FACTUAL TV
GENRE REPORT
SKY
While other global services are primarily focused on international stories, “we’re at the same scale and ambition, but very much more British than they are,” says Zai Bennett, md of content, Sky UK and Ireland. Commissions have been ramped up
on its factual channels as the Comcast- owned service builds its originals budget to $1bn by 2024. Director of Documentaries and
Factual Commissioning Poppy Dixon completed her first year in the new post this summer, bringing new titles to Sky Documentaries, Sky History, Sky Crime and Sky Nature. Dixon has focused on features and limited box-set series for Sky Documentaries. She’s looking for around 12 series and 12 feature docs a year, possibly more with co-production and with acquisitions. So far, acquisitions such as Framing
Britney Spears, Tina and Bruno v Tyson earlier this year scored with viewers, as did original Ghislaine Maxwell: Epstein’s Shadow. Just screened is another original Hawking: Can You Hear Me? From Atlantic Productions and Sky Studios and Look Away, from Top Hat and director Sophie Cunningham. Speaking at Edinburgh, Dixon said:
“We’re not looking for presenter-led or a broad look at an issue or subject, we want that strong, singular story to hinge the film or series.” Coming up are two series, The Billion Dollar Scoundrel from South Shore with Sky Studios and The Devil’s Advocate from Wonderhood with Sky Studios. Plus two features, Red Elvis from Talos Films and Sky Studios with Curiosity Studios and Hijacked: Flight 73 from Blast! Films and SK Studios. For Sky Crime, there’s been a focus
on stories of unsolved murders or violent crimes including five-parter Murder at the Cottage - a first doc series production for Sky Studios, working with Hell’s Kitchen and Dare Films. Upcoming is The Angel of Vengeance by Trumble Films and Astronaut Films, in association with Sky Studios. 72 Films is behind three- parter The Royal Bastards for Sky History and Maramedia is making Chasing the Rains for Sky Nature.
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televisual.com Autumn 2021
a UK show about a farm and it’s one of the biggest shows on their platform.” After a launch that exceeded all expectation for
Disney +, the streamer’s VP Original Production, EMEA Liam Keelan says that he’s looking for a more local feel. There are plans for more than 50 originals a year by 2024 from EMEA for Disney + and sister service Star, with six UK titles already announced. Sean Doyle is Director Unscripted EMEA for
Disney. On Disney +, ideas need to be big. David Beckham’s Save our Squad from Twenty Twenty and Studio 99 is “a huge talent play, it’s uplifting, it’s something that can comfortably sit next to The Mandalorian.” On Star, Doyle wants commissions in three
different areas. “The holy grail in any service at the minute is that premium, broad, box set.” Stories could be in the sporting, music or entertainment world, with a new angle or revelation. Secondly, more human stories, “unscripted thrillers” – which could be in the worlds of business, crime, medical - “jaw- dropping stories that have roller coaster moments.” Thirdly, he’s looking for big issue programmes that connect with personal experience - subjects such as body image or societal or political issues. So far, the Disney + European slate features Soprano: Sing or Die, a six-part docu-series from France with exclusive access to French rapper Soprano. While Feyenoord Rotterdam is an eight-parter, going behind the scenes of the Dutch soccer club.
PSB DEMAND In the UK, 2021 has been the year when the
PSBs have firmly pivoted to commissioning with on-demand front of mind. All4 is the largest free streaming service and Channel 4’s Chief Content Officer, Ian Katz, says, “the real priority is younger audiences and in particular teens.” Its new Teen strand, shared across E4’s social platforms, is initially supplied by four indies: The Connected Set, Vice Studios, True North and Cornershop TV. ITV is following the younger viewers that have
tuned into Love Island. Sue Murphy, head of Factual Entertainment wants producers “to bombard us with ideas” for young-skewing factual. “Our first foray is into crime for ITV2” says Murphy. Its crime anthology for this autumn, which she describes as “social media murders” is just the start. At the BBC, Patrick Holland, who became
director of Factual, Arts and Classical Music in April, uses streamer speak when he describes how the new Brian Cox series Universe and Chris Packham’s Earth will bolster “an extraordinary science destination for audiences.” In the same game as the international SVODs, the BBC wants those major documentary series, such as Minnow’s The Detectives, BBC Studios’ three- parter The Bolsanaros, or 72 Films’ series on the Battle of Stalingrad. Danny Horan, Head of Factual at Channel 4, while commissioning into the schedule, is looking
CLARKSON’S FARM
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