TV

Televisual Production 100: results published

Published

2 days ago

September 20, 2024

Televisual Production 100: results published

Televisual’s exclusive annual report into the TV indie sector, the Production 100, is out now with Avalon in the number one spot.

Avalon posted a turnover figure of £223m. The top 100 indies collectively turned over £1.9bn over the past year.

RAW TV was voted the producers’ producer in the report’s annual Peer Poll in which indies vote for the rivals they most admire.

The survey also asked respondents to name the broadcasters that are the best, and worst, to work with. The BBC was voted as the best UK broadcaster and Netflix the best streamer to deal with over the past year.

All3media International and Drive jointly took the crown as the indies’ best rated distributors.

Below is the introduction to the survey. The full 56 page report is out now in the Autumn issue of Televisual Magazine

AFTER THE UNPRECEDENTED PRODUCTION HIATUS OF 2020, THERE’S A REAL SENSE OF RECOVERY ABOUT THE INDIE TV SECTOR. TIM DAMS REPORTS ON THE FINDINGS OF 2021’S PRODUCTION 100

Last year’s Production 100 was all about the devastating impact of Covid-19 on the indie sector, and was carried out at a time when most production had ground to a halt.
This year, by contrast, the story is all about the recovery from Covid-19. Many production companies say business has bounced back, amid unprecedented demand for new programming from content-starved broadcasters and streamers.

IN RECOVERY
However, it’s not a straight-forward recovery. Ask most indies how they are faring and they will reply, “It’s busy, but…” The word ‘but’ presages a long list of challenges that they – and many of their contemporaries – are facing. These include: rising costs as a result of Covid protocols; wage inflation amid talent shortages; struggles to secure talent, kit and studio space; a frazzled and exhausted workforce; growing competition; squeezed PSB budgets; battles to hold on to rights; and delays amid production bottlenecks.
“Because many productions were placed on hold over the last 16 months, production is ramping up massively across the industry,” says Thames. “This is good news for those who have lost work, but it means off-screen talent is very scarce at the moment. Rates are rising accordingly, although not yet matched by rising budgets.”
“It’s incredibly busy by all accounts – so very competitive with a huge skills shortage,” adds Oxford Film and Television.
Plimsoll says: “Coming out of a bumpy period, the UK production sector is bouncing back. However the much discussed privatisation of Channel 4 is a cause for concern.”
Looking ahead, Shine Television speaks for many when it says: Business is “pretty good, although it will be another hugely challenging year.”

THE TOP 100
The turnover of the top 100 indies stands at £1.9 billion this year. It’s difficult to compare this figure with last year’s survey as there isn’t one; such was the havoc wrought by the pandemic that Televisual didn’t ask producers to supply turnover figures for the 2020 Production 100. Still, it is significantly lower than the £3 billion turnover that the top 100 posted in 2019, before the pandemic.
The fall is, of course, largely because of the pandemic. In particular, the turnovers of many drama companies plunged over the past year as they were unable to get their big budget shows into production.
However, the fall is also due to the changing cohort of companies in the Production 100. IMG, 2019’s top ranking company with a turnover of £462 million, no longer takes part because its parent company Endeavor Group Holdings listed on the New York Stock Exchange in April, and the Group does not break out income from its individual companies.
IMG’s absence means that Avalon is now the top ranked production company in the UK. The Taskmaster, Spitting Image and Last Week Tonight with John Oliver producer has had its biggest ever year, despite the pandemic, with 11 new commissions. With its operations spanning talent management through to production and distribution, Avalon’s turnover hit £223 million for the year.
Gogglebox and The Circle producer Studio Lambert has shot up to second place thanks to a £90.6 million turnover.
Gangs of London indie Pulse Films – which spans TV, film, music and commercials production – has also had a big rise to third place on the back of a £68.7 million turnover.
Objective Media Group has also climbed the rankings. Back in 2019 it was in 36th place, but this year it’s fourth thanks to series such as Netflix’s Feel Good and ITV’s The Million Pound Cube.
Other indies to have done well this year include His Dark Materials producer Bad Wolf which has made the top 10 for the first time. Tiny World indie Plimsoll and Friends: The Reunion producer Fulwell 73 have also cracked the top 20, while risers include Normal People indie Element Pictures and The Masked Singer producer Bandicoot. Animation house Blue Zoo has also climbed the rankings, as has Wildseed Studios and Brinkworth.

STREAMER GROWTH
As always, the UK market remains key to most indies. Some 53.7% of an average indie’s production revenues are derived from UK broadcaster clients. But this is down significantly since 2019, when the figure stood at 60.5%.
The international market is increasingly important, now accounting for 29.4% of an indie’s turnover. Streamers such as Netflix, Disney+, Apple TV+, Amazon, and Discovery+ have become ever more significant as a source of business. “Streamers are piling into the UK market,” says Raw.
“The globalisation of TV production is providing an opportunity for growth,” says Love Productions.
Blink Films, meanwhile, says the UK market is squeezed but “we have seen significant growth in the streamer market opportunities available to us and this is now forming quite a high proportion of our turnover.”
Adds Dragonfly: “There are so many new players in the market and all of them are interested in UK companies, and have deep pockets and a long list of commissioning needs.”
The UK market, of course, is a lynchpin for most indies. “After a slow 18 months, it feels like UK channels are commissioning in earnest,” says Initial. True North, meanwhile, points out that lots of new commissioners have been appointed post pandemic “who are energetic and excited to create new hit shows.”

INDIE RESILIENCE
Even though the industry is in recovery, Covid remains the biggest talking point among indie producers. That’s hardly surprising – its effects have been so far reaching and profound.
Perhaps the biggest surprise is how many indies have come through the pandemic intact. More than anything, Covid-19 has demonstrated the remarkable inventiveness and resilience of indies. A number have closed, many have eaten deep into their cash reserves and made use of furlough schemes – but most have survived. The July 2020 launch of the Film & TV Restart Scheme is lauded as key to getting the industry going again, although not all shows have been able to take advantage of it as they fall outside its scope.
Many have experienced significant delays as result of Covid-19. “All of our production slate for 2020 was paused with a knock on effect on our revenues,” says Element Pictures. “This has a significant impact on resource management for 2021 as we effectively manage two years of production slate in one.”
Thames, meanwhile, had to postpone series 15 of Britain’s Got Talent to 2022, causing a significant financial impact.
Workerbee says that Covid-19 has pushed back productions into 2021, making the 2020 financial year very difficult to balance. “Production budgets created before the pandemic are still in play and underfunded.”
HCA Entertainment says Covid delayed its productions for 20 weeks last year. But by following broadcaster protocols, HCA has since managed to deliver a range of shows like Find It, Fix It, Flog It, The Motorbike Show and Shed and Buried. “But we haven’t been able to film abroad, so shows that have been contracted for over a year now – like Riding Route 66 and The History of Black Bikers for ITV4 – won’t be filmed till next year.”
Many say that relationships with broadcasters have, if anything, improved. “We’ve all become partners through these challenges and undergone them together,” says Outline.
Raw, meanwhile, says that broadcasters have been “amazing, supportive and realistic” to the challenges and financial impact which production companies have faced, citing Netflix and Discovery in particular. Kudos, meanwhile, picks out Sky and the BBC for being particularly collaborative and supportive. “We have had to invent new ways of working and solutions to new challenges, and have done it hand in hand with each of the broadcasters.”
Collective Media Group says that relationships with international broadcasters and SVODs (and to a lesser degree UK broadcasters) have been “much easier to build where interaction can happen over Zoom meetings rather than expensive international trips to pitch.”
Not all are so complimentary about broadcaster clients. Some say they have lent a sympathetic ear, but this hasn’t been reflected in delivery deadlines being extended or budgets being increased enough to take account of Covid-19 costs.

RISING COSTS
In fact, costs have emerged as a real bugbear in this year’s Production 100. Not all budgets have risen to take into account the 10-20% in production costs that shows have incurred as a result of Covid-19 protocols, delays and additional work.
“Covid safety costs including testing and PPE have led to budget increases on jobs already in production before Covid-19 hit, and [we’ve been] unable to get overages from the broadcasters in many instances,” says Pulse Films.
“Budgets are more challenging than ever,” says Outline. “Some broadcasters have been brilliant and really helped with the costs of Covid, while others have put all this financial uncertainty and pressure onto the indie – which is very tough and stressful to bear.”
“Our budgets have certainly suffered, having to factor in quarantining and testing both in this country and on the overseas shoots,” says Off the Fence.

BUDGET SQUEEZE
Even without additional Covid costs, producers say budgets for PSB broadcasters in particular have been squeezed, either as a result of falling ad revenues at commercial channels or funding freezes at the BBC. Many say they need to bring in third party funding to get budgets to an acceptable level. “The continuing reduction in budgets is making some projects unworkable,” says Back2Back. Rondo adds that budgets for UK commissions “haven’t increased to keep pace and compete with the newer SVODs.”
Others think that there may be fewer commissioning opportunities in 2021/22 as broadcaster have had to reschedule so many series that have not been able to deliver for broadcast – dramas especially.
Many say that squeezed budgets and rising costs have hit margins, making it harder to keep people on staff and assist their career development, and to invest in new ideas – whether optioning a book or commissioning a script. “Broadcasters have to recognise that unsustainable tariffs will backfire,” says one indie. “People will leave the industry.”

RISING INFLATION
Compounding the budget crunch, producers say they are working in a climate of galloping wage inflation for crew and facilities.
The rush back into production after lockdown has meant a big bottleneck as shows look to get made. As a result, experienced crew are thin on the ground, while facilities such as studios are booked up well in advance and equipment is difficult to source. All this has conspired to push up prices for talent and facilities. Pulse Films talks about hyper-inflation in rates: “The industry is very overheated with few crew and talent available.”

TALENT SHORTAGE
“The most challenging aspect of the business this year is unquestionably staffing,” says Bandicoot Scotland. “There’s an enormous shortage of experienced talent at every level.”
Sid Gentle Films, meanwhile, says that one of the biggest challenges it has faced “is finding available crew with adequate experience.”
Leopard Pictures says the boom in UK production has caused an industry wide shortage of talent, studios and equipment. “With a backlog of high end production and increased investment from the major content players, we anticipate continued pressure on all aspects of production over the next 12 months.”

BREXIT ISSUES
Brexit has compounded the issue for several indies. “The amount of work happening in the UK at the moment is very healthy, but we are struggling to find crew,” says Wildseed Studios. “Brexit has been a real problem, especially in animation where so much of the talent that we seek to employ is from France and other EU countries.”
Footstep Productions explains that Brexit has had more impact than Covid on its output. “We have worked regularly for European broadcasters, but they are not commissioning because of uncertainty as to how the rules will work.”
A Productions adds that Brexit is having a real impact on recruitment. “Key talent is returning to the EU or unable to move here due to prohibitive costs for the employer in terms of sponsoring.”

PRODUCTION STAFF
Many cite the worrying shortage in production management staff – production managers, line producers, production execs and co-ordinators. As it is, Covid has put a huge workload on to these often unsung heroes of production.
“The additional work shouldered by production managers to implement Covid protocols on top of the growing list of other requirements such as Albert certification is becoming a real issue and really adding to their workload,” says Interstellar.
Covid, explains Optomen, had added more pressure to the production management side of the business. “They are having to work twice as hard doing their normal jobs on top of managing Covid protocols.”

MENTAL HEALTH
Indeed, a prominent concern to emerge from Production 100 feedback is about the wellbeing of staff and crew as they navigate increased workloads while juggling home schooling, and possible health or financial difficulties.
Baby Cow says Covid has had an adverse effect on nearly all production operations, from the ability to source and maintain crew, to scenario planning for insurance, contingency budgeting, managing broadcaster expectations, setting up Covid operations on set, managing insurance claims, rescheduling shoots and managing adverse budgetary impacts.
“The negative impact to the mental health and well-being of the crew – mostly felt across production, Covid supervisors and AD departments – has been significant,” says Baby Cow.
Love Productions, meanwhile, says it is “acutely aware of the stress and fatigue throughout the industry,” whether for staff, freelancers, suppliers and clients.

GOING REMOTE
With a large percentage of their workforce working remotely, indies like Aardman say it has been hard to replace digitally the sense of community that it is used to at work, as well as the “impromptu conversation in the canteen which creates a spark for an idea or plan.” Angelica Films, meanwhile, misses face to face contact and laments the “lack of free flowing brainstorm opportunities.”
Like many, Impossible Factual points out that it has been “easier to get ‘face-time’ with buyers and commissioners when operating by video conference platforms.”
“The development team found remote harder this year as they felt Zoom and Teams calls had been slightly exhausted,” says Talkback. “Creative thrives far more in a room full of people together and the development process moves along far quicker as well.”

C4 PRIVATISATION
Beyond Covid, indies also reflect in the Production 100 on some of the wider issues that the industry is facing.
Many are concerned about the possible privatisation of Channel 4, and the impact that this could have on their business. “A healthy and competitive C4 that remains a publisher broadcaster is vital to the health of every UK indie – whether or not they are working for C4,” says one indie.
The uncertainty around privatisation is cited as a concern by the likes of Naked, Plimsoll, Studio Lambert and October Films. “The government arguments for privatising C4 make no sense and will reduce the number of suppliers in the sector,” says Studio Lambert.
Voltage thinks the UK production sector is facing “existential uncertainty”. Citing the possible sale of C4 and next year’s review of the BBC charter, Voltage says: “UK broadcasters are either destabilised by government interference or the threat of big spending SVODs launching in the UK and taking market share in key demographics plus talent drain.”

RIGHTS CONCERN
As it is, many indies are profoundly concerned at the increasing challenges of holding on to programme rights. The Terms of Trade has, of course, underpinned the sector’s growth and innovation since 2003. Indeed, many relied on their reserves from overseas sales to survive the pandemic when production halted.
Dragonfly says that the rights situation is becoming “less favourable overall as broadcasters erode the terms of trade,” citing C4’s increased use of Group M funding and the BBC’s longer rights window on the iPlayer. Meanwhile, “the streamers expect global rights for five years plus.”

DIVERSITY
Diversity also remains a key issue for the sector, after really coming to fore last year following the killing of George Floyd and the rise of Black Lives Matter. Many indies say they are struggling to recruit diverse staff and crew. “There is a severe lack of crew, especially diverse crew, in Yorkshire,” says Rollem. Spun Gold, meanwhile, says finding BAME talent, on and off screen has been a challenge, although it hopes this will become easier over time.
Amid all the challenges facing the sector, there are reasons to be positive. Most indies agree that we are living in a TV golden age of creativity and excellence, and say that they are enjoying a growth in global customers, particularly the streamers.
Changes to the UK landscape – including government plans for C4 and the BBC – are a concern, as is the huge competition between indies for commissions and talent, and inflationary pressures in the market.
But the outlook, at least, looks far more encouraging than it did this time last year.

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Strictly Come Dancing: Amy Dowden make triumphant return with moving waltz

Published

15 mins ago

September 22, 2024

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Strictly Come Dancing: Amy Dowden make triumphant return with moving waltz

Amy Dowden has made a triumphant return to Strictly Come Dancing following a mastectomy, chemotherapy, fertility treatment and hospital care for sepsis.

The 34-year-old Welsh ballroom dancer, who first joined the cast of Strictly in 2017, was too ill to compete in last year’s series as she recovered from treatment for stage three breast cancer.

Dowden found a lump in her breast in May 2023 – the day before she was due to leave for her honeymoon in the Maldives with fellow professional dancer Ben Jones.

On Saturday (21 September), the professional dancer moved fans to tears as she danced a classic waltz with her pop star partner JB Gill following her recovery from cancer treatment.

Dowden and the JLS singer performed the moving choreography to the emotional ballad “When I Need You” by Leo Sayer and received a standing ovation from the studio audience.

Strictly Come Dancing judges Shirley Ballas, Motsi Mabuse, Craig Revel Horwood and Anton Du Beke scored the performance 31 points out of 40.

Ahead of her Strictly comeback, the professional dancer told Press Association: “I’m absolutely loving it, JB’s been the perfect comeback for me.”

“I’m just back in my happy place doing what I love most.”

Amy Dowden and JB Gill on ‘Strictly Come Dancing' — Amy Dowden and JB Gill on ‘Strictly Come Dancing’ (BBC)

She added of the Strictly live shows: “I think it’s going to be just really lovely because it’s going to be beautiful for my family because they struggled just as much as I did having to watch me go through it.”

Dowden admitted: “Last year’s Strictly was a tough watch for them because it was a reminder of exactly what we were going through.

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“It’s going to be one big celebration, this whole series for me.”

Meanwhile, Dowden’s partner Gill said he felt very connected to the professional dancer just one week into the 2024 Strictly series.

He said: “For me, I think it’s just trusting Amy, she’s the pro for a reason, I trust her judgment.

JB Gill and Dowden are partnered for the 2024 ‘Strictly’ series (BBC)

“We talk a lot, and I think our chemistry is very strong, even from the outset.”

Gill continued: “So, you know, just trusting her decisions, and obviously we will come up with stuff together, and then once we’ve decided it, that’s it, and we go and execute that, so that’s my biggest focus in that respect.”

It comes after Strictly viewers were left “in tears” by Dowden’s return to the programme in the series’ pre-recorded show last week.

Dowden in ‘Strictly Amy: Cancer and Me’ (BBC/Wildflame Productions)

Joined by her fellow Strictly professionals, the group performed a medley of songs, including Dua Lipa’s “Training Season” and Jungle’s “Busy Earnin’” and “Keep Moving”, as played by Dave Arch and his live studio band. The routine was choreographed by Jason Gilkison.

“I’m literally in happy tears over Amy’s dance,” wrote one person on X/Twitter.

Another added: “Must be peeling onions after that. Bless you Amy”.

Follow the Strictly Come Dancing live blog here.

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Tui Tui Funny Video Part 4 😆 tui tui Best Comedy 💪 tui tui Must Watch Special New Video By Our Fun

Published

36 mins ago

September 22, 2024

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Tui Tui Funny Video Part 4 😆 tui tui Best Comedy 💪 tui tui Must Watch Special New Video By Our Fun

Hello viewers 🥰

This video is not any kind of risk. This video is totally acting with no risk no Dangerous acts no physical harm.
This video was performed by professional actors
Now we are trying to make the best funny and pranks videos but we have also some mistakes yet.
If we have any mistakes please comment us in the comment box. My team(@Our_Fun_Tv) members will try to solve that mistake next time. Please watch our videos and give us the confidence to trying best.

DISCLAIMER NOTICE:-
Music:- YouTube Free Audio Music Library.

* I am not the Owner of These Images and Music in this video.
* I Always Respect all the Original Owners.
* I Use these Elements for Entertainment.

Director- Nasim
Script Writer – Rocky, Nasim, Hamidul, Rakib, Almomin
Producer – Mithon
Camera Man – Nasim
Editor – Nasim
Actors – Rakib, Hamidul, Almomin and others team members.

Thanks for watching this video.

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Walking, talking and outrageous pranks: Inside the making of The West Wing

Published

1 hour ago

September 22, 2024

NewsAdmin

Walking, talking and outrageous pranks: Inside the making of The West Wing

I am the Lord your God, and thou shalt worship no other god before me.’ Boy, those were the days, huh?” So thunders Jed Bartlet at the end of the first episode of The West Wing, 25 years ago today. As character introductions go, television has seen few as potent and delightful as when Martin Sheen’s avuncular Democratic president swept into the White House.

Over the course of seven seasons from 1999 to 2006, Aaron Sorkin’s political drama achieved the impossible: transforming the starchy, cutthroat world of Washington DC politicos into something joyous and accessible. The story of Bartlet and his diligent, whip-smart aides – among them loyal chief of staff Leo McGarry (John Spencer), savvy press secretary CJ Cregg (Allison Janney), cocksure fixer Josh Lyman (Bradley Whitford), curmudgeonly speechwriter Toby Ziegler (Richard Schiff), and his idealistic deputy Sam Seaborn (Rob Lowe) – was the perfect vehicle for Sorkin’s distinctive gatling-gun dialogue. It was a show that was smarter and more eloquent than almost anything else on TV, and wasn’t afraid to flaunt it. “It was,” says cast member Joshua Malina, “a show that encouraged you to care about people and how they are affected by political decisions.”

Viewers watched in awe through elections, filibusters, tribunals, military invasions, health scandals, attempted assassinations, and even a kidnapping. The guest roster was a who’s who of venerable stars: JK Simmons, Amy Adams, Gabrielle Union, Glenn Close, Laura Dern, Christian Slater, Christopher Lloyd, Matthew Perry, James Taylor, and Yo-Yo Ma among them. The series’ legacy can be seen not just in TV – in the snappy “walk and talk” device that it originated, and which spawned a hundred parodies – but in the world of theatre (in the hit musical Hamilton), and even in real-world politics. The West Wing was the series that inspired a generation of young Democrats. And for everybody else, it was simply compulsively well-made television.

Sorkin came into The West Wing with real Hollywood pedigree, as the writer of A Few Good Men and 1995’s The American President. It was in this latter film, a smart political drama starring Michael Douglas, that the idea for The West Wing was born. But he began pitching the show at a time when the public was stubbornly resistant to political narratives. “When we first started, it was right after Bill Clinton’s [Monica Lewinsky] scandal,” recalls Janel Moloney, who plays Josh’s secretary Donna Moss. “People were just cynical and grossed out by politics.” TV executives were, accordingly, hesitant to greenlight a series about DC politicians – a genre that had, even in less jaded times, never really produced a hit. As the script for The West Wing went unheeded, Sorkin made inroads elsewhere, creating the well-received TV-insider sitcom Sports Night. But The West Wing remained at the back of his mind; eventually, NBC commissioned a pilot.

Bartlet himself was conceived as a kind of blend of three US presidents: John F Kennedy, Jimmy Carter and Bill Clinton. But while it’s impossible to imagine The West Wing without Sheen as its Jupiterian centre of gravity, the premise could have gone 100 different ways. Sorkin’s original idea was to focus exclusively on the president’s underlings, and never even show Bartlet on screen.

Next question: CJ (Janney), Toby (Schiff), Leo (Spencer) and President Bartlet (Sheen) before the White House press corps (NBC)

Early brainstorming meetings also suggested a complete uncertainty as to the direction of the character: James Earl Jones, Jack Lemmon, Bruce Dern, Donald Sutherland, Clint Eastwood, Helen Mirren, Jane Fonda, CCH Pounder, Johnny Carson, and (bizarrely) New York Yankees boss George Steinbrenner were among the myriad names floated. Talks with Sidney Poitier didn’t get far, and Alan Alda – who would join the series towards the end of its run as Republican presidential hopeful Arnold Vinick – turned Sorkin down. The role was actually offered to Hal Holbrook after an impressive audition, only for Sorkin and director/exec producer Thomas Schlamme to change their minds overnight. Sheen ultimately won out, and brought his own key touches to the role – Bartlet’s staunch Catholicism, and his history as a graduate of Notre Dame University.

The pilot was a triumph, and critics quickly took notice. The show’s first season bagged nine Emmy nominations, winning five – across its run, it would go on to win a total of 27 awards from a staggering 98 nominations.

Aaron and Tommy left in a very loving, positive way… It didn’t feel like this toxic, tragic, messed up thing

Joshua Malina

Sorkin, who personally assumed far more of the writing duties than is typical for the collaborative American writers’ room system, has been described as a “demanding and sometimes difficult” boss, but one whose results speak for themselves. His rapid-fire back-and-forth dialogue was a thing to behold, and tackled complex political ideas with wit and verve. Actors have sometimes described the knack for delivering Sorkin dialogue as having “West Wing-mouth”. Not everybody could do it.

“People always came onto the show and they’d say, ‘I just have to say it really fast, right?’” Moloney tells me. “They try and put the cart before the horse. But I think one of the reasons why the show worked is that the cast were all quite emotional actors who just happened to be really facile at language. Most of us were theatre actors. And the dialogue wasn’t a challenge. It was a pleasure. What’s challenging is bad writing.”

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Will they? Won’t they? Josh (Whitford) and Donna (Maloney) in ‘The West Wing' — Will they? Won’t they? Josh (Whitford) and Donna (Maloney) in ‘The West Wing’ (NBC)

There is an almost musical rhythm to a Sorkin script – perhaps it’s no coincidence that The Social Network scribe got a degree in musical theatre. It is also dialogue to be recited with precision: on the set of The West Wing, he would misleadingly tell guest actors to “make it your own” – but would insist on strict adherence to the script. Of the main cast, it was Schiff who would most push back against this approach – a creative obstinance befitting his character. One of Sorkin’s great strengths was writing specifically to the actors; there were, amid the sea of Sorkinese patter, all sorts of nuances to be found.

Kristin Chenoweth, who joined as deputy press secretary Annabeth Schott in season six, recalls a “particularly long monologue” that had to be rattled off in one shot. “When the camera rolled, I was halfway through the speech and I went blank, the director yelled cut and we did it again and the same thing happened,” she says. “I was horrified and upset. But John Spencer pulled me aside and said, ‘Kris, it’s happened to every single one of us, now you’re in your head. Let that go and just say the words.’ And I learned a valuable lesson: don’t overthink that dialogue too much, just speak it. The words are the star.”

John Spencer as Leo and Kristin Chenoweth as Annabeth in ‘The West Wing' — John Spencer as Leo and Kristin Chenoweth as Annabeth in ‘The West Wing’ (NBC)

The fourth season brought the first major change in the departure of Lowe, who felt his character, initially the most narratively prominent of all the White House staffers, was being marginalised. So in stepped Malina as plucky, nebbish Will Bailey. Malina had a long history with Sorkin, having appeared in Sports Night and all three of his films, and may have once saved Sorkin’s life by administering a Heimlich when the writer began choking at a bowling night. When he learned that Lowe was leaving the series, he rapidly emailed Sorkin, proposing himself as a replacement. “Tommy [Schlamme] and I were just discussing this!” came the reply.

The newcomer’s role involved a lot of scene-sharing with Schiff, something Malina tells me he “always loved” despite their “antithetical approaches” to acting. “If the script says, ‘Will is wearing a moose costume, I’m like, ‘Alright, give me a 42-regular,’” he jokes. Schiff, meanwhile, would scrutinise every minutia of the script. “In one scene we did, Richard was asking, ‘Why am I picking up the phone and saying hello at this point?’ I was like: ‘Richard – because it rang.’”

Malina also became renowned for his belligerent practical jokes on set – pages ripped from books, iPods wiped of music, cars filled with dirt. “Malina has no sense of proportional response. If I used a hand buzzer on him, he would, you know, pick up my daughter from school and not tell me,” Whitford says in What’s Next, the recent behind-the-scenes book written by ex-cast members Melissa Fitzgerald and Mary McCormack.

The interloper: Joshua Malina as Will Bailey in ‘The West Wing' — The interloper: Joshua Malina as Will Bailey in ‘The West Wing’ (NBC)

An even more momentous departure, however, was yet to come. At the end of the fourth season, there was a change of administration. Not the Bartlet administration – but Sorkin’s. Following a protracted butting of heads with the studio over issues of budget and production, Sorkin and Schlamme exited the show, leaving producer John Wells to take over as showrunner. “I thought it was a death knell,” Sheen later said. “I didn’t know if we’d last another year.” Others, however, were more optimistic. “Aaron and Tommy left in a very loving, positive way,” says Moloney. “It didn’t feel like this toxic, tragic, messed up thing. John Wells was already deep in the show… it was pretty seamless.”

Malina remembers it taking a while for everyone to “find their feet” again. “There was a shift in my character’s arc and John Wells had a meeting with me to explain my storyline,” he says. “I’m a very practical actor, so I was like, ‘Whatever keeps me on the show and gives me a storyline, that’s up to you.’” The new arc saw Will Bailey jump ship and work for “Bingo” Bob Russell (Gary Cole), Bartlet’s mediocre VP. “I know big parts of the audience felt disappointed in Will’s trajectory after that,” he says. “But I thought John Wells and the writers did a fantastic job of maintaining a high quality.” Will wasn’t the only character to take a turn after Sorkin’s departure; the most controversial plot development saw Toby, the series’ moral anchor, leak classified secrets to the press. Schiff ended up being “phased out” during the final series, by mutual consent.

Toby, Josh, Bartlet and Charlie in ‘The West Wing' — Toby, Josh, Bartlet and Charlie in ‘The West Wing’ (NBC)

While the latter years of The West Wing never quite hit the ebullient heights of the Sorkin era, this was nonetheless no lame-duck presidency. Invigorating the series in its final two seasons was a pivot towards the post-Bartlet presidential campaign – a battle fought between Republican old hand Arnold Vinick and progressive Democratic outsider Matt Santos. To play these statesman, the series turned to two actors with heavyweight TV credentials: M*A*S*H* star Alan Alda, and NYPD Blue’s Jimmy Smits.

The crowning achievement of the election arc came on 6 November 2005, with an episode titled “The Debate”. Recorded and broadcast live – twice in one evening, for the airing on each US coast – the episode comprised a full-length, half-improvised debate between Santos and Vinick. It was, in many ways, the perfect distillation of The West Wing’s civic ambition: taking something as stiff and prosaic as an issue-based debate, and convincing people to watch it for their own entertainment.

Ultimately, it was Santos who emerged as the winner – the final twist of an election race that anticipated (in several oddly specific ways) the real-life ascent of Barack Obama two years later. Originally, the creators had equivocated over who would win the election – but the decision was made by the sudden death of John Spencer, from a heart attack, midway through filming the final season. His character Leo, who had been running as Santos’s prospective VP, was sombrely killed off, and writers feared that a Democratic loss would compound the tragedy too much. Thus, the series ended with a characteristic swell, as the Democrats – including a newly coupled-up Josh and Donna, and a returning Sam Seaborn – prepare for the transition of power.

A still from the unprecedented ‘debate’ episode of ‘The West Wing’ (NBC)

But The West Wing didn’t end in 2006. Not really. In the years since the show went off the air, it has retained an ardent and devoted following. Sorkin went on to a career of coruscating highs (The Social Network, Steve Jobs) and dismal lows: his follow-up TV series Studio 60 on the Sunset Strip and The Newsroom were lambasted for indulging his worst tendencies. In recent years, The West Wing too has been criticised for its rose-tinted vision of US politics. In a post-Trump America, Sorkin’s vision of an ethical and conscientious government seems not just sentimental but wholly preposterous: some have argued that Sorkin’ political fairytale could, in its misrepresentations, have done more damage than good.

“There’s criticism now,” says Moloney, “that these legions of Democrats went to Washington with their head in the clouds thinking it was gonna be like The West Wing. That they should have been preparing for a different, dirtier fight. I find it a little depressing. You can’t blame us for the politics. We’re just a TV show. And the fact that it inspired all these people to get into politics is surely a net-good thing.”

The West Wing: Chief Justice Evelyn Baker Lang signs copy of 14th amendment

“I wouldn’t overstate the positive way it’s affected politics,” says Malina, “but in the 20-odd years since it aired, I’ve been approached constantly by young people telling me I went into politics or community activism because of The West Wing. The series was its own civics lesson.”

The cast too have remained firmly ensconced in the world of politics, and are – more or less all – actively involved in activism, particularly in and around the Democratic party. “The show lives on because we dream of a better future, even now,” says Chenoweth. “It reminds us of how good we once had it. I think we all still long for what we once had – and The West Wing offered hope. I wish they would reboot it, because we need more hope now than we ever have.”

Chenoweth isn’t the first person to propose a reboot – but, outside of a one-off, non-canonical reunion special in 2020, there have been no credible murmurs of a West Wing comeback. Perhaps it’s for the best. The series endures as a product of its era, a shiny relic of a more hopeful time. And besides, adds Moloney, the window for a sequel is probably fast closing. “You’ll have to get out the walkers if we don’t hurry,” she laughs. “There’ll be walker and talks.”

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September 22, 2024

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Tate Donovan on starring in Friends after his split from Jennifer Aniston: ‘It was tough – I was heartbroken’

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2 hours ago

September 22, 2024

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Tate Donovan on starring in Friends after his split from Jennifer Aniston: ‘It was tough – I was heartbroken’

Tate Donovan’s Joshua entered the Friends universe in the 1998 episode “The One with Rachel’s Crush”. He played said crush, a client of hers at Bloomingdale’s with sandy curls and woolly jumpers – and the first man Rachel (Jennifer Aniston) ever asks out. She fancied him so much she couldn’t stop repeating his name: “Josh-ooh-ah. Josh-ua.” That said, Joshua spent most of his five-episode arc entirely oblivious to her feelings.

Their behind-the-scenes dynamic couldn’t have been more different – in reality, the two actors had been dating for two years, and were in the process of breaking up when Donovan was cast on the show. There were certainly feelings involved, and no one was oblivious to them.

Speaking 26 years on from sunny Texas, after a career that’s seen roles in The OC, Argo and Rocketman, Donovan tells me about his experience of filming the show, from how hard it was to shoot his scenes with his ex-girlfriend to why he thought of Matthew Perry as the “beating heart” of the sitcom.

I have to admit, I’ve loved rewatching Friends in preparation for this interview.

English people in general are just obsessed with Friends. It blows my mind. Jen and I dated for two years – when we went to England together, it was like being with a Beatle. We had to say we were having reservations at one restaurant and then go to another. There were fake cars and everything, all to avoid the paparazzi.

Then I did a play with Judi Dench on Broadway [Amy’s View in 1997], and it was directed by Richard Eyre, a titan in the world of theatre. We went out for dinner at this beautiful restaurant and I’m just imagining all the questions about theatre I could ask. So, we sit down and he’s like, “Tell me about Friends.” He was obsessed with f***ing Friends and all he wanted to know about was Joey and what Courteney Cox is really like, and this episode here and that scene there.

I couldn’t believe it. I didn’t get a word in edgewise. I thought we were going to talk about Shakespeare and the Globe, but nothing. The National Theatre? Forget about it. Nothing could top Friends.

You joined Friends 26 years ago – what was it like starring on it so soon after breaking up with Jennifer Aniston?

I’d been dating Jen for years, and I knew the cast. Every Friday night it was just like a ritual – I’d go over there and watch the taping, and it was always such a blast. Then Jen and I broke up, but we didn’t really tell anyone.

Donovan and Aniston, who dated for two years, were in the process of breaking up when he was cast on the show (Getty Images)

I had always mentioned to the producers that it’s always hilarious when Jen, who’s this gorgeous woman, is madly in love with somebody and the guy just doesn’t see it. It cracked me up. I’d seen it when we first started dating – she did an episode where Rachel was on a date with a guy and the guy was just not into her, and she was falling all over herself. It works because that’s not really how she is in life, but she can act it so well.

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And so, the producers came to me and said, “Hey, we want you to do a five-episode arc where you guys are dating and you’re not really that into her.” And I was like, “Oh, so you’re gonna do that thing.” We were just breaking up and I, for some weird reason, thought that maybe working together would ease the breakup. Maybe we’d become friends quicker. I just wanted to go gently into the good night – we both did.

You thought it would change the dynamic in a good way?

Yes, but it was very tough. Everyone was so supportive, but it was hard. It’s like going to class when you’re in high school and you’ve broken up with the girl who you sat next to and… argh, it’s tough.

But it makes you a pro – it’s like, OK, we got over it. Nobody knows; the audience isn’t gonna know; the audience is gonna think just the opposite. When I look back on it, I’m like, “Wow, good for you, man. That was pretty good.”

There have been reports that you two were engaged, are they true?

No, that wasn’t true. We did live together for a little while, but we were never engaged.

Watching it back, there’s no hint of heartbreak. You both disguise it very well.

Looking back at it now, the thing that just kills me is that Matt Perry was the beating heart of that whole cast. He was the funniest.

When you do a sitcom, you do your scenes and then you get out – you don’t really pay attention to the other scenes. But Matt Perry watched every scene that everyone was in. He certainly watched every scene that I was in. He was such a champion of mine. He was so sweet. He was the only one who called me when me and Jen broke up. And we ran into each other throughout the years, and he was always so incredibly supportive.

It meant so much to me [that he was kind on set] because I was really heartbroken, and you don’t know how well you’re doing, and you’re just trying to survive at that point. It’s such a tragedy that he had such a difficult time in life because, for me, Matt Perry was just… they all imitated his humour.

You joined Friends the year after Perry’s jetski accident, which was a catalyst for his worsening addiction issues and led to an opioid dependence. Could you tell things were beginning to unravel?

Not at all. It’s crazy. And we went out. I was there every Friday, and we would take trips together. I had no idea. It didn’t show. Maybe Jen knew and the other cast members knew, but they certainly kept it very quiet. I remember birthdays and going out to dinner and big parties where people got f***ing hammered, and I never saw Matt more wasted than anybody else, that’s for sure. Super-high-functioning guy.

Donovan with ‘The OC’ cast – his career has also seen roles in ‘Argo’ and ‘Rocketman’ (Getty Images)

Do you ever watch Friends now?

I was flipping through the channels at a hotel recently and I saw it, like, “Oh God, there’s Joshua.” I watched a bit of it and thought it was really good, and funny – for many years it was too painful for me to watch those scenes. I liked that my performance wasn’t too broad. It was a grounded scene – and that’s exactly how I like to see comedy, where the actors are more focused on the scene rather than getting laughs.

My son is 19 and he couldn’t be less interested in Friends or really any television show. It’s amazing to me. He’s into TikTok, and he barely sees movies. He’s a big jock and he’s a good student. I’ve brought him onto sets – when I shot Rocketman, he came to England and he was on the set every day but he couldn’t be less interested in a career in entertainment. It’s kind of hilarious.

There were so many funny moments in your bunch of episodes – especially Joshua’s fear of the ducks at Joey and Chandler’s flat.

Does the duck bit work? I remember them saying, “So, there’s a duck, and you’re frightened of ducks.” And I was like, “Who’s frightened of ducks? That’s not a thing.” I didn’t know how to make it work, but I just went for it.

Were there moments where it was hard not to laugh when you were filming, or was it too emotionally weird filming with your ex to find things funny?

I was never close to corpsing on those episodes. Throughout the two seasons before, you can hear me laughing on the laugh track off stage because I’d be hanging out with the assistant directors, watching the scenes.

Did you get any interesting insights from being behind the scenes and watching the tapings?

All the cast were obsessed with the schedule, especially Courteney Cox. She was hilarious. She could have been an air traffic controller at JFK. She was so focused on when they’re doing a scene, when she has to be in hair and makeup, and when she can leave, when she can go back home, [and] when she can come back.

Friends is still being watched all the time, all around the world. On the one hand, you’ve got lots of people discovering it for the first time and falling in love with it. On the other, there’s been a reappraisal of the series, with criticisms over its lack of diversity and its gay jokes.

I’m kind of shocked that people are still enjoying it because so much of the culture has changed for the better – like, who really cares about all these privileged white kids? It’s the same with The OC. I’m definitely ready for there to be far more diverse voices heard. It’s such a breath of fresh air.

When you look back, where does Friends sit in the puzzle of your career? I know it came after Ally McBeal and Inside Monkey Zetterland, but before The OC and Argo and Damages.

I’m so lucky that I am still acting and directing, and Friends was a great jewel in the crown for sure. But in my career, nothing’s really led to anything else. I can’t see a through line. I’m just trying to get another job – I’ve been that way for over 40 years and, well, I’ve been lucky.

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September 22, 2024

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