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The creators of Netflix's The Crown explain why sometimes its necessary to forsake accuracy, but never truth, in a drama based on real events
The lavish ten-part Netflix series became another outstanding triumph for writer Peter Morgan and a distinguished team . Critics noted a “startling attention to detail in everything from costumes to sets” and thought it hard to see how it could be better.
The show set out to tell the inside story of the most famous addresses in the world, Buckingham Palace and 10 Downing Street, and it did just that, exploring the intrigues, love lives and machinations of post-war Britain.
Our reaction to a major change of any kind usually goes in phases…
Avoidance (“I’m not going to look”)
Denial (“I’ve looked but I don’t believe it”)
Fear (“We’re doomed”)
Panic (“I just need to do something”)
Response (“Ok – maybe there is something practical I can do”)
Acceptance (“Well that wasn’t so bad”)
British TV has been fairly consistent in following this pattern when it has faced transformative change in the sector in the past.
“I think everyone can relate to that [feeling]” comments the 34-year-old. “When you’re 16 and you think everything’s conspiring against you.”
The award-winning drama garnered a cult following almost overnight earlier this year when it debuted on Channel 4 and shortly followed globally on Netflix.
Chaired by CNBC business presenter Nadine Dereza, “Online TV – not just Netflix” boasted a panel of Lawrence Elman, co-founder of subscription channel Docsville; Tom Clifford, CEO of History Hit; and online comic Eline Van Der Velden, who has made the jump to terrestrial TV with BBC Three’s Miss Holland.
Daniel Battsek landed the Film4 top job in July 2016. His friend David Abraham, then Chief Executive of Channel 4, had brought him in to spearhead the broadcaster’s feature-film strategy.
But less than a year after Battsek arrived, Abraham announced that he was leaving. In the ensuing management changes, former Shine Group CEO Alex Mahon was hired to replace Abraham. Battsek, flush with the success of Three Billboards Outside Ebbing, Missouri, is unfazed by the shake-up.
The 10-part documentary series, I Am a Killer, profiles ten prisoners who have been convicted of murder and sentenced to death. The series was produced by A+E Networks UK in partnership with Netflix and Sky Vision Productions.
RTS Award winner Michaela Coel sits down with us at the RTS Programme Awards 2018 to reflect on two years of success since winning the inaugural RTS Breakthrough Award in 2016.
Chewing Gum won three awards at the 2016 RTS awards, and has since gone on to win Baftas. The show is shown around the world, however it was Michaela's work on the recent series of Charlie Brooker's Black Mirror that really shot her to international attention.
Sometimes, a single show can change the way a broadcaster or a platform is perceived. For the US streaming service Hulu, The Handmaid’s Tale – based on Margaret Atwood’s dystopian novel – has been one such show.
The 10-part series was made for Hulu by MGM Television (Hulu does not have in-house production capabilities) and quickly became water-cooler viewing on both sides of the Atlantic. It went on to win multiple awards, including a Primetime Emmy for Outstanding Drama Series and a brace of Golden Globes.