Gwawr Lloyd is interim head of drama, Channel 4. She spoke with Televisual for its annual drama report.
What has worked well in the last year?
Lloyd picks British Belgian detective drama Patience from Eagle Eye and Belgium’s Happy Duck Films, “a police procedural but with a really original and interesting female character, which has absolutely grabbed the audience’s attention.” For Channel 4, the six parter was “proof that we can lean into popular, often-seen and enjoyed genres, but do our own thing with it.”
From there, the year moved into something “completely different… the Brian and Maggie piece.” The two parter from Baby Cow was “a big hit.” It stars Harriet Walter as Margaret Thatcher being interviewed by Steve Coogan as Brian Walden, in the former Prime Minister’s final interview, in 1989. Lloyd describes it as being “in Channel 4 territory, exploring a really interesting moment or interview in time and using it to explore the art of the political interview….We knew exactly why we were making it… how politics is changing and the way politicians are communicating with their audiences.”
And then love story Trespasses from Wildgaze Films, set against the backdrop of The Troubles. “It’s just a stunning piece of work…set against a really challenging moment in time, not shying away from any of that, not just using that as a backdrop.” It’s seen through the eyes of a schoolteacher, “a very female way into a part of history that is quite often seen through a male lens.” Audiences have “really responded to this really intense four-parter…They get that hit of a love story…, but also discover something in depth about that period.”
Patience
What’s coming up
Looking ahead, Lloyd begins by talking about Two Brothers’ six-part psychological thriller Maya, created by and starring Daisy Haggard. She cites it as an example of a good Channel 4 sweet spot, being a thriller, “a really popular genre, with explosions, car chases and everything….But at its heart it’s looking at a really delicate, beautiful relationship between a mother and a daughter in the shadow of domestic abuse.” With a focus on witness protection and policing, it also features workplace drama. “It’s really witty, and it’s really emotional… delivering on that really great watch for an audience, but you will absolutely have food for thought for days, if not weeks afterwards.”
Next is a remake with a Channel 4 heritage: Barbara Taylor Bradford’s novel A Woman of Substance was Channel 4’s biggest drama when first adapted for the channel in 1984 ; and is being remade in eight parts by The Forge. Brenda Blethyn plays the older heroine Emma, wih Jessica Reynolds playing the younger Emma. “Why remake it now?” Lloyd poses the question to herself. “There are some super relevant themes… making it as a single woman, smashing the glass ceiling, looking at working class and the snobbery and the differences in lifestyle…It’s so relevant, but it’s also super, super entertaining.” She reckons this will chime with audiences who enjoyed Disney + adaptation Rivals, delivering on romance and treachery, as well as more thoughtful moments.
The Couple Next Door, The Undeclared War and Patience are all returning to the Channel.
Then there is six-parter Pierre from The Lighthouse, about a duty solicitor, with David Harewood in the lead, written by Roy Williams and John Donnelly. “It’s pointing the camera towards a person who in a police interview room will say just say no comment, you never from him again – but with this show, we go home with him and find out what life is like for a duty solicitor.” But the heart is thematic: “overall it is looking at police brutality and racism.”
Pierre
What is C4 looking for?
Channel 4 is still growing its drama slate as it focuses on its streaming operation.” The more hours of drama the better,” says Lloyd. “All our shows need to feel like they can grab the biggest audience… whilst also delivering on representing the whole of the UK.”
The types of stories they need reflect that ambition: “Iconic characters… one clear lead character… an opportunity for an actor to have an excellent role,” and crucially, “help us achieve returning drama, because you’re invested in that character and you want to come back time and time again.”
Young audiences are central, too. She cites recently wrapped Major Players, a 6 x 30 show from A24, written by Molly Manning Walker, about a women’s football team. : “Younger audiences leaning into volume more than anything.” Another reason to be looking for returners,
On length and structure, she is pragmatic: “Our mainstay is 6 x 60.” The channel knows that this helps with distribution deals. But it’s open to different shapes, as long as they can find funding to complete the budget.
With Channel 4’s new strategy to create its own in-house production group making indies nervous, Lloyd reassures that she’s still open to ideas from small, as well as big production companies. “We’re really keen to support a broad range of indies.”
Channel 4’s financial contribution has a clear structure, putting in anything between £500k and a million per hour.
The pre-buy team, led by Polly Scates, head of acquisitions, will also invest, topping up budgets from more international, commercial projects that come through their doors. This year they were responsible for bringing Buccaneer’s crime drama In Flight which did well for Channel 4 .
“Everything we do must have Britishness.” The challenge is “finding that sweet spot,” looking for more commercial ideas, following the strategy of driving an audience, while still holding dear the remit.
“One of the biggest challenges facing independent producers is securing sufficient funding to create high-end quality drama out of the UK. We are committed to telling original stories and don’t want financial constraints to limit the scope or authenticity of ideas that are pitched to us. British storytelling is central to our remit and we will always aim to uphold that standard.”
And what shows does she admire on other channels? “I would love to have made Adolescence, that’s a given, it’s such an important show.” But one other title stands out for her: “I’d have to say Rivals. The way they did it, it had a Channel 4 cheeky tone to it and it was really challenging, it was quite edgy.”
In Flight
Find out more about what the drama commissioners are looking for and the wider picture of demand for UK produced drama in the new issue of Televisual, out now in print, or available via our subscription site Televisual +
Pippa Considine
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