As a seasoned journalist with years of experience under my belt, I find it truly fascinating to witness the intricate dance between two media giants like PBS and the BBC. Their partnership, much like a well-choreographed ballet, is a testament to their shared vision, mutual trust, and unwavering commitment to quality content.
As a gamer hailing from either the States or the UK, you might have caught myself immersed in shows like “Big Cats 24/7”, “Fight The Power: How Hip Hop Changed the World” featuring Chuck D from Public Enemy, “Solar System”, and “Holmes vs. Doyle” by historian Lucy Worsley. If you haven’t, well, they’re the talk of the town across the pond and beyond! These shows might not be the trendiest Netflix binge-watch, the latest HBO blockbuster, or the Disney+ series that my buddies can’t stop raving about, but they sure have garnered a massive following on both sides of the Atlantic. That’s all thanks to a longstanding partnership between two major public TV powerhouses: PBS from the US and BBC Studios in the UK.
Leading executives affirm that their collaborative venture, now marking its decade-long journey, has grown stronger and more visionary. Despite the hurdles posed by evolving traditional TV and the emergence and setbacks of major streamers, they are committed to delivering top-tier content that would encounter significant barriers in a more market-driven environment. In 2025, expect the revival of the iconic series Walking With Dinosaurs, which premiered 25 years ago, as evidenced by the two exclusive sneak peeks enclosed herein.
Sylvia Bugg, head of programming at PBS, emphasizes that envisioning the future is crucial for the endurance of this collaboration. She spends a significant amount of her time pondering over what the future might hold for us. Her aim is to nurture and expand this partnership into the future.
Jack Bootle, the head of specialist factual commissioning at the BBC, states that there’s a strong shared philosophy between us: “As broadcasters, our values are in sync. We both value being platforms that allow content creators to perform at their peak, and we’re both willing to be patient – ready to wait for extended periods for projects to mature.” Notably, some of our nature documentary series can take over four years to complete.
Kate Ward, the Managing Director of Factual at BBC Studios, praises the shared ethical principles between the two parties. This mutual understanding enables them to concentrate on aspects that many competitors in the industry often overlook.
She clarifies her dedication: “It’s about a steadfast and profound devotion to mastering a specific field, such as creating factual programs. The BBC Science Unit, for example, showcases an astonishing power in science programming, while the Natural History Unit boasts an unmatched reputation and quality in its productions. Similarly, our history and arts programming demonstrate a depth and rigor that is truly remarkable. This commitment isn’t fleeting or swayed by daily demands; it’s a long-term dedication to specialization.
In addition to their individual capabilities, the BBC and PBS have the potential to generate ideas on a massive level, as Ward points out. For instance, consider the return of “Walking With Dinosaurs” after 25 years. The grandeur, the vision, and the quality surpass what each could achieve separately, not just creatively but also in terms of how these shows are distributed.
The third thing she highlights is that “because this is a longstanding relationship with such great trust, we feel that we have a space to innovate and take risks,” says Ward. “It’s so thrilling for our teams to be in a culture where next year the boundary is always higher.”
This encompasses components like digital and concise additional content that enhances the linear program broadcast. There’s also potential for educational resources. For instance, Bugg and her team investigate ways in which local PBS member stations can benefit from educational and learning materials. “Most of the educational and learning materials that PBS produces for educators and students stem from this national content, with a significant portion coming from our partnership with the BBC,” she clarifies. “For example, for ‘Fight the Power‘ with Chuck D, we organized screenings across the country. It was rewarding to see how PBS values public media and creates content that resonates with the audiences we cater to.
When it comes to the latest forms of media, they’re definitely on the table. “They’ve always been part of our discussions,” notes Bugg. “We’re considering immersive experiences that go beyond a simple, one-way interaction. There’s fantastic content out there, and as we explore digital and multiplatform possibilities, talented storytellers are brimming with fresh ideas for new formats and pushing the boundaries of their art.
Upon entering this long-term co-production alliance, I quickly grasped its significance. “I delved deep into this partnership from day one to comprehend its background and content,” said I, joining BBC Studios towards the end of 2022 in conversation with THR. “From my point of view at BBC Studios, what I’ve noticed is that it serves as a foundation and a collaboration that we, as producers, view as a launchpad for exceptional work that we simply can’t create elsewhere. It’s our shared dedication to outstanding programming and broadcasters with a clear-cut mission that makes this partnership so special.
According to Bootle, during my six-year tenure at the BBC, it has transitioned from creating decent work to producing some of the top-tier content on the network. We’ve grown more self-assured, more collaborative, and this transformation, in turn, has boosted our creative ambition.
Ward emphasizes that the primary aim of their collaboration revolves around discovering “outstanding concepts that cater to the ambition and the principles of the partnership, as well as ensuring harmony in our digital plans and marketing approaches.” They approach this collaboratively by discussing strategies for audience development, brand creation, and genuine user interaction. Throughout the process, they are extremely deliberate in their decisions.
It’s hardly unexpected that individuals from PBS and BBC often liken their collaboration to a marriage, grounded in trust and open dialogue. As Bugg explains, “Transparency in our discussions is crucial because the foundation of this partnership lies in mutual trust when we propose a collection of programs.” If the BBC isn’t fully invested or has reservations, Bugg emphasizes the importance of open dialogue: “I always say let’s discuss it, and the same goes for the other side. We share honest feedback.
On both ends, there’s a strong determination to continually refine the process, she notes. “We’ve had a decade to craft the ideal formula,” Bugg shares with THR. “Could we possibly enhance it further? Definitely,” she continues. “Just like our family recipes passed down through generations, we can tweak things here and there to make it even more special.
One thing everyone agrees on is that intelligence and entertainment can both be part of the programming that PBS and BBC Studios jointly develop and produce. “We both really love shows that are unafraid to be intelligent, but that don’t patronize you but treat audiences with respect,” explains Bootle. “Of course, we both want our programs to entertain but we also really want them to enlighten and to expand minds at the same time. And we’re completely committed to truth, accuracy, scientific regard, proper journalism, and those are things that I don’t think you can take for granted when you look across the media landscape.”
To be clear, representatives from PBS and BBC suggest that some major productions like “Walking With Dinosaurs,” “Solar System,” or “The Green Planet” (narrated by David Attenborough) might never have aired on television if these two organizations hadn’t collaboratively developed them.
According to Bootle, innovation is vital because it allows us to create something truly impactful, such as drawing large viewership for a show and progressing a genre. For instance, the series “The Green Planet” that aired on BBC in 2022 focused on plants and fungi instead of typical animals like lions, tigers, or sharks. People often doubted it would be interesting television due to its focus on trees, bushes, and grass, but our team aimed to make viewers appreciate these subjects just as much as they do lions, dogs, or sharks. To the skeptics, we said it would be uninterestingly dull, but we managed to attract a large audience anyway.
As a passionate gamer, I can relate. We poured our hearts into creating this unique game over four long years, investing a fortune in innovative technology like cutting-edge time-lapse and other features. The journey was challenging, but the end result was worth it all. Our creation became one of the highest-rated factual shows on BBC that year and even snatched several major awards. This project wouldn’t have seen the light of day without the strong bond between the BBC and us at PBS. I believe no other entity would have taken a chance on this ambitious project right from the start. And now, I see traces of its influence everywhere, with an increasing number of games focusing on the captivating plant world.
Ward emphasizes the significance of ambition. “We’re blending exceptional entertainment with knowledge and education to create purpose-driven television,” she explains. “Big Cats 24/7” demonstrates this by constantly challenging norms and avoiding complacency.
At present, filming for Season 2 is underway as our collaborators expressed immense enthusiasm towards the idea and methodology. This show chronicles the adventures of a group of wildlife cinematographers in Botswana, who are striving to capture families of big cats continuously for a period of six months.
The objective was to “produce the most comprehensive portrayal of big cat behavior ever recorded on film, in a strikingly beautiful yet harsh environment,” according to Bootle. “Utilizing cutting-edge technology like advanced night vision equipment that has significantly improved over the past few years, our team tracked the cats during their nocturnal activities. This allowed us to observe and document behaviors previously unseen by me, having been involved in this field for six years. The series represents a fresh take on natural history programming, and I believe few other broadcasters would have co-commissioned it with us. Only PBS could recognize its potential and provide the necessary support.
Through their collaboration, BBC and PBS have given opportunities for fresh talents to shine beyond renowned figures like Attenborough and Chuck D. The presenters in “Big Cats 24/7” and an English historian are instances of this trend. As Bugg expresses to THR, “I adore a good Lucy Worsley special.” The public adores Lucy too, just as I do. Just like any other organization, PBS and BBC consider the brand and its worth, what appeals to the audience. My aim for talent has always been for them to guide us on an adventure rather than being integral parts of the story themselves. So, we want our viewers to join us on a journey with talents such as Lucy or David Attenborough.
As a dedicated gamer, finding content that resonates with a host or guide’s unique voice and character is crucial. For instance, the latest series “Solar System” on BBC Two is hosted by Professor Brian Cox, a renowned physicist from the U.K. In contrast, the PBS version in the U.S. lacks a host. As Bootle explains, we sometimes tailor our content for different markets to make it more appealing. The “Solar System” series on BBC Two has just debuted and although the exact ratings are yet to be confirmed, it’s shaping up to be one of the highest-rated shows of the year in any genre on that channel.
On both sides of the ocean, Lucy Worsley is prominently showcased. As Bugg explains, “We’ve managed to identify the perfect content strategy for someone like Lucy – it’s engaging, enlightening, and informative, which suits her perfectly.” With numerous platforms available today for content consumption, audiences have a multitude of choices. That’s why we consider every aspect when selecting talent for public media in the U.S., not just their on-camera or on-screen presence, but also those behind the scenes – the film crew and writers. By taking a comprehensive approach, we’ve been successful in nurturing our public media talents in the U.S.
Focusing on unique talents offers PBS and the BBC an alternative route to stand out in a crowded media industry. As Bootle explains, “Dramas tend to generate buzz due to their involvement of high-profile, attractive actors and significant budgets.” However, it’s not always about following the most successful formula, and that’s often where specialist factual content shines. These specializations can effectively break through and attract vast audiences. This might seem like a niche topic at first glance, but when executed well, it has the power to captivate a large audience.
It’s anticipated that the situation will be similar when dinosaurs return to PBS and BBC screens next year, as per Bootle’s explanation. He expresses high expectations for “Walking With Dinosaurs,” stating that it is a science show designed specifically for a wide family audience.
Bugg finds the upcoming show, Walking With Dinosaurs, particularly thrilling,” he shares. Just like before, they’ve been meticulously preparing to perfect this project, understanding that each endeavor requires the appropriate time and attention. “It’s not a hasty operation,” Bugg explains. “Our collaboration is finely tuned, but it demands a significant effort behind the scenes. We’re not simply producing programs; we’re strategizing for the long haul.
As an enthusiast, I’ve witnessed the strong bond between PBS and BBC, marked by commitment and trust. Yet, cultural discrepancies occasionally surface, adding a dash of humor to our interactions. I remember when the BBC crew visited Washington D.C., and my PBS colleagues treated them to a hockey game. To be honest, ice hockey was entirely foreign to everyone in the U.K., so we were utterly bewildered by it. However, they did have a stocked fridge of beer, and let’s just say we might have emptied it more than anticipated!
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2024-11-01 16:28