TV
‘Survive to 2025’: UK TV production firms fight to stay afloat in slump | Television industry
The UK’s TV production sector has adopted the mantra “survive to 2025” as a perfect storm of market pressures has led to a £400m financial hole, leaving hundreds of small companies in a fight to stay afloat this year.
This week the industry body Pact, which has 850 TV production companies as members, revealed that cash-strapped British broadcasters slashed spend on commissioning programmes last year to the lowest level since the height of the pandemic.
The impact has left the hundreds of small independent TV producers, the “indies” that make up 85% of the UK’s production sector, scrabbling to make ends meet as they pin their hopes on a market recovery this year.
Despite enjoying all-time record income of almost £4bn in 2022, thanks to a post-Covid spending by broadcasters and streamers seeking to replenish and spruce up their programming catalogues, the financial downturn has been abrupt and precipitous.
More than 70% of indies that took part in a recent survey by the industry body Indielab said they faced the risk of closure by May next year if there is not an improvement in market conditions.
Over the past two years many companies have either shut, merged with other labels or stopped employing staff to produce new content, turning instead to monetising their back catalogue.
They include the names behind a swathe of hits. In the past few weeks drama indie Euston Films, the maker of The Sweeney and Van der Valk in the early 1970s and more recently Nightsleeper which starts on BBC One on Sunday, let all its staff go, while Label 1, which produced the long-running BBC Two documentary Hospital, shut its doors. In February, RDF closed after a 31-year run in which it produced high-rating favourites including Wife Swap, Faking It and The Crystal Maze.
The slump has fuelled a wave of job losses, while others have had their hours reduced. Freelancers have been particularly badly hit, with a survey from the union Bectu finding in July that more than 50% are not working and 38% plan on leaving the sector in the next five years.
“It is pretty bad out there,” says Victoria Powell, the chief executive of Indielab. “We have had a perfect storm of issues that have led to this contraction. If we don’t act and address the challenges it may be too late for many to continue in a sector that has thrived for the past 20 years.”
The combined pressures on UK TV production include the worst downturn in TV advertising since 2008, soaring inflation affecting broadcasters’ costs and the end of a period of profligate spending in the race for eyeballs fuelled by the global streaming revolution.
“The era of ‘peak TV’ produced budgets and quantities of commissions that hit unsustainable heights,” says Fred Black of the media analysts Ampere. “There was a content gold rush and production companies were taking the money on the table, but that was never going to last for ever. It was a shock to see that change so rapidly last year.”
The market conditions have seen brutal retrenchment across UK broadcasting. Earlier this year, ITV cut 200 jobs as part of a £50m restructuring programme. Separately, Channel 4 announced it was to sell its £90m London headquarters and lose 240 staff in the biggest round of job cuts in more than 15 years.
The BBC, which has been making waves of job and programming cuts amid a licence fee freeze, said in March that it needed to make annual savings of £700m a year after a decline in its income of about 30% between 2010 and 2020.
International broadcasters have also cut back amid the decline in traditional TV viewing and a need to make heavily loss-making streaming services earn their keep, with Disney slashing content budgets by $3bn (£2.3bn) and Warner Bros Discovery in the midst of a $5bn cutting drive.
The knock-on effect on programme commissioning in the UK, from domestic and international broadcasters, has hammered the production industry. About 1,400 new TV series were greenlit in the UK in the boom of 2022, according to Ampere. That dropped to a little more than 1,200 last year, exacerbated by the Hollywood writers’ and actors’ strikes that halted US-funded titles being made in the UK.
“The question is was there a surge and are we now coming back to something more normal, or are we going backwards,” says David Abraham, the founder of Wonderhood Studios, which has made shows including Super Surgeons and Evacuation for Channel 4 and Dodi: Last Days of a Playboy for Paramount+.
“Britain punches above its weight in terms of creativity and impact. It is an incredibly successful market. Shows like Baby Reindeer show that the replenishment of creativity in the UK system can find a global audience and have a global impact. I wouldn’t say the market is easy or straightforward, but it is readjusting.”
However, that readjustment is not affecting UK producers equally, with smaller companies disproportionately hit. One production industry executive points out that daytime and lifestyle programming is facing significant pressure, despite being cheap to make, as broadcasters hope to minimise cuts to budgets for more premium shows that have more capacity to stand out and sell internationally.
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“That middle ground, the bread and butter sector, is being squeezed,” says the executive, speaking anonymously. “We are also seeing an increased focus on ‘affordable drama’ series as value for money becomes a priority.”
Pact’s figures show that more than half of the revenue value of programme commissions in the two biggest genres, drama then entertainment, went to the largest producers. And 90% of spend on drama commissions last year went to indies with a turnover of more than £25m.
“The impact has been asymmetrical, with the bigger production companies not showing a major impact, while the smaller producers have really felt it,” says John McVay, the chief executive of Pact.
The drop in original commissions has hurt small to mid-size companies that rely more heavily on winning new work, while bigger players who tend to have returning series to lean on are proving more resilient, McVay says. “Even when times are hard Channel 4 is still going to keep commissioning a Gogglebox, isn’t it?”
Indielab’s Powell would like to see regulation introduced by the government, which she suggests is more interested in the Hollywood production boom than the “serious contraction in the homegrown market”.
Measures at the top of the list include the introduction of a quota system for big streamers such as Netflix, similar to France which has forced them to reinvest 20% to 25% of their domestic revenues back into French production. There are also calls to extend the tax credit system, which offers major breaks for film and high-end drama, to all genres and scrap the £1m-plus-an-hour eligibility criteria for dramas.
Production companies have endeavoured to diversify their businesses to stem the impact of the downturn. Pact recorded 51% growth last year in non-TV revenue from activities such as management and event production.
The question is how many will be able to make it to the other side, and whether the last two years mark the beginning of a trend of permanent decline, or just a post-Covid correction.
“I don’t know whether 2023 is about going back to normal numbers seen pre-pandemic, or an indicator of further decline in investment [ahead] from what was a big spending 2022,” McVay says.
However, some signs of a possible recovery are starting to show. There were more commissions for unscripted shows in July and August than the same months last year, the first months this year to show annual growth according to Ampere. Meanwhile, commissions of scripted programming in August were higher than the same month last year, and in 2022 and 2021.
January to August has also been the most prolific period for UK commissions by Netflix, while Channel 4 has resumed commissioning after instituting a freeze due to cost-cutting.
“There is a saying that has been going around the industry – ‘survive to 2025’ – when things will hopefully improve,” says Ampere’s Black. “We are starting to see glimmers of light that indicate that may well be true.”
TV
Strictly Come Dancing enters a new era of chaperones and welfare measures – this year’s stars discuss all
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The BBC’s ballroom behemoth, Strictly Come Dancing, has been catapulted into a new era. The show has completed 20 laps around the sun as Britain’s loveliest comfort watch, delivering high kicks, glittery outfits and tears of joy for two glorious decades. Each year, the show combines old-fashioned showbiz glamour with classic British silliness. It’s given us Ed Balls grinding to“Gangnam Style”. Russell Grant being shot out of a cannon. Ann Widdecombe getting dragged across the dancefloor like a broken suitcase. And there have been trailblazing moments – take the show’s first deaf contestant, Rose Ayling-Ellis, and her Bafta-winning silent dance. Now, though, the show’s wholesomeness has been tarnished by accusations of bullying and abusive behaviour, forcing the BBC to apologise and fire two professional dancers from the cast. It’s left us all wondering: how will the show go on?
In response to the scandals surrounding Giovanni Pernice and Graziano di Prima, the BBC has introduced a set of duty-of-care measures ahead of the new series. Chaperones will now be present in rehearsal rooms, while two welfare specialists have joined the production team, with the rest of the crew receiving extra training. Though most of us watching at home will never be privy to the inner workings of the new system, this year’s batch of 15 celebrities shed some light on the changes when I meet with them at the Strictly studios a couple of weeks ahead of opening night. They’ve already been in training for the launch show. Among them is former X Factor singer Shayne Ward, sitting across from me at a round table decorated with a giant glitterball centrepiece.
So far, he says, the chaperones have been very discreet. “You can’t see them when you’re dancing but they’re always there,” he says, holding his purple Strictly-branded water bottle. “If you’ve got something on your mind or you just wanna have a chat – you have somebody there for a little bit of support. But they’re not gonna be completely on your shoulder,” he says.
All of the celebrities I speak to have a positive expectation about what’s to come. “Everything’s in place both mentally and physically to look after you,” says DIY SOS‘s Nick Knowles. We’ve got physios to make sure we’re physically OK. We’ve got people to talk to if you feel bad,” he explains. “People are being listened to. From our [the celebrities’] point of view, it just feels great.” I get the sense that these are pre-planned responses, but the celebrities do seem genuinely enthused about their experience so far.
EastEnders actor Jamie Borthwick, who is returning to Strictly after winning the Christmas show with Nancy Xu in December, suggests the vibe feels more serious now he’s doing the real thing. “I was only here for two weeks [for the Christmas show] and it was very fun and festive and you know, it wasn’t as… heightened as the main show,” he pauses. “It’s a bit more different now, working with different people, but it’s the same gang all still here and everyone’s still great.” He says the backstage passion for the show, which he witnessed back at Christmas, hasn’t waned despite the allegations that emerged over the summer. “Everyone’s so enthusiastic. Everyone wants to be here and have fun,” he says.
There’s no denying that the standard of dancing on Strictly has spiked in recent years. When watching a semi-final these days, it’s easy to mistake an amateur for a professional (if you squint a little bit). And while judges would only award 10s on very special occasions a decade ago, in the latest series the celebrities were so skilled that the panel couldn’t resist routinely dishing out full marks.
Did this year’s celebrities feel pressure to meet those high standards? Knowles says he has undergone a six-week fitness regime but admits he is struggling with rehearsals. The day before we speak, he left a dancing session and barely had the energy to walk to the car. “I got home and basically ran a bath of cold water and put my feet in,” he laughs. “I’m just staring at the tiles on the wall. I’m just like a zombie staring into space!” He says that the show is completely occupying his mind. “My brain is entirely on what we’re doing and how to try to not look like someone’s uncle at a wedding.” Miranda star Sarah Hadland says she panic-called her ex-personal trainer when the BBC contacted her. “I hadn’t trained in three years and I literally rang the last person I was with like, ‘You’ve got to help me! I’m going on Strictly!’ And he was like, ‘I’ve moved to Yorkshire!’ So we’ve been training on FaceTime.”
Comedian Chris McCausland laughs when he says he could feel himself “seizing up” after rehearsals last night. “I went to pick something up off the floor and I gave up halfway and just left it. It’s really full on for the start of it.” McCausland, who will be the show’s first blind contestant, says the production team have been excellent in accommodating him. “I’ve never seen the show, and I can’t go back and watch it, so we’re gonna have to figure it out as we go along,” he explains. “The production crew are being really flexible. My dance partner is figuring out how to teach me and we’re winging it… that’s the best way.”
The ever-climbing standards, combined with the news of the allegations, certainly made some incoming contestants think more deeply about their answer when they got the call from the BBC. Punk rock singer Toyah Willcox says the recent events made her consider her own physical endurance. “[The accusations] have made me take what’s coming very seriously,” she says. “What’s happened this year is because everyone is 100 per cent committed to dancing. And I’ve been thinking, can I push myself beyond my own limitations? You’ve got to go beyond your own personal comfort zone and that’s always been very, very obvious. For me, it’s now or never. It’s as simple as that.”
Former Arsenal/England footballer Paul Merson says his former teammate Tony Adams forewarned him about the physical extremity of the commitment he was about to make. “Tony didn’t have a good reaction [when I told him I signed up],” says Merson. “He said it’s the hardest thing he’s ever done. He said, ‘One week you’re learning chess. Then it’s rip that up. Next week, you’re learning how to play backgammon.’ He was England captain, played in front of 100,000, and he said, ‘I never ever felt like I did before every live show, my mouth was dry.’”
Already, the celebrities seem to be sizing each other up. Merson says he’s eyed the celebrities with a natural flair for dancing. “When I got there yesterday, a group of the celebs were doing their dancing and I was blown away,” he gasps. “I was literally sitting there like, ‘I thought everybody was going to be s***.’ Honestly, I’ve never seen anything like it. Some of the celebrities are mind-blowing.” Oh, go on. Tell us who. He points to Love Island star Tasha Ghouri, who is a trained commercial dancer. “And Shayne. Shayne’s good!” he says. Elsewhere, opera singer Wynne Evans teases Borthwick for having an “extra six months” advantage because he’s already done the Christmas special. “It’s like he’s been in training a lot longer than the rest of us. I can’t let it go!” he jokes. “You’re not gonna let it go!” replies Borthwick.
The celebrities are clearly buzzing from rehearsing their opening number. But, right now, it’s baby steps – they’re still laying down the foundations. Hadland tells me about practicing walking down the iconic Strictly stairs, which happens at the beginning of every show as the voice of Alan Dedicoat announces the participants’ names. “That was definitely a bit of an out of body experience,” giggles Hadland. “You hear, ‘Da da da, here’s Sarah Hadland!’ And you’re like ‘Oh my God, it’s actually happening.’” Montell Douglas, aka Fire from the recent Gladiators reboot, says she’s been haunted by the show’s logo since rehearsals began. “All I’m seeing is glitterballs everywhere,” she laughs, pointing at the shimmering orb between us. “I’m having nightmares about glitterballs already. Dreams that are turning into nightmares. It’s definitely making me shiny-eyed, that’s for sure.”
Perhaps Strictly’s sparkle will remain intact, after all.
‘Strictly Come Dancing’ continues on BBC One on Saturday 21 September
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Strictly Come Dancing is almost back on our screens and fans are once again putting on their detective hats to find out which celebrities have an “advantage” due to past dance training.
As many of the celebrities competing on Strictly are actors, singers and performers, a large number of them will have trained in dance or theatrical performance.
Those contestants are often subject to backlash from viewers at home who argue that they have an unfair advantage compared to the other contestants. There is also criticism that the inclusion of these celebrities means that the amateur dancing show has become more competitive in recent years. Last year, Layton Williams faced similar complaints from viewers who claimed he had an unfair advantage due to his dance experience performing in West End productions.
This year’s lineup includes a professionally trained commercial dancer, a JLS member and a musician with West End performance experience. Find out who they are, and what they’ve said about their training, below.
Tasha Ghouri
Before she became a finalist on the 2022 season of Love Island, 26-year-old Ghouri trained as a dancer at Creative Academy in Slough and has since competed at major dance events. She specialises in commercial, which is a broader style of dance popularly seen in music videos or on stage at music tours.
Speaking to The Independent and other journalists at a roundtable event ahead of the new series, Ghouri explained that the ballroom technique is completely different to the training she received at dance school.
“Commercial dance is very different to ballroom dance and latin, I’m still having to strip down and relearn, even walking in cha cha step is weird to me – you have to turn out your feet and lead with your hips, so it’s based on muscle memory.”
“Even letting a man take the lead is a lot.”
Speaking about whether she is anticipating backlash due to her previous training, Ghouri said that she signed up for the show to make her family proud, and is looking forward to a positive experience.
“I’ve gotta block out that noise and luckily I’ve been in this industry for two years and I’ve grown so much stronger after Love Island – there was so much negativity,” she said. “[Strictly] is my dream. It’s something I’ve dreamt of for so long. So I’m doing this for me and my family and my partner.”
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JB Gill
Gill, who rose to fame in 2008 with his boyband JLS, has a wealth of dancing experience from starring in the band’s music videos and performing dance routines on tour.
The “One Shot” singer has already had a taste of Strictly: he took home the trophy on the 2012 Christmas show, performing a jive to “Rockin’ Robin” alongside professional dancer Ola Jordan.
Speaking ahead of this year’s show, Gill explained that he had just finished touring with JLS, so that he was already feeling physically ready for the show.
“I’ve literally just come off a summer tour with all of the boys, so I’m probably in the best shape that I possibly could be,” he told The Independent. “Physically I feel like I’m in a decent space, but as soon as we start doing all the frames and all this stuff, I think the muscles are really gonna hurt. So I’m preparing myself.”
Jamie Borthwick
EastEnders actor Borthwick is already well-prepared for this year’s Strictly after winning the 2023 Christmas special alongside professional dancer Nancy Xu.
The couple performed the Quickstep and achieved a maximum of 40 points from the judges.
Borthwick attended the Sylvia Young Theatre School, which trains students in singing, acting and dancing. Daniel Kaluuya, Dua Lipa and Amy Winehouse are all alumni.
Speaking to The Independent, Borthwick remarked that it had only been a matter of six months between his two Strictly stints: “It’s like I never left because what’s six months anyway?” he said.
Toyah Willcox
Willcox, best known for hit singles like “It’s A Mystery”, “I Want to Be Free” and “Brave New World”, has a career spanning more than 40 years across stage and screen.
The singer rose to fame in the late Seventies when she fronted the band Toyah, before pursuing a solo career in the mid-Eighties. But she has completed several stints as a character actor in West End shows, and has been privy to some performance and dance experience.
Throughout her career, she has acted, sung and danced in more than 40 stage shows and acted in more than 20 feature films.
Speaking to The Independent about her performance experience, she said: “I’ve done West End shows. But I’m a character actress, not a dancer, and I will give anything a go. This is such a different art form. We’ve got to turn our feet out. We’ve got to twist our backs. We’ll be doing things that I would never choose to do in a West End show. It’s going to be very challenging, I think for all of us.”
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Netflix viewers have cautioned others on social media about some of the violent content in the streamer’s latest hit series, Monsters: The Lyle and Erik Menendez Story.
The series, a follow-up to Ryan Murphy’s hit 2022 true crime drama Dahmer – Monster: The Jeffrey Dahmer Story, tells the story of Erik and Lyle Menendez, two brothers who murdered their parents in Beverly Hills in 1989.
Nicholas Alexander Chavez (General Hospital) and Cooper Koch (They/Them) play the two brothers, while Javier Bardem and Chloë Sevigny portray their parents.
On social media, viewers shared their shock over the staging of the murder scene, with many describing it as extremely graphic.
“Fam, I’m watching Monsters: The Lyle and Erik Menendez Story… They didn’t have to make the scene when they killed their parents that graphic. SHEESH,” one person wrote.
“I was actually shaken by how graphic the murder scene was,” another person remarked. “It’s Ryan Murphy, I shouldn’t have been, but it was horrific to watch. Both of the boys are actually incredible.”
Someone else simply wrote: “Gahlee, Monsters is graphic as f***.”
The series has risen to top the most watched TV charts on Netflix, overtaking the streamer’s recent hit The Perfect Couple.
In a three-star review of the series for The Independent, Katie Rosseinsky wrote: “It is not hard to see what drew Ryan Murphy to the case at the centre of his new Netflix offering, Monsters: The Lyle and Erik Menendez Story. In 1996, the brothers were convicted of the 1989 murders of their parents, José and Kitty; the siblings had gunned down the multimillionaire couple while they were watching television at their Beverly Hills mansion.
“The guilty verdict came after two high-profile trials, the first of which played out on live television on a relatively new channel, Court TV. America was hooked on the story, which has all the requisite elements for a Murphy adaptation. A brutal crime? A press whirlwind? Vast displays of wealth? Tick, tick, tick.”
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She continued: “Thankfully, this latest in the Monster series lacks the gruesome excesses of Dahmer. But it also feels like a muddled mix of the best and worst of Murphy’s oeuvre. It’s likely to please his legions of fans, but may leave his detractors feeling a little queasy.
Monsters: The Lyle and Erik Menendez Story is available to stream on Netflix now.
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