Black Lives Matter, Covid-19 and the Arts: An Interview with BBC Two Channel Controller Patrick Holland

Owen Frost on 13 July 2020

Owen Frost sits down (virtually) with Patrick Holland, Controller of BBC 2, to discuss his channel’s policies regarding Black Lives Matter and the increasing importance of history in public broadcasting.

Owen: Hi Patrick, can you tell the readership a little bit about what your role is at the BBC and what you do?

Patrick Holland: My name is Patrick Holland and I am the controller of BBC Two. I also look after BBC Four, commissioning programmes there as well. As a Channel Controller, I work to commission programmes from across a wide range of genres including documentaries, music, arts, drama, comedy and entertainment. Each of these genres has a controller of that particular genre who work with their team to develop ideas and then they discuss them with me about whether they commission them for BBC Two/BBC Four. There is a whole portfolio of channels at the BBC and I am very privileged to run one of them.

O: Hospital, which you commissioned when you first started out as Controller of BBC Two focuses on the crucial work the NHS continues to do in our country. What do you think the importance is of broadcasting shows about the NHS during the current pandemic?

PH: I developed Hospital as at the time we felt envious of 24 Hours in A&E on Channel Four’s success, but I wanted a series which explored what was really happening in the NHS – showing bed shortages and winter flu crises. Hospital has told these stories in a very interesting and humane way. One of the things that I am most proud of in the last year is the Covid-19 special that Label1 made – a two-part series inside the Royal Free Hospital. Staff and patients know the TV show now and know that it has that commitment to exploring what happens inside the NHS at large. The access they were able to achieve during Covid-19 and the stories they were able to tell, I think will really stand as one of the outstanding documentaries made during this terrible time.

Hospital Series One, (Image Credit: BBC2)

O: It certainly sounds like these programmes reflect issues of today. In light of the Black Lives Matter Movement and Edward Colston’s statue being torn down, do you have any more programmes planned which will inform the public about Britain’s colonialist past?

PH: Over the last few weeks we have repeated series from History on iPlayer so newer audiences have access to them. David Olusoga’s series Black and British: A Forgotten History tells of black people’s experience in the UK. David’s latest A House Through Time, part of a returning social history format we have on the channel, follows the inhabitants of a house over the centuries in particular parts of the UK. Series one was in Liverpool, series two was in Newcastle and series three was in Bristol. Olusoga’s series engages with the Colston statue and the place of the slave trade in A House Through Time weeks before the Black Lives Matter responded to the killing of George Floyd. I think that there has been some extraordinary output on the BBC that has attempted to explore the deep underpinnings of the slave trade and Britain’s role in the slave trade. One of the other things we have made is a massive £100 million commitment over three years to produce diverse and inclusive content. It is not just about telling stories of BAME experiences in history but it is also really important that the people who are making films are from BAME backgrounds and also different social classes because television, like lots of professions, is quite hard to get into and once you get there the profession can be quite precarious. As an industry, we are trying to search hard for answers to retain brilliant BAME people coming into television. We need to work hard to retain them, promote those people and find the best roles for them because they need to be the future leaders as much as everyone else.

O: The reality show School documented the ups and downs of the education system. Do you think you might ever produce a show about university students?

PH: We did a series last year called How to Break into the Elite with Amol Rajan (BBC News Media Editor). His question was how you break into competitive professions (media, law, banking) if you come from a background like his. He followed university leavers from different backgrounds and tried to assess what their chances were. He found a huge amount of low-level prejudice which was stopping people from entering professions and there were discriminations made at an early stage about CVs names and how you carry yourself in an interview. We have commissioned Amol to do another two-part series which follows up about young people’s experiences. It created quite a lot of debate. Looking at the experience of young people and what their life chances are is certainly what we’re interested in. I wouldn’t say no to an observational documentary with university students like we did with School!

How to Break into the Elite, (Image Credit: BBC 2)

O: It would seem like BBC 2 focuses on challenging shows which evoke thought about everyday things in an exploratory way?

PH: I think one of the key things we are trying to do is that we don’t want a presenter who is telling people how to think. I think people are far more sophisticated in their viewing habits. We want to immerse people inside these new stories in an observational way and let them make up their own minds.

O: Thank you very much for this.

PH: You’re welcome, thank you.

Featured Image Credit: Edinburgh TV Festival

Full Stream Ahead: How has the Arts and Culture world coped with Covid-19?

Owen Frost on 22 June 2020

With great Leeds arts community spaces such as Hyde Park Picture House or the Leeds Museums & Galleries temporarily closing due to Covid-19, it is easy for students to remain defeatist, envisioning the creative landscape through a gloomy corona-ridden perspective. However, there are pockets of creativity surfacing in spite of the virus as all-round creatives, not just in Leeds but nationally and internationally seek out new imaginative ways to entertain the masses. Not only are these methods of entertainment beneficial to the public, but they keep the world of arts and culture alive, often providing livelihoods for great artists who rely on traditional methods to promote their craft.

Sadly, but inevitably, on 17th March at 1pm, Hyde Park Picture House cancelled all of their upcoming screenings, while the same day at 5pm Leeds Museums & Galleries became “temporarily closed to the public until further notice”.

The more widely spread impact of Covid-19 upon the nation has come to the media’s attention: over four hundred of the UK’s leading cultural figures including Nick Cave, PJ Harvey, Johnny Marr and Meera Syal have all signed a letter written by the Creative Industries Federation (CIF), requesting the government to fund artists with the accompanying rhetoric that the UK could become “a cultural wasteland” because of the economic damage caused by the Covid-19 outbreak. Call to action was heightened after the German government had effectively supported freelancers and small businesses through a federal aid package worth €50 billion (£43bn) distributing €5,000 payments to individual freelancers, many of whom included artists. Despite the UK government’s furlough scheme, many remain adamant that the government has not done enough to support struggling artists and small businesses.

In contrast to smaller businesses, streaming giants Netflix and Amazon Prime have hit shows such as Sex Education which have been put on pause, but are continuing to reap the benefits of the couchbound general public. Netflix’s Extraction, which I recently reviewed for this paper, premiered to the biggest online opener in the platform’s history. YouTube’s viewership has skyrocketed, but a lack of advertising revenue has dented the site’s projected financial success. Many viewers have reportedly turned to online gaming in television’s place, with the Nintendo Switch having sold out in many stores.

National Theatre Live have been broadcasting their ‘At Home’ series of pre-recorded plays on their Youtube channel. (Credit: National Theatre)

Despite the potentially colossal economic downturn, which has hit almost every conceivable industry, there have been pockets of creative outbursts in the mainstream. At the opposite end of the artistic spectrum to television, star-studded music benefit concerts such as One World: Together at Home, featuring the likes of Billie Eilish and Ellie Goulding, saw the rise of streaming platforms raise millions for those in need in a Live-Aid-style.

Equally, for many of the pro-active workers in the arts industries, the lengthy time at home has provided unprecedented creative license, with many homes becoming new Instagram live stages to broadcast their projects to even wider audiences than before. In March, a Dorset-based artist Stuart Semple premiered life drawing classes from his studio via Facebook, hiring a model and inviting anyone to participate. This resulted in some 3,500 artists globally sharing their efforts using the hashtag #SempleLifeClassLive. Many musicians such as Easy Life, FUR, Rex Orange County, Tyler the Creator and more have livestreamed either old hits or new songs. As Semple rightly points out, “It’s a crucial time for the arts globally to step in and fill the void in people’s lives.”

Locally Leeds Museums & Galleries have made the change onto the web, where you can access virtual tours of their various exhibits and they have even launched a podcast called Museums n’That. Apple Podcasts listeners love the new accessible fusion of information and comedy, providing a fun behind the scenes look at Leeds Museums & Galleries. One listener raved that the hosts have become “Lockdown Legends” and each podcast is “informative, enlightening and positive.”

There are instances where creativity and entertainment are uniting people during this pandemic. Indeed, my neighbours and I have recently discussed the latest National Theatre productions premiering on their YouTube channel with a Gillian Anderson remake of A Streetcar Named Desire opening in audiences’ living rooms nationally. At the student level, nineteen different university drama societies including Leeds, Bristol, Warwick, and others, have taken part in a campaign called ‘Students Saving Our Theatres’ which has raised funds via a crowdfunding page pledging to support spaces including Leeds Playhouse. 

The world of comedy has been struck by the virus, but stand-ups are fighting back. Komedia, which runs in both Brighton and Bath has organised livestream sets and pre-recorded features on YouTube where stand-ups have a new digital platform to make audiences laugh. The only slightly unsettling factor is the lack of a laughter track, but perhaps this develops comedy in new profound ways.

With the advent of Zoom’s roaring popularity, I took part in a recent free Eventbrite online QnA with the Idler Magazine where Armando Iannucci answered questions about inspiration behind projects including The Thick of It, The Personal History of David Copperfield and Veep. I got to ask about the backlash he received from Russia for The Death of Stalin. Free events such as these, it could be argued, are deconstructing the absurdly mainstream prejudice that arts and culture has to be elitist and for the privileged. Instead, they bring people together and break down previous class-based presumptions.

Since the start of Covid-19 despite the economic malaise, art has found new ways of branching into people’s hearts and homes. Though we may get sick of the repetitive Zoom meeting links in this virtually-shifted environment, it is reassuring to know that the world of arts and culture is constantly adapting to promote new creativity to both the students of Leeds and the wider public.

Image Credit: BBC News

European Film Institutions call for the Freedom of Incarcerated Iranian Dissident Mohammad Rasoulof

Owen Frost on 9 April 2020

Mohammad Rasoulof, director of the recent There Is No Evil, who was recently incarcerated in Iran, has gained international attention from many filmmakers and institutions since his Iranian jail sentence. Institutions such as European Film Academy (EFA), the Deutsche Filmakademie, Accademia del cinema Italiano-Premi David di Donatello, the Cannes Film Festival, the International Film Festival Rotterdam (IFFR) and many others have all issued statements expressing their deepest concerns.

Rasoulof was recently imprisoned for one-year according to his lawyer, for allegedly “attacking the security of the state” following the “propaganda” content in There Is No Evil. The sentence also demanded he stop making films for two years. However, it is time for more filmmakers and directors to stand up against the Iranian government’s blatant censorship and punishment of dissident art. 

Rasoulof was unable to attend the February Berlin International Film Festival ceremony to collect his prize for There Is No Evil, a film connecting four stories about involvement in the death penalty in Iran. Executive producer Kaveh Farnam claims that the wave of political executions in 1988 was what ultimately inspired the film. Rasoulof’s own experience of lack of freedom of expression has also been noted in the film’s message of freedom and humanity under despotic regimes. 

Indeed, There Is No Evil is openly critical of the Iranian justice system and its use of the death penalty. Iran has been described by international human rights scholar Javaid Rehman in his 2018 UN General Assembly address as having “one of the highest death penalty rates in the world”. According to Amnesty International, it is still behind China as the world’s leading state executioner and leads the way in terms of the execution of minors. Homosexuality is still considered an offence punishable by death in Iran. 

The stakes were extremely high for Mohammad Rasoulof and crew, and all involved knew the risk that they were taking in defying the authoritarian regime. The film was made under complete secrecy and producer Farzad Pak thanked “the amazing cast and crew who put their lives in danger to be on this film”. The creative ways in which Rasoulof clandestinely defied the regime are astounding: with Rasoulof giving direction to scenes shot in an airport through an assistant, not having his name appear on any official documentation and shooting many scenes in remote regions of Iran. 

However, in a recent statement, Rasoulof wanted the outcry to not only affect successful directors such as himself and Panahi but also to extend to the younger independent filmmaking generation who have not got the same resources to circumvent Iran’s intrusive activities. Farnam claims that many independent filmmakers have even turned to work on the Iranian government’s own film projects due to the lack of funds at their disposal. The resourcing gap is evident: the Iranian government have the helicopters and unlimited logistical and financial systems to shut down a whole street, as opposed to independent filmmakers where this is purely “impossible”.  

This is not the first time that Iran has used its authoritarian powers to ban film directors from creating dissident films. In November 2019, action from over 200 Iranian film industry members came when Kianoush Ayari’s film The Paternal House was banned a week after its opening weekend in Iran. Well known Iranian director Jafar Panahi back in 2011 was also convicted of making “propaganda films” and sentenced to 20 years film-free.  

Rasoulof and other Iranian directors continue to make films under increasingly unfair sanctions. In his powerful Berlinale Skype speech broadcasted to the world from his daughter’s phone, he highlights that everyone “can actually say no, and that’s their strength.” It is imperative not to forget about Rasoulof’s and others’ crucial films which lobby unfair regimes across the world. We must join the outspoken film institutions in support of these oppressed directors who rightfully express their freedom of expression through art.

Image Credit: Screen Daily

Should you shave your armpits?

Lauren Woodley on 8 February 2020

I, amongst others, wish to seek to find out why so many people find it repulsive when someone has made the personal decision not to shave their armpits.    

As a female, I shall be focusing on the pressures that women face surrounding the shaving of underarm and other body hair. However, my overall belief is that for any gender, it should be your own decision to do whatever you want to your body. Only you control your body, and no one should force you to do anything you do not want to.

The history of shaving armpits

Women in the early 20th Century did not care about shaving their armpits, in fact, it would not be surprising if a woman had lots of hair. The debate of shaving is a very modern issue, most likely developed due to the loosening of rules on how females dress, and the development of razor technology. By the 1950s, legs and underarms were targeted in ads and many women were encouraged, even expected, to be smooth, silky and stripped.

Thankfully, as we entered the 21st Century, it became more common for women to not feel like they have to shave, and many women now embrace the ‘au-natural’ look. It is more common to see celebrities with unshaven arms, and many women feel more comfortable to talk about it.

So should you shave your armpits?

No matter how much you may convince yourself, when you see an image of a woman with long underarm hair, you will subconsciously notice it and form an opinion. Yet, if it was about our male counterparts, there would be no disbelief.

I am guilty of doing this myself. A friend of mine recently decided to grow out her underarm hair and I naively pointed this out to her. Whilst I am completely supportive of her decision, I still brought attention to it. Why? Because, I suppose I wasn’t expecting it. Because, it is still not considered the ‘norm’.

It is seen as powerful and inspirational when a woman chooses to grow out her underarm hair. I think that it is a statement and takes a lot of confidence and bravery. From experience, people may pass comment. I personally choose not to shave my leg hair, and I have faced so much judgement from this decision in the past. Am I not womanly enough? Does body hair really change a person’s appearance so much?

The solution is to not say anything at all. Some people may think it is funny to pass comment, but it can make someone feel insecure and pressured into shaving their body hair, when it should not.

Of course, some women do prefer to be shaved and smooth. It is a luxury, can make you feel more confident, or they simply might not find their body hair attractive. There is nothing wrong with this either.

Shaving your body hair will always be your own personal choice. No matter what anyone says, it doesn’t make you any different whether you have body hair or not.  So, as long as you are shaving your body hair for YOU and YOU only, then all women should support each other on the fight against the stigma of shaving armpit hair.

Spoiler Alert! Are Spoilers the Filmmakers Best Kept Secret?

Owen Frost on 14 December 2019

Growing up, I was never too fond of the traditional spoiler. When it appears essential to the plot, for example: in The Film That We Do Not Talk About, The Usual Suspects and Shawshank Redemption, it can be downright annoying when your friend reveals that all-important ending or crucial plot development. I knew the twist to Fight Club before watching it and this undeniably affected my viewing experience and I came away from the final scene feeling as though I hadn’t properly sat through it. However, spoilers have always held mystical appeal to some. But does just knowing there’s a spoiler or twist in a film, count as ruinous to the watching experience itself? With our current stream-centric media consumption occurring at a whizzing pace, can we ever avoid them? How long is long enough before discussing plot points? It appears spoilers leave you with more questions than answers. 

These days it is pop-culture mega-hits such as Star Wars, Marvel and the recently wrapped Game of Thrones that have been at the helm of spoiler-avoidance. Film secrets are a Marvel speciality – given that they have included post-credit scenes in the majority of their films since Iron Man in 2008. This drives buzz as fans are itching to get their hands on what is coming up in the MCU and to tell friends who haven’t yet seen the film. Secrecy and mystery propel sales and the end scenes seem to drive excitement for the next one… and the next one… It changes the cinema-going experience as well; many a time I have sat and actually watched all the credits (something which shamefully we just don’t do a lot of), making friends wait for the post-post-end credits scene. 

For some dedicated fans, scouring the internet for clandestine clues about new character involvement or obscure plot points is intoxicating. It would seem die-hard Star Wars fans can’t wait to unearth plot details about the potential reappearance of Emperor Palpatine in The Rise of Skywalker with the latest TV spot End becoming the latest hunting ground for clues until the next teaser. Both the TV spot and the trailer have developed enough speculation that it is almost certain that he will appear. Is this not seeking out a spoiler, or does this add anything overall to the enjoyment of the film? It could be argued either way. 

According to Amazon TV, when it comes to netiquette, with great power comes great responsibility. Back when they planned a release of a Lord of the Rings spin-off, the PR team developed a top-secret bunker to hide the drama’s crucial information – compared to Soviet state security by the host of The Watch, Chris Ryan. It was also seen as unnecessary by even top fans of the books as they argued that the Aragorn origin story inspired by the original Tolkien books cannot be kept as a mystery. 

Luckily, despite what seems like an overwhelming presence of spoiler coverage on the web and both the film and TV industry, there are ways in which you can keep the clues confidential. With The Guardian’s Now You’ve Seen It, it is now possible to direct your spoiler inducing friends away to discuss the hush-hush elements of shows and film’s in a spoiler-safe environment, even if they are breaking the first rule of Fight Club in the process. 

Image Credit: The Odyssey Online 

Is Ageism Still a Problem in the Film Industry?

Owen Frost on 18 October 2019

With the release of the most recent Bond film title: No Time To Die, I thought it’d be a good idea to take a look at the recent fear of ageism in the film industry. Given the franchise’s history of casting older men in the leading role and the infamous young attractive Bond girl (Honey Ryder and Pussy Galore are probably the most comical ones that come to mind), there is an obvious preference towards older men staying in roles over women who can just be replaced each time by another younger actress. Roger Moore, portrayed Bond into what one could argue was far too old an age for an action star. This isn’t just an issue confined to the Bond franchise. In recent years, prominent young actresses such as Anne Hathaway, Maggie Gyllenhaal and Zoe Saldana have all condemned high up executives for enabling ageism. 

So what exactly is the issue nowadays in Hollywood? It appears older male roles are abundant with ageing stars such as Clint Eastwood and Robert De Niro never short of a job in Hollywood. Most recently De Niro appears to reprise his role as the King of Comedy in Joker and Clint Eastwood has starred in a whole host of films. It also appears that Hollywood has no shortage of jobs for stars from the 80s as well, remaking both Terminator and Indiana Jones films with their male stars securing substantial paychecks. Even Marlon Brando was able to breathe new life into his career in Apocalypse Now (a great film by the way) despite being overweight and in need of a few dimly lit shots.

Most recently, Kelly McGillis was left out of the ‘Top Gun: Maverick’ sequel despite Tom Cruise returning for his role. Yet again, Tom Cruise has been paired with different young female co-star continually proving that Mission Impossible films often lack a recurring female star except for Michelle Monaghan who plays Julia, Ethan Hunt’s wife. In 2010, Helen Mirren’s made a comment explaining that she resented having “witnessed… the survival of some very mediocre male actors and the professional demise of some very brilliant female ones”, a tale that still resonates with many of the high up decisions made in Hollywood today.

Despite this, there have been a few recent box office successes which have appeared to revitalise the film industry’s interest in casting older female stars in leading roles. The Best Exotic Marigold Hotel grossed $130 million worldwide upon its release and starred Judi Dench and Maggie Smith, both 77 at the time. 2017 also saw Glenn Close in her early 70s shine as another great example of success when nominated for Best Actress at the Oscars for her role as Joan Castleman. When the opportunities are presented to women over a certain age (which is not often enough), they are clearly ready to take them and excel. A counterpoint to this argument could be the frequent use of de-ageing technology in films to manipulate the appearance of male actors. When you take one look at Patrick Stewart in X-Men: The Last Stand, it makes you shudder. With CGI de-ageing technology being used and sometimes abused since 2006, it appears that Hollywood has yet another weapon to eliminate old age, while casting aside perfectly suited actors in the process, and continues to pursue its search for the fountain of youth in the ever-increasingly digitised age of cinema.

Image Credit: LA Times