Women at different levels in the television production industry reveal how the effects of lockdown have impacted their careers and if we might run out of television shows… 

 

Throughout the isolation of lockdown there has been one reliable companion - TV. Binge streaming our favourite programmes has been one of the few things we can do freely. Television has become our source of adventure from the safe confines of our homes, and an even bigger part of our lives than ever. 

 

But the effects of covid-19 have been felt in the UK TV production industry, as lockdown has meant that many shows were suspended part way through, while other shoots have been postponed or pushed back to unspecified dates. BBC news reported that time spent on subscription streaming services doubled in April 2020. 

 

Series obsessed consumers and people in programme fandoms were heartbroken to learn that they would have to wait even longer to see the resolution of their favourite show's cliffhanger. Shows such as The Walking Dead Season 10, Friends: Reunion Special, Gossip Girl and Archer were all forced to postpone or push their releases back to unspecified dates as lockdown made them unable to carry out production. 

 

Crackling into a joyful hello over the phone is Philippa Catt head of productions at Expectations Entertainment LTD, which is known for producing shows such as The Big Narstie Show and Travels in Trumpland with Ed Balls. With over 10 years experience in TV production, for the first extended period of time, Catt has been working from home as a result of lockdown. So, she was available to offer her valuable perspective on how the industry coped with lockdown and how it can be expected to shape and change in the coming months. 

 

Initially, productions were resumed with video calling and broadcasters were flooded with new episodes of shows in a zoom format. 

 

Initially the internet was flooded with table reads, interviews, and reminiscent chats over zoom calls from actors. Netflix’s Tiger King carried out individual interviews post the shows lockdown hype, as a way to keep up with the hype, while avoiding having large numbers on set. The Office US, Community and The Fresh Prince of Bel-Air all released videos of the cast catching up and laughing over memories of being on set over video call. 

 

However, Catt stresses the importance of audiences needing to be present during certain shows, as she describes how Have I got news for you, which has been on air since the 90’s, “is just not the same without the lively studio spectators and manner in which contestants bounce off each other”. 

 

Catt highlights how shows that rely on comedic timings are struggling to adapt to a video call format, as it’s not even possible to talk over one another, “It’s difficult to get things done over the phone or zoom, it needs to be in action” she says with disappointment. 

 

As video call versions of tv shows saturated our screens in a method that Catt described as “overkill on these lockdown productions”, broadcasters and production companies discussed how they would still be creating content. Production Companies sell content to broadcasters, so both parties have been negotiating how they will be able to coordinate things for the future. “It’s been a massive headache to manage when we get back and running” Catt elaborates, highlighting that like many industries television production has suffered financially as a result of insurance companies not covering coronavirus as a claim.

 

Without government funding it won't be possible to resume production that can comply with safety measures and procedures. At the moment, Catt describes how the industry is “apprehensively waiting for Boris to come up with a plan” and hoping that the government will underwrite the risks that are currently being faced. While some bigger production companies have not been severely affected, “homegrown broadcasters cannot afford to go into production”, and will not be able to create new content without financial support. 

 

Explaining how any new shows currently coming out are likely to have been filmed prior to lockdown Catt highlights “you can still have editors at home doing post production”. While editing has been possible during lockdown, Catt and the other producers she works with have been coping with the repercussions of on set production adjusting to the new circumstances of the world. Catt seems relieved that they are beginning to get into production, “with a lot of extra costly precaution”. Although there are “only 16 people are allowed on set at one time”. 

 

While some chat shows have still been running with massive protocols and smaller teams, it’s difficult for other companies to safely carry out work, particularly when protective measures are so expensive, “a forehead temperature scanner is £200”. Realistically, they would need a number of these on a busy set, to test everyone prior to attending work, with additional expensive care. The safety of employees is a top priority, Catt emphasises the need for government intervention that will ensure they can afford safety measures.

 

Without it, getting large teams back on set isn't something that will be achievable for smaller production companies in the near future. Though the need for content on our screens is not desperate at the moment, broadcasters such as the BBC “fill the gap and try to get repeats and rights” of shows. But with production companies struggling to produce work, “channels will be desperate for content by the end of the year”. 

 

Catt mourns the damage that the industry has already suffered, “so many people left our work, people can be furloughed only to a certain extent”. As well as this, the creativity and dynamic that would be had at work has been affected as they have not only had to “lose the camaraderie of the office” but also won’t be able to “have any visitors near any sets. Essential crew only.” The additional effect of this is that those in training or entry level positions have missed out on key experience as they are unable to get work on sets.

 

Catt explains how her email inbox has been flooded with 100's of emails from people asking for opportunities on set, which sadly can’t be offered in the way she normally would. Now there’s massive protocols and health training required, and even the methods people will use while working have changed. Aware of the change taking place some “organisations are now looking into new training as production will be harder with smaller crews”, but not only will these training programmes take a long time to set up, the training itself could be significantly harder and longer. 

 

One individual who is feeling the impact at an entry level position is 22 year old set runner Angela Sharpe. With a sigh Sharpe recalls, “Initially when the lockdown was announced, I was so sad to stop working as a runner on Pointless.” With a deeper sigh Sharpe says, “since then, I’ve been jobless”. A recent television production graduate, Sharpe’s runner job was her first chance at implementing skills learned while studying for her degree, and she had hoped “the job I had was the first thing that would put me into the industry and now I don’t know, my initial feelings are just fear”. 

 

Despite being aware of the extra precautions she may have to face, Sharpe wishes she could get back on set saying: “I wouldn't worry about going back to work with social distancing,  as people who are passionate for their job will be caring for their environment, and if they're sick they’ll be honest and they won’t come.” Seemingly, Sharpe is confident in the ability of her coworkers to conduct themselves in a safe manner on set, to such an extent that she would happily risk her safety to get back on set. 

 

Although she loved working, Sharpe is correctly worried about her standing in the industry as she knows “the number of runners allowed on set will definitely decrease.” So while previously a recent graduate like her was able to find a job in her field, it’s currently almost impossible to get any work experience or runner jobs on set. Sharpe echos Catt, in explaining how the need to socially distance on set will mean that crew numbers will be severely limited, and priority will be given to those who are highly trained. “The industry is going to become so much more competitive” 

 

Nervously Sharpe explains, “I’m only 22, lack industry experience, and have no way of getting it”. Sharpe is one of many who, having just started out in their chosen careers, have now become vulnerable to job losses. “I was emailing about 20 people a week, saying I had a little experience, a production degree, and would willingly do anything on set. But everyone would reply that they were sorry, there just wasn't anything available right now.” 
 

Sharpe remains hopeful about staying in the media industry, though she is now considering moving away from set work. “The TV degree I did had a lot of different media modules. So although I wanted to be on set, I’ve started doing a lot of editing work and photography since lockdown, but it’s hard to make enough money through freelancing as there's not much being commissioned either.”

 

Refining skills for her career has been a crucial way to pass the time for Sharpe, and it has given her the chance to think about her future. “I’m going to look into other career options - probably post work, like colour grading.” Sharpe explains it would be easier and more productive for her to pursue this path, as she is able to carry out training through online classes, rather than having to be somewhere physically.

 

 With disappointment Sharpe considers the fact that “I wasn't prepared for any of this. I thought I was on one career path, now I’m on another.” Similarly, Catt referred to the idea that the industry has been impacted in irreversible ways that have affected everyone involved, and the discussion with Sharpe emphasises how deeply it has affected those who were just starting out in their careers as well as those who have been in the industry for a long time. 

 

While Sharpe was able to get some on set experience from her degree, some students have been left wondering whether any of the skills they are learning now are applicable to their future careers. Larisa Manolachee is a 2020 graduate who has just finished her bachelors degree in television production at the University of Westminster and having thoroughly enjoyed her course, is now struggling to find work in the industry.

 

Manolacgee explains “Before lockdown it was fairly easy to find experience at places. Production companies are always happy to have students help out, which gives you a good chance of getting your foot in the door”. However, now a graduate ready to start working, she found it impossible to find potential employers. “Everyone’s working from home. So it's not even as if people are in the office at all. Maybe some places are letting people sit in on zoom calls, but that's definitely not the same valuable experience as working in production on set.” 

 

Like Sharpe, Manolachee has had to make career adjustments. Although she hasn't been able to find work in her desired sector, she is working as a Junior Producer at Ekstasy Advertising, a creative advertising agency that creates content for brands in different mediums including: TV, radio and print. Expressing joy at still being able to use transferable skills from her degree in her job, Manolachee explains “honestly, I’m relieved to have a job in media. The creative industries have suffered and the company I work with is not huge.” 

 

Seemingly, everyone in the media industry is very aware of the fact that while large corporations are able to afford the cost of coronavirus precautions to get people back into sets and offices, smaller companies are depending on working from home, for individuals to still create content. However, Manolachee sees some advantages in this, “honestly, I have drastically improved my ability to work creatively alone. Even though we’re always checking in with the task we’re working on, I’ve learnt to enjoy working independently rather than with a lot of people around me”. For those who are joining the industry, starting out in this way was not what they had expected, however some like Manolachee are rising to the challenge, and pursuing their ambitions despite the obstacles. 

 

The far reaching effects of coronavirus have deeply damaged the creative industries, which have been largely overlooked by the government. Television production is facing effects that will still impact it a year from now, while individuals' career trajectory have been changed irreversibly. Financially, smaller production studios may struggle to sustain themselves, and as a result our screens could see a loss of unique shows. Fans on twitter have been in meltdown at the concept of shows being postponed, so cancellation could be detrimental to them. However, the passion and commitment demonstrated by Catt, Sharpe and Manolachee illustrated that regardless of their position, those in the industry are ready and prepared to resume working as safely and efficiently as possible. 

 

So while you can’t expect for tv production to be starting up next week, companies largely should have resumed work by 2021 at the latest. Thankfully, because there are shows still in post production, new programmes will keep coming out for a while. However broadcasters must be prudent in ensuring that they space these new programmes out more than before, so as to ensure that they can continue to deliver new content. 

 

While Sky will be able to sustain the expensive costs of production on bigger sets, the BBC will continue to buy rights for programmes in existence so as to provide consumers with different content, although it will not be new. Without the assistance of the government, indie production companies like Expectation Entertainment and Ekstasy Advertising will struggle to deliver work, and the amount of diverse content we have been used to seeing on TV may change, if these companies do not have the funding to continue. 

 

In addition to this, the government needs to ensure that training programmes are appropriately adjusted to these new circumstances, so as to still keep the industry open for new talent to emerge. This could result in a surge of online careers and content creators, such as Manolachee has produced, meaning it will come down to the consumer to ensure they do their best to support small companies by paying for exclusive content, rather than depending solely on Netflix and Amazon Prime streaming. Ultimately, television production has changed in ways that will impact the industry forever. However, there is hope that the creatives working within it will continue to have a determination to produce content regardless of the circumstances we find ourselves in.