turner a run for his characters and storylines have an
money in any summer tabloid contest infectious quality that may well secure
for hot costume-drama action hero. several series.
So why has Chadha forsaken modern When the programme was pitched
Britain for a lavish TV period piece? Part to ITV drama head Polly Hill, the exec-
of the inspiration for Beecham House was utive immediately saw its potential as
her recent feature film, Viceroy’s House, Sunday night drama. “Polly liked the
which was set in post-Second World stories,” says Chadha. “Initially, ITV
War India. In common with the TV was a little nervous because of Indian
series, the film was co-written with Summers, which wasn’t that successful.
her husband Paul Mayeda Berges. I felt its stories were very muddled.”
“I was thinking that we’d like to do As mainstream as Beecham House
some long-form TV. We’d done all this undeniably is, the show’s political
research for Viceroy’s House and were undercurrents are obvious and seem
waiting for the money to kick in,” she especially relevant as we continue to
says, picking at an improvised late grapple with Brexit and hot-button
lunch of grated cheese and Brazil nuts. issues such as immigration.
“Wine?” she offers. “It is Friday,” as she Chadha’s ascent via local radio and
takes a swig from a plastic cup. TV to pre-eminence as a film-maker
“At the time, Downton Abbey was seems unlikely in today’s less egalitar-
flying high. I said to Paul: ‘We could do ian age. Opportunities for those with-
that. Let’s do our version set in India in out wealth or contacts to succeed in
1795.’ Viceroy’s House was the end of the the entertainment world are, to say the
British Raj. Let’s start at the beginning.” least, limited.
In common with the Julian Fellowes The daughter of an Indian shop-
hit, Beecham House takes an Upstairs keeper who was regularly racially
Downstairs-style perspective on events abused, she began her media career in
chez Beecham, but the parallels with the 1980s after reading development
Downton Abbey should not be over- studies at the University of East Anglia
stated. One of the show’s attributes is in Norwich. “The only other Indian I
the way it captures India’s indelible met there was my driving instructor,”
beauty, especially the subcontinent’s she recalls.
exquisite Mughal architecture. A career working for a charity such
Much of the series was shot in India, as Oxfam beckoned but, following
where Chadha directed all six episodes. voluntary work in India, where she
In any case, it was Downton’s success read some feminist journalism, she
that motivated her, rather than the started to wonder if the media might
show itself: “I didn’t really watch provide a more rewarding career.
Downton. But I loved Upstairs Downstairs, Returning to the UK and seeing Stuart
I remember so many of the scenes. I Hall’s seminal BBC documentary, It
still have the storylines in my head. Ain’t Half Racist, Mum, sealed the deal.
I remember Pauline Collins coming in “That film opened my eyes, it was a
with a feather and lording it over the Eureka moment for me.… Now I get it,
lady of the house. the power the camera has to define
ITV
“I always wanted to do a show like who we are and how society sees us. It
Upstairs, Downstairs, but not as formal as was at that moment, and seeing Stuart
hot property in cinema. By contrast, her Downton Abbey. With Beecham House, I Hall’s work, that I started looking at TV
TV career is less celebrated. Here, too, wanted to go back to the point where differently. I thought the way to change
she has form – the two-part 1995 BBC Delhi is still Indian, and ruled by the things was to become a news journalist.”
One drama she directed, Rich Deceiver, Mughals, though their power is waning. She trained in broadcast journalism
achieved an audience of more than “This Englishman arrives. No one at what was then the London College
10 million viewers. And, two years ago, knows what is going to happen to of Printing, before joining BBC Radio
she presented India’s Partition: The For- India. He’s an English immigrant West Midlands. “I worked in the news-
gotten Story for BBC Two. 250 years ago. What I’m asking the room but I wasn’t able to tell my sto-
Now comes Beecham House, a audience to do is to be in his position. ries, our stories,” Chadha remembers.
gorgeous-looking, quintessential In many ways, he is quite a modern More satisfactory was a spell
Sunday-night drama set in late-18th- guy trying to make the right decisions, employed as a researcher on one of
century India, when the imperial Brit- but trying to do them at a time when, Channel 4’s early successes, The Media
ish were vying with the French to take politically, Europeans in India were at Show, a genuine trailblazer. Eventually,
control of India. a crossroads.” directing short films led to Film4 �
Television www.rts.org.uk June 2019 7
� nurturing her as a director. The you live your life acknowledging
studio put her together with Meera that oneness. That’s what makes
Syal. The two co-wrote Bhaji on the us human.”
Beach. The film showed she had an She believes this? “That rubbed off
unusual ability to make entertaining, on me. Everything I’ve done, every
humorous films that engaged head-on film I’ve made counters prejudice of
with racism, sexism and patriarchy. any kind.”
Beecham House may be prime-time Produced by her own company,
ITV but, from the beginning of the Bend It TV (in which Fremantle is an
series, it is clear that here is another investor) Chadha says that Beecham
Gurinder Chadha film full of feisty, House is “probably the first prime-
empowered women. time commission from ITV for a Sun-
Gurinder Chadha
“I’d like to think none of the day from a company of colour. Hats
women are docile. They have all got a off to ITV for doing that.”
bit of attitude, certainly by the end of
the first episode,” she suggests. “That’s ‘THE She adds: “I’m not going out there
saving people’s lives by making a TV
why it’s so important to have differ- RELATIONSHIP show. What I am doing is creating a
ent people telling these stories.
Diversity is not ‘Let’s stick a person
BETWEEN TV show that is genially subversive. In
a small way, it is saying: ‘Mate, this is
of colour behind the camera’.… That’s BRITAIN AND actually what happened from my
important, but true diversity is when
INDIA DIDN’T point of view. Come on the journey
you allow someone to tell their story
or show the world from their [own] JUST START IN with us with these great characters,
who will entertain you but also inform
perspective, because it’s the same
but different.
THE 1960s’ you about the world then and the
impact that world has had on today.’”
“The success of some of my films What does Beecham House have
isn’t because it’s only Indians watch- to say about our own dark times?
ing them, or people like me. They are “Hopefully it will expose some of the
mainstream, commercial movies. lies that people are being told. The
“I am one of the few British film- relationship between Britain and
makers who has made a ton of India didn’t just start in the 1960s,
money back for the BFI and the when people like my parents got off
National Lottery by making very the plane. A lot of Britain’s wealth was
commercial films. I just happen to
have people in them that most people
‘Why I prefer built purely off the back of their – and
my – Indian ancestors.”
wouldn’t think of as commercial.”
Beecham House’s cast includes British
nice to nasty’ What advice would she give to
young women of colour determined
Indian actors, British Caucasian to succeed in the film and TV sector?
actors, Indian actors, and an Indian ‘There’s a push towards more “Don’t take no for an answer, because
Australian actress. genre-led drama,’ says Gurinder there’s strength in numbers. You have
As for her own female role model, Chadha. ‘Shows such as Body to believe that now’s our time, you
look no further than her 93-year-old guard and Line of Duty are very deserve that, and you have to own
mother. “When you looked at her you popular. I can’t watch them that. Go for it. Tell your stories
wouldn’t think she was feisty, because because I’ve got so much stress in because there are people who want to
she did everything right. A nice, tradi- my life already [she is the mother see them. You’re going to have to hold
tional Indian wife, but the strength of 11-year-old twins]. If I watch on to that and keep pushing for that.
and spirit and belief in justice for those shows, I’ll get too tense and “I’m sitting here now but it’s taken
humanity that my mum embodies is I don’t want to be tense. a long time for me to be in this posi-
where I get it all from. ‘I don’t like movies that are tion, and it’s not all milk and honey
“She has had relentless commit- thrillers. I’ve always been like that. for me. My movie [Blinded by the Light]
ment to empathy for everybody.… For Some people love being made to got turned down by the BBC and
her, the world is connected. People feel scared and anxious. It’s never Channel 4.…
might not know it but the world is been my cup of tea. “I think it’s a great time to be crea-
connected because there is one God, ‘I abhor violence on TV. I don’t tive. There’s a lot of choice. There’s a
it’s just different guises. Whether you like [starting to laugh] people lot of drama out there. And the more
believe in God, or a spiritual force, or being nasty to each other. That there is, the more important it is to
whatever, there is one way that we are sounds crass. I see it on the news, have your own, unique voice. Nowa-
all connected. I don’t want to see it on TV. I don’t days, people want uniqueness.” n
“We can call it religion or we can want to feel ashamed of how the
call it human empathy, but my mother world is when I am trying to relax.’ Beecham House starts on ITV
believes that it is very important that on 23 June.
8
Back To Life
BBC
The dramady
comes of age
C
omedy, the late, great Tim Crouch, who created the show
Tony Hancock would Comedy and co-wrote the script with Jones,
often tell his dinner explains: “We’re looking at the world
guests, was simply
“frustration, misery,
Caroline Frost hails a from a small person’s perspective, the
view of a lowly character. He wants
boredom, worry – all style of show, typified to live quietly and peacefully. Events
the things people suffer from”. prevent that happening and he’s thrust
This may go some way to explaining by Mum and Home, into confrontation with the world’s
the success of a crop of deceptively
simple, single-camera comedy-dramas
that is reinvigorating wider issues. The comedy exists in the
contrasts – someone trying to do great
that have all but replaced our more the comedy genre things but being small.”
traditional idea of the sitcom in the Other “dramedies” seem similarly
television schedules. And that’s all before he accidentally unafraid to use writing flair, acting
Toby Jones cemented his status as brings a stowaway refugee back to his talent, standout visuals and laughs to
the standard bearer for such fare with Bognor Regis home following a day illuminate what could be very dark
Don’t Forget the Driver. Jones’s character, trip to Dunkirk. This is one string in a subjects. Rufus Jones’s Home, on
a humble driver for a coach company, story that touches on dementia, disa- Channel 4 recently, followed a middle-
is burdened as a single parent by a bility, maternal neglect, the threat of class family’s discovery of their own
teenage daughter, a frail mother, help- human slavery – and yet somehow Syrian stowaway refugee. Ricky Ger-
less colleagues, and a twin brother succeeds in providing plenty of vais’s After Life explored the grief of a
living the dream Down Under. chuckles along the way. middle-age widower, while This �
Television www.rts.org.uk June 2019 9
‘IN LIFE, NOTHING
IS EVER JUST FUNNY
OR JUST SAD’
Channel 4
Home
� Country and Mum took on rural alien- are part of a British drama tradition: You’re laughing at them. But I’d be
ation and widowhood, respectively. “Things of this tone have always been amazed if, by the end of the first epi-
Similarly, Car Share and Fleabag effort- around – a good Mike Leigh would sode, you haven’t come round to the
lessly combined humour with lumps have similar components – but they fact that these are fully rounded,
in the throat. weren’t called comedies. three-dimensional people. The art of
Does all this signal the death knell of “We’re realising that, in life, nothing a good sitcom is that the ‘sit’ is neither
the traditional sitcom? Mum’s creator, is ever just funny or just sad. It’s always here nor there, it’s the characters you
Stefan Golaszewski, says no. He is a bit of everything. Today, there’s more have to care about.”
adamant that his award-winning crea- confidence in commissioning things Home co-star Rebekah Staton believes
tion sits firmly in that canon: “It is a that have many colours rather than just our enjoyment of these shows is symp-
sitcom. If people consider that too one. I never thought for one moment tomatic of the evolving TV audience
limiting, it’s because they have a that I was going to make something experience. She says: “We want to
demeaning view of the sitcom. Just that was a mixture of all these things, watch comedy in the same way that
because there have been some banal I just wanted to tell the story.” we watch our dramas. As we’ve come
and inane sitcoms doesn’t mean the Don’t Forget the Driver’s Tim Crouch to expect from our dramas, they have
sitcom has to be. puts it more succinctly: “I didn’t know strong narratives, but with laughs as
“I think we’ve actually gone full about genre, but I’ve been told what well. Home has 26 minutes to give a
circle. If you think of Steptoe and Son, we’ve written is a drama but made on beginning, middle and end, pack some
Ever Decreasing Circles or Porridge, the a comedy budget.” punches, get some laughs. All that
humour may have been broad by Simon Mayhew-Archer produced requires a level of precision maybe not
today’s standards, but the subject mat- This Country, a show that gave us called for in previous years.”
ter, the level of characterisation and unlikely laughs from the distinctly If technology, good cameras and
subtlety of performance, were all downbeat lives of Kerry and Kurtan editing have improved the quality of
where we’re at now. Humour changes Mucklowe, a pair of underoccupied production, something noticeable by its
fashion in 20 years, but the things that teenage cousins causing havoc in a absence in these shows is the laughter
matter to us don’t.” Cotswolds village. track – once considered essential in all
Daisy Haggard created and stars in He credits our fondness for Kerry things labelled TV comedy.
BBC Three’s Back To Life, which she and Kurtan as being crucial to the Staton reminds us: “That was more to
describes as “a dark comedy drama”, show’s success: “When people first do with who was watching at that time.
about a woman returning to her home watched it, everybody goes through It helped audiences, bringing families
town after serving a prison sentence. the same kind of process – ‘Oh, I know together and supporting viewers sitting
She agrees that shows such as hers what these people are going to be like.’ at home on their own. It helped having
10Don’t Forget the Driver
BBC
that audience around them laughing Haggard sounds slightly more aware “deep state of national bewilderment
along. These days we’re quite content to of the need for balance in the writing: that has become sharper and sharper”
sit on our own watching TV.” “When we were writing it, there were with the coach-driving Everyman of
Mayhew-Archer adds: “A laughter moments when we realised it needed his show’s title.
track is no bad thing on a show that’s more jokes, or the opposite. We were “Nobody knows what’s going on,
funny. Only Fools and Horses had a very sure of the tone, and if we knew even at the highest levels of political
laughter track and was also tremen- it had gone too far one way, too heavy organisation; so, to follow that tale to a
dously sad in places, but you’re laugh- or too light, we’d pull it back.” fella at the seaside, there is where the
ing and crying with them. It’s only ‘sadcom’ resides.”
when it’s a bad show that it jars.” Golaszewski points out: “As the world
The generally slower pace of these ‘SOMETIMES, IT starts to feel less safe, the art has
titles and the lack of any obvious comic
punchlines requires writers, directors
MEANS TAKING become more humane. Nowadays, who
wants to turn on the telly and see
and performers to flex different muscles. THE RISK NOT someone being horrible to other people
For Golaszewski, it’s all about creating
something more authentic than the
TO BE FUNNY’ for laughs? It’s difficult being a person.”
Sure enough, between the gentle
stagey sitcoms of old. He elaborates: “I narrative twists, the true delight of all
often ask the editor to make the wrong these shows lies in the humanity on
edit out of a scene, to edit it like a bad For Staton, acting such a role is a display and the tiny, everyday delights
editor, leave the scene mid-moment, delicate balancing act. “They could be – a shared bag of chips on the beach in
hold stuff longer than we should, so deemed dramatic performances, but Back to Life, a clapped-out car finally
there’s a kind of roughness, but a feel- we have to be acutely aware of the starting first time in Don’t Forget the
ing of truth. I want it to feel like you’re comedy underneath. Sometimes, it Driver. Or a familiar tune on the radio
watching people, not a TV show. means taking the risk not to be funny, in almost all of them. These are stories
“You can’t have plot twists or huge [though] the word on the tin says of quiet lives well lived, or at least
revelations, because real life isn’t like ‘comedy’, but it’s more orchestrated glorying in the attempt to do so.
that. Instead, you find the drama from than people might think.” Crouch sums them up: “These aren’t
somewhere else. Balancing serious For many of those involved in creat- action heroes, as those aren’t funny
with the funnies is instinctive. Because ing these small-screen delights, it’s no and don’t win our hearts. Ordinary
it’s a sitcom, I tilt towards the comic, coincidence that their success comes human beings have superhuman pow-
but I don’t really plan the narrative, I at a time of political chaos, extremism ers. It’s about finding the extraordinary
feel my way through it.” and uncertainty. Crouch contrasts our in the ordinary.” n
Television www.rts.org.uk June 2019 11WORKING
LIVES
TV JOBS YOU NEVER KNEW EXISTED
Intimacy director
I
ntimacy director Ita O’Brien be able to integrate the work and actu seen as a skill. We need to shift to
started her career in musical ally be understood and trusted. understanding that it is, actually, a skill
theatre as a dancer and actor, and those moments need to be choreo
before becoming a movement How do you make people feel graphed in the same way that a dance
teacher and director. After comfortable when they’re in these would be.
devising a play that explored very intimate situations?
the dynamics of abuse in society, I’m from an Irish Catholic background What’s the advantage of having an
O’Brien looked at how she could help and sometimes the bit of me that’s intimacy director on set?
keep her actors safe while dealing with watching me has a bit of a smile about Once you get in front of the camera it’s
such a challenging subject. what I’m now doing. way more efficient, the filming time is
The intimacy guidelines and work With intimate content, it needs to be way quicker and you’ve got a structure
shops that she developed have led to dealt with in a professional way, as you that means, continuity-wise, that it’s
her working as an intimacy director in would with any other part of the script. absolutely repeatable.
TV, film and theatre. In TV, she has It’s essential to talk about it in an open In the past, when you have had peo
worked on Netflix’s Sex Education, BBC and adult way, dealing with everything ple speaking about it, one of two things
One’s Gentleman Jack and Amazon on the nail, not pussyfooting around would happen. Either the director
Prime’s Hanna. anything; using language that doesn’t would say, “OK, this is what I want,
O’Brien produced the “Intimacy on infantilise, objectify or titivate. you two jump in the bed and go for it”
set” guidelines. These offer advice on – and you have a situation where the
best practice when working with inti Where do you fit in on set? actors feel really awkward because
macy, simulated sex scenes and nudity. My work is absolutely to serve the they don’t know what’s going to hap
She also provides training for those director’s vision. I want to know “What’s pen or what the other person’s going to
wanting to follow in her footsteps. your vision, what do you want from the do to them.
scene?” Then [it’s about] having that Or the director tells the actors to go
What is an intimacy director? open conversation with the director and away and work it out among them
An intimacy director is someone who the actors, so that we’re all on the same selves. There, you’ve got a situation
helps with support, open communi page. I then put together a structure and where you haven’t got an outside eye,
cation and transparency about intimacy. choreography to serve that vision, to and it no longer really serves the writ
They then put in place a process and a give the director exactly what they want. ing, the character or the beats of the
structure, [which underlies] agreement scene. You have two people trying to
and consent for touching; and then How can directors make your cobble together something in a private
choreographs the intimacy really clearly job easier? situation.
so that there is a structure. The actor I’d like them to look at the process and One of the new guidelines is that
can then act freely within that. understand it. If there’s a dance in the you always have a third person pres
scene, everybody knows they’re going ent, so that you keep it professional,
At what stage of production do you to need to bring in a choreographer. not private.
usually come on board? You need [certain] skills in order to
It depends on the production. Some be able to do a physical dance or to be What advice do you have for an actor
productions that I’m speaking to at the able to have a sword in your hands. To who gets on set and finds themselves
moment are in the pre-production stage, learn how to look like you’re fighting in a situation where they’re told to just
and they’ve called me in because there’s without accidentally chopping some get on with it?
loads of sex throughout the whole thing. one’s head off. If you see intimate content in a script,
For me, it’s way more rewarding to be With intimate content, the difference don’t just leave it. If you’re offered the
part of a team right from the get-go, to is that everybody does sex, so it’s not job and you see intimate content and
12the director hasn’t already spoken to
you about that, you need to have that
conversation before you sign up.
Why is it important to have these
conversations?
Sixty per cent of women have experien
ced some form of harassment or abuse
by the time they get to 18. That means
that, of the actors who come to work
with you, a high percentage may have
experienced something that can be
triggering for them.
We don’t need or want to know what
those incidents were, but we do need
to put in place a structure that allows
for agreement and consent. So, if a
body part is off limits, we can say
“that’s out of bounds” and choreograph
something else.
Are there any misconceptions about
your job or what it entails?
Just a couple of months ago, I tried to
check in with this director and he gave
me very short shrift on the phone.
Then I came in and did the scene and
we did a really beautiful, very full-on,
intercourse scene.
When I checked back with him a few
days later he said: “I thought you were
going to be like Mary Whitehouse,
coming in with your clipboard, but
actually you enhanced the scene.”
In some articles about Gentleman
Jack, I’ve been described as a “sex
expert”. I’m not a sex expert. In the
same way that a stunt co-ordinator
isn’t an expert swordsman, but is an
expert in how you pretend to be a
swordsman, I’m absolutely an intimacy
co-ordinator, not a sex expert. n
Gentleman Jack
BBC
Interview by Pippa Shawley.
Television www.rts.org.uk June 2019 13TV sport
The profile of
women’s sport on
TV has never been
higher, discovers
Shilpa Ganatra
Uefa World Cup 2019 England squad
Game changers
T
here’s a perfect storm this and eloquent, and that’s where, for me, BBC’s overall yearly sports coverage. It
summer – and it’s taking the women are really kicking ass. You aired the Women’s FA Cup Final live
place on our televisions. put a microphone in front of them and earlier this year, and the Fifa World
The rise of women in sport they’ve got something interesting to Cup, Netball World Cup and Women’s
has been gathering pace say. They understand the wider Ashes will follow.
for years. Now – thanks to responsibility.” Channel 4 recently launched Wom-
commercial pressure, the push for It is an exciting time, when gender en’s Football World with Balding to air
equality and some incredible momen- equality has progressed both on and highlights of women’s football from
tum provided by the sportswomen off screen, from tokenism to some- around the globe. And in motor racing,
themselves – they find themselves in thing more meaningful, and women’s covering the women’s W Series is a
their strongest-ever position.. sport is now getting the space it significant step.
“It’s a collision of all these great deserves. Once consigned to unadver- “With something like the W Series,
events,” explains presenter Clare Bald- tised hours on specialist sports chan- you have to look at what example that
ing, speaking at the BBC’s #Change nels, it’s moved to better time slots, might set to women watching a sport
theGame launch, marking its summer gained more coverage and, most where there are no role models,” says
of women’s sport. “When you get a recently, made the jump to primetime Channel 4’s head of sport, Peter
World Cup in our time zone, with Eng- on terrestrial channels. Andrews. “Hopefully, there are now
land coming in with a great record, we The BBC’s push this year is the most 18 role models racing in fast cars.
can really believe in it. We also have significant and comes after the broad- Claire Cottingham delivered the first
the Netball World Cup on home soil. caster claimed to have increased the live motorsport commentary on ter-
“And [sprinter] Dina Asher-Smith proportion of women’s sport on its restrial TV in May and I think it’s really
would be the number one in terms of channels by around a third over the important that Channel 4 is here to
iconic profile. She’s the most visible, past five years. Women’s competitions make that happen.
the most recognised. She’s really bright now account for around 30% of the “The pressure is then commercial,
14but, if you don’t put it on air, you never more than 4 million tuned in to Chan- are to create a more mature women’s
know what audience you’re going to nel 4 to watch the Uefa Women’s Euro sports scene. And these changes will
get, and you can only build an audi- semi-final, in which England were not happen overnight: we will see the
ence by putting something out there knocked out by the Netherlands. “That dividends from those women receiv-
and building it.” was a seminal moment, certainly for ing training and experience in front of
Specialist sports channels are con- Channel 4. It woke everyone up to the (and behind) the camera only in years
tinuing to invest in women’s sports. potential of the sport,” says Andrews. to come.
Sky Sports has the rights to this year’s Then, last year, we had the England Of course, there’s a moral as well as
Women’s Ashes and the Vitality Net- netball team’s unforgettable win at the a commercial reason to bring female
ball International Series and Super- Commonwealth Games, where they sports up to parity with its male coun-
league until 2020, with BT Sport beat Australia, the hosts, in a down- terpart. It challenges stereotypes,
covering the Women’s Super League to-the-wire 52-51 battle. And, earlier shows viewers the sports within their
(football) and women’s tennis, and this year, England won the invitational capabilities, and it provides a positive
Eurosport the Women’s Tour of Britain SheBelieves Cup, building momentum and healthy body image in this selfie-
(cycling), among other events. for the summer’s football World Cup obsessed age.
It’s a stark contrast to yesteryear. On in France. “You will also see women taking
pitches and grounds around the coun- While the profile of women’s sport risks, and actually not being afraid to
try, women have been playing netball, has been raised, there’s quite some fail, and I think that’s a really impor-
football, hockey and more for decades, way to go, however, before it achieves tant message that sport can deliver,”
yet the lion’s share of screen time, espe- equal status with men’s. In a survey says Balding. “You’ve got to go out
cially on terrestrial television, has been published in March, consumer insights there, do it in front of a public that is
devoted to their male counterparts. company Netfluential identified the watching you and will judge you, and
A recent pan-European study by main obstacles to people watching the result will be that you’ll be OK.
Women in Sport and its European more women’s sport as: lack of cover- You’ll get up and you’ll do it again.
counterparts showed that, while the age, the quality of commentary and That’s what it’s about.”
Ailura/Creative Commons
UK was one of the better countries for poor advertising of fixtures. Putting To this end, the BBC’s director of
coverage overall, the volume relied on these right must be prioritised if we sport, Barbara Slater, promises a 50:50
high-profile events. balance in streaming coverage. “Our
It is instructive to look at the yo-yo Sprinter Dina live streaming service delivers more
viewing figures for the Women’s FA Asher-Smith than 1,000 hours of additional live
Cup Final since the BBC took over sport coverage every year, and we’ve
coverage in 2013 – the average in 2014 committed to making at least 500 of
was 967,000; 1,449,000 in 2015; and those hours devoted to women’s
1,070,000 in 2017. This suggests a lack sport,” she says.
of loyalty on the part of the audience Commercial broadcasters might not
(which may be down to the time slot, be as free to make specific commit-
competition from other channels and ments, but they are offering continued
presence of local players rather than a support. Jamie Steward, senior
lack of interest in the tournament), director of production and
as well as a lack of commit- broadcast at Eurosport, says:
ment from the broadcaster. “Eurosport has been commit-
The two may, of course, be ted to broadcasting women’s
interrelated. So the BBC’s sport for a number of years
commitment to screen more and will continue to invest as
than just the big games is part of a longer-term
important. strategy.
“I remember, in 2007, when “We aim to give fans the
we got to the quarter final of broadest, most in-depth
the World Cup against the US,” viewing experience across
says Alex Scott, the former our key content – and
football player turned pre- women’s sport plays a big
senter. “That was the only role in that, and will continue
game that was on TV, so it to do so moving forward.”
was very easy for people to However it plays out, the momen-
Getty Images
tune in and see us lose. tum gained so far in 2019 means that
And then it’s all ‘same old TV is wholeheartedly embracing
England, they’re rubbish’. But they women’s sports. Increased coverage
hadn’t followed the journey. They has drawn in major sponsors such as
hadn’t seen what it took for us to even Barclays, Coca-Cola and Boots, and the
qualify for our first World Cup in more
than 10 years.”
‘THE WOMEN Telegraph has launched a women’s
sports section. “Everyone’s getting it,”
While specialist sports channels have ARE REALLY says Balding. “It’s more than sport
aired female sports for years, it arguably
“went mainstream” only in 2017, when
KICKING ASS’ – it’s business, it’s culture, it’s educa-
tion. It changes lives.” n
Television www.rts.org.uk June 2019 15Seeing through the
secrets and lies
Investigative
Warner Bros
journalists as
heroes – All the
President’s Men
A
rguably, the world has really good stuff by taking risks,” Hen-
rarely been more in Journalism shaw insisted.
need of investigative “My happiest and most productive
journalism. Corrupt
politicians; election
A panel of investigative times were getting on a plane with
a folder of notes, and going to a civil
meddling, state repres- journalists share war not knowing what the hell I was
sion, business shenanigans, cheating in getting into but knowing there was a
sport.… the list is endless. An RTS their approaches to story there.”
Futures event in May was therefore unearthing stories with “It’s my choice if I go somewhere
timely, with leading journalists discuss- dangerous,” said the journalist and
ing how they seek to right wrongs and Matthew Bell documentary film-maker Ben Zand. In
bring the powerful to justice. 2016, he received the Young Talent of
Truth seeking is not for the faint- Hardcash Productions, for almost three the Year prize at the RTS Television
hearted: it requires exhaustive research decades. The multi-award-winning Journalism Awards for his films on BBC
and dogged patience – and, for those film-maker received an RTS Fellow- Two’s Victoria Derbyshire programme.
journalists investigating the world’s most ship in 2009. “Certain stories need risk-taking,
oppressive regimes, bravery. In truth, it’s Hardcash has filmed, openly and otherwise you can’t tell them, but, at the
probably a young person’s game. undercover, in some of the world’s same time, it’s about taking sensible
“When you’re young, you’re going to most perilous places, including North risks,” said Zand, who shot a documen-
do your best work – you’re fearless and Korea, Iran, and Saudi Arabia. “There’s a tary with Venezuela’s kidnap gangs.
you take risks that you wouldn’t take kind of illusion now among broadcast- Zand’s films cover a wide spread of
when you’re older,” said David Hen- ers that somehow you can make this subjects. He recently made two films
shaw, a former BBC reporter and pro- kind of journalism risk-free. It is always about R&B artist R Kelly, who has been
ducer who has run his own indie, going to be risky and you only get the accused of multiple cases of sexual �
16Why I chose investigative journalism
David Henshaw: ‘I drifted into it – it to society – and it is the best form of
wasn’t a career plan.… I joined the BBC journalism to have an impact and bring
when I was just 30, working on an inves- about change.’
tigative programme for Radio 4.… I [knew
it] was what I really wanted to do. It Sirin Kale: ‘You can genuinely change
combined all the things I was interested things, which you can’t do in other forms
All pictures: Paul Hampartsoumian
in: history, geography, culture and current of journalism.… If you see… an injustice…
affairs. It hasn’t stopped being interesting you can [fight] it and even change the law.’
and that was a long time ago.’
Ed Howker: ‘The kind of journalism that
Ben Zand: ‘I did journalism at university we’re talking about is romantic – often
and knew I wanted to be a documenta- it completely takes over your life.… It’s
rist early on, but I didn’t know what type designed to create high-impact, public-
of documentaries I wanted to make.… interest stories and I don’t see it as dis-
Investigative journalism feels as though tinct or rarefied from regular journalism,
Ben Zand
you are contributing something valuable except that you have more time.’
about a bloke who’d gone missing in Contacts are key, argued Ed Howker.
Tenerife on holiday in the mid-1980s. ‘If you know people who are experts in
‘Number one, “Why do you go missing certain areas or have a very good sense
on holiday?” and, two, “Why do people of what’s happening in their community,
think he’s still alive?”’ The story was told try to keep your relationship with them
in the Channel 4 documentary Looking going. If people have had a good experi-
for Ricky. ence with you in the past, they are more
‘There’s always an appetite for inter- likely to tell you things in the future.’
esting stories,’ said Sirin Kale. ‘Listen to Confidence matters, too, said Kale:
people, because they often have inter- ‘Don’t assume that other people can
esting things to say – so many stories report a story better than you – don’t
that I’ve got have come from conversa- be intimidated.’
tions in the pub.… That said, you have to learn to deal
‘It’s really hard for journalists breaking with being turned down. ‘It’s a hard
into the industry to get a staff job, but world, so you need to get used to rejec-
one thing that will never change is that tion,’ said Zand. ‘Learn from people who
commissioning editors are looking for have done it before and try to slowly
good stories.’ move up the ladder.’
Ben Zand added: ‘Stories are journal-
ism – you don’t have a career unless
Sirin Kale
you can come up with stories.
‘You need to figure out what the
How to get potential outlets are. If your story isn’t
[suitable] for Panorama, don’t go to the
started in TV Panorama commissioner.’
Henshaw advised: ‘If you have a story,
that’s your property and a bargaining
‘At the heart of [investigative journalism] tool. So, if you’re offering it and you then
is spotting a story, and a story isn’t do a deal with the production company,
something you’re going to come across make sure that you define your role in
by brainstorming,’ said David Henshaw. that film.’
‘Spotting a story is something that you He explained that having access to a
have to have an instinct for. story – even if you lack TV experience –
‘In 25 years of running [my indie] can get you on to a production team.
Hardcash, on two occasions I’ve got a The investigative film-maker Livvy
story, which turned into a commissioned Haydock, who chaired the RTS Futures
film, from reading the letters column of discussion, added: ‘If you’ve got the key
the Daily Mirror. [One of them] was from access – or even one bit of it – you’re
David Henshaw
the National Missing Persons Helpline, already way ahead of everybody else.’
Television www.rts.org.uk June 2019 17Confessions of a Serial Killer
‘CERTAIN
STORIES
NEED RISK-
TAKING,
OTHERWISE
YOU CAN’T
TELL THEM’
Channel 4
� abuse, for BBC Three. His latest doc- of a judge and not reveal who my and survivors,” she continued. “You
umentary – Channel 4’s Confessions of source was, while also denying that I’d have to amplify their voices, because
a Serial Killer, which aired at the end of hacked. The proof that I hadn’t hacked they are the people who’ve been
May – tells the story of Samuel Little, was obviously to reveal my source, but affected.”
who claims to have killed at least I couldn’t do that.” Howker kept the “I wanted the investigation to be
90 women over 40 years in the US. source’s identity to himself. picked up by the BBC, on Woman’s Hour
Not all risks are physical, as Chan- Vice UK associate editor Sirin Kale and Victoria Derbyshire, which it was,”
nel 4 News journalist Ed Howker, who was behind the anti-stalking cam- she continued. “That’s what people
works on the programme’s investiga- paign Unfollow Me and produced a with connections listen to and, if you
tions unit, explained. “We often look documentary on the life and death of want to change policy, you need to get
at big elements of western states to a woman, who had been murdered by into those people’s spheres.”
see how we can effectively hold them her stalker ex-boyfriend. Kale said More than anything, investigative
to account,” he explained. The risks that her investigations “always start journalism needs the backing of
he faces are mostly legal. with a human story at their heart”, broadcasters – it frequently takes time
Howker worked on the RTS award- but she is also a firm believer in using and money to tease out a story and
winning Data, Democracy and Dirty Tricks data to help tell stories. film the programme. “We had an
investigation into Cambridge Analytica. She used the Freedom of Informa- investigation that went out on ITV
“I rather like the Ofcom code in a tion Act to request information from about a month ago, The Priory: Teenage
peculiar way because it does force every police force in the UK: “I asked Mental Health Exposed, which had taken
you to constantly think about being how many women had reported 18 months. It was extremely expensive
fair-minded. And, if we’re trying to stalkers to the police prior to their and I’m very grateful to ITV for funding
do the job properly, we should all be deaths [at the hands of] the stalker.” that,” revealed Henshaw. “Not many
fair-minded,” said Howker. “But, in its The results were shocking: 60 women broadcasters are prepared to put that
worst interpretation by lawyers, it can had been murdered by partners, exes kind of money and commitment in.” n
blunt your spear.” or stalkers, despite reporting them to
A few years ago, Howker found the police. The RTS Futures event ‘Investigations
himself in court, falsely accused of “You need the data to create a story, uncovered’ was held at Rocket Space in
having “hacked an individual, a twice- but then you need a human story for London on 15 May. It was chaired by inves-
bankrupted tax exile, as it happens”. people to care about. And the human tigative film-maker Livvy Haydock and
He recalled: “I had to stand up in front story has to come from the victims produced by Reem Nouss and Ed Gove.
18You can also read
