BBC supports 50 Independent Companies to invest in TV & Radio Production across the UK
As part of the BBC's commitment to supporting the creative industries in all four nations and boosting production capabilities to deliver the most distinctive content for audiences, the BBC has today confirmed the independent production companies that will receive bespoke mentoring and over £1.7m in investment over the next year.
In total, 50 indies will receive support across three dedicated schemes: the TV Small Indie Fund, the Hot House co-commissioning scheme and the BBC Radio & Music Indie Development Fund. All recipients of these funds receive strategic investment, mentors from the commissioning teams across TV and Radio, and a programme of introductions to wider BBC teams, to help them grow and develop their ideas.
Launched in 2020, the TV Small Indie Fund supports the growth of small independent production companies from across the UK with turnovers below £10m across Drama, Comedy, Film, Entertainment, Factual, Daytime and Children's. Exceeding the original budget of £1m, this year 33 companies will be supported through the fund and receive a total of c £1.3m. The TV Small Indie Fund continues to focus support for companies based in the Nations & Regions with 76% of companies based outside of London, with 3 in both the West Midlands, and the North East. The 2025 cohort also sees the highest ever number of diverse-led producers – with 79% of companies having at least two individuals in specific leadership roles from one of the following under-represented groups: Black, Asian or minority ethnic, Disabled and/or Working class.
First piloted in 2022, the Hot House co-commissioning scheme is a joint initiative between BBC Unscripted and BBC Northern Ireland with support from Northern Ireland Screen, aimed at growing network production capacity in the region. The initiative provides Northern Ireland indies with advice and support from the network and Northern Ireland commissioning teams, and slate development funding to help them compete for BBC network factual commissions and BBC NI/ BBC network co-commissions.
Eight Northern Irish independent companies have now been chosen to receive £25k from the BBC, with the opportunity to apply for match funding from Northern Ireland Screen. The companies will focus their development work in three discrete Network genres – Documentaries, Factual Entertainment and Daytime & Early Peak.
Now in its third year, BBC Radio's Indie Development Fund supports and champions indies who are based across the UK. This year for the first time, the 11 successful indies can work with commissioning teams across BBC Music or Speech, receiving support and insights from the entire audio division, not just one radio station. All the recipients of the Radio Indie Development Fund, worth £250k in total, are based outside of London and more than half (55%) are run by a diverse leadership team.
In addition, in the context of challenges across the industry we will be providing a series of monthly online insight sessions aimed at all smaller producers. These will include business and editorial sessions accessible to everyone to engage with the BBC's strategy and resources. Details will be sent out via our usual channels.
David Pembrey, Chief Operating Officer, BBC Content, said: 'In a global market which continues to see production consolidation, we remain committed to investing in new and smaller Independent businesses and the UK's creative industries. We want to ensure our audiences get to enjoy the very best homegrown storytelling, for which investment in the roots of production across the UK is vital.'
Eddie Doyle, Head of Content Commissioning, BBC Northern Ireland, said: 'The second phase of the Hot House scheme is now well under way with our network commissioning colleagues and Northern Ireland Screen and it's been fantastic to see the passion and ambition that Northern Ireland independents have brought to the table. That eight separate local companies are now moving forward and benefitting from the scheme is a great thing for them and the creative industries here in Northern Ireland.'
Matimba Kabalika, Executive Producer, B-Side Production, said: 'The support of the Small Indie Fund has been invaluable to B-Side and we are excited to have received our first greenlight from the Drama commissioning team, a co-production with Mam-Tor, for Open Water by Caleb Azumah Nelson. Having Produced Caleb's debut short film Pray, with the support of BBC Film it is a full-circle moment and proof of the value of that the fund gives.'
Anton Inwood, Founder & Creative Director, Acclaimed Content, said: "We are very excited to be joining BBC's Small Indie Fund cohort. This initiative has propelled so many upcoming indies on to great things after the fantastic support from the BBC. Acclaimed Content is next up."
Companies selected for the 2025 TV Small Indie Fund:
Northern Ireland
Deadpan
Nice one
Blackthorn
Wales
Riot Time
Red Seam
Cardiff Productions
Kailash Films
Scotland
barry crerar Scotland & NI
Studio Something
Flabbergast
Rogan (Scotland base)
English Regions
Candle & Bell Limited - North East
Northern Child – North East
Schnoobert Productions Limited – North East
Button Down – Yorkshire & The Humber
ClockWork Films – Yorkshire & The Humber
Public Dreams Ltd – Yorkshire & The Humber / London
CosmoSquare - Yorkshire & The Humber
Abbotvision Productions – North West, (Manchester Base)
The Fold– North West
Common Story – West Midlands
Acclaimed Content – West Midland
Rural Studios – West Midlands
Chalk Productions – South East
Slate Works – South East
London
104 Films
B-Side Production
Juno
Lunar
Nico
Them Ones
Three Tables Productions
Turnover Films
Companies selected for the BBC Radio & Music Indie Development Fund:
Scotland:
Feral Inc
Dabster Productions
The Big Light
Wales:
Bengo Media
Songbird
Northern Ireland:
Walk on Air Films
England:
Voxwave – West Midlands
Peanut & Crumb – South East
Silver Music Entertainment – East
Candle & Bell Ltd – North East
Zandland – North West
Companies selected for the Hot House unscripted co-commissioning scheme in Northern Ireland:
Daytime
Alleycats TV
Below the Radar
Rare TV
Documentaries
B&C Films
Blair Black
Walk on Air Films
Factual Entertainment
Afro-Mic
AlleycatsTV
Stellify Media
EDA
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Mirror
an hour ago
- Daily Mirror
POLL: Was Meghan right to share twerking video?
Meghan Markle's twerking-in-labour video has everyone talking - from royal fans to possibly even King Charles himself. Was it a fun, unfiltered mum moment or a royally awkward overshare? Let us know! To celebrate Princess Lilibet's 4th birthday, Meghan posted a video that caught pretty much everyone off guard. It showed her, heavily pregnant, in a hospital room with Prince Harry, dancing and twerking to the song Baby Momma by Starrkeisha. Whether you found it hilarious, relatable, or a bit odd, it definitely got people talking. Some fans loved seeing this personal, human moment - but others weren't so keen. Royal commentator Jennie Bond called it 'utterly bizarre' and says King Charles would've been 'horrified' by it. But what do you think? Was Meghan just enjoying the moment and sharing a joyful memory? Or did she cross a line by going so public with something so private - and what is clearly a little unconventional for a duchess? Scroll down to take our poll. Meghan shared the clip saying: "Four years ago today, this also happened. Both of our children were a week past their due dates… so when spicy food, all that walking, and acupuncture didn't work – there was only one thing left to do!" Former BBC royal correspondent Jennie Bond was left flabbergasted, telling the Mirror: "The hours before you give birth are some of the most personal, intimate and private in the lives of any couple. "And women are perfectly entitled to do whatever they feel like to get through the waiting, and the pain. Giving birth is a serious business, and anything to lighten the mood is welcome. "However - to share those scenes with the world is utterly bizarre and, in my view, takes away all the magic of the moment. I cannot imagine why she chose to release it. Maybe show it one day to your nearest and dearest— but to anyone and everyone who wants to click on it? Was Meghan right to share twerking video? Take our poll below. If you can't see it, click here "I can hear the voice of the late Queen's former private secretary, Lord Charteris, repeating the comments he once made about Fergie: 'Vulgar, vulgar, vulgar'. "If the King has watched it, which I doubt, though he can't have missed the headlines I'm sure he would be horrified. Royalty has to carry with it some measure of dignity." Since sharing the clip many have questioned why she posted it, given the couple's supposed desire for privacy. And Jennie added: "I'm glad they were so happy before the birth, I'm glad Harry was there to support his wife in every way, I'm delighted to hear that he's such a great dad. But they really can't have it both ways. "They can't demand privacy and be so coy about sharing images of their children and then show us all these intensely intimate scenes. And she cannot expect to be treated as if she's royal whilst behaving like a click-hungry social media influencer. "Having said all that, there's no doubt that videos like this connect in a very real way to young people. And perhaps that's what Meghan is trying to do. My own daughter thought the video humanised both Meghan and Harry and was light-hearted and hugely relatable. It reminded her of her own pregnancies and labour and she thought it was rather charming. In many ways, I agree with her. I just don't think it sits happily with trying to cling to the vestiges of being 'royal'." Get Royal Family updates straight to your WhatsApp! As the royals get back to their normal duties after a difficult year, the Mirror has launched its very own Royal WhatsApp community where you'll get all the latest news on the UK's most famous family. We'll send you the latest breaking updates and exclusives all directly to your phone. Users must download or already have WhatsApp on their phones to join in. All you have to do to join is click on this link, select 'Join Chat' and you're in! We may also send you stories from other titles across the Reach group. We will also treat our community members to special offers, promotions, and adverts from us and our partners. If you don't like our community, you can check out any time you like. To leave our community click on the name at the top of your screen and choose Exit group. If you're curious, you can read our Privacy Notice.
Scottish Sun
an hour ago
- Scottish Sun
Sir David Attenborough's staggering earnings for last year revealed as 99 year old rakes in MILLIONS
Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) SIR David Attenborough is undoubtedly a national treasure – and he's earning millions to prove it. The 99-year-old nature-loving TV presenter and documentarian's income has been revealed after a staggering financial year and ahead of his latest show. 5 Sir David Attenborough has earned £4million in the past year Credit: PA 5 The star owns a 54% stake in his company, with his children also being shareholders Credit: PA Sir David's production company is revealed to have earned several million in the last year alone. According to Daily Star, accounts filed this week reveal he earned £4million, with a cash reserve on the business of £1.2million. He owns 54% of the David Attenborough (Productions) Limited firm, with his son Robert and daughter Susan also being shareholders. This comes after a string of lucrative deals as the face of British nature documentaries, with last year seeing Sky Nature releasing Secret World of Sound with David Attenborough, and the BBC releasing Mammals. This is not including his staggeringly impressive back catalogue of documentary series, including Dynasties, Planet Earth, Frozen Planet, and Seven Worlds One Planet. He has also released accompanying books on his shows, and supports multiple wildlife charities. His career dates back to 1953, with the star releasing dozens of projects every decade since, often resulting in public debate being sparked of the human effect on the animal world. Ocean With David Attenborough, which explores the depths of the sea and the creatures that inhabit it, was released last month on National Geographic and Disney+. The film delves into the wonderful world that lives beneath the water, including habitats that animals need to look after. In an age of ocean discovery, Attenborough aims to emphasise the ocean's vital importance, while also exposing the problems it faces. Sir David Attenborough steps back from narrating Planet Earth in show first as BBC announce major shake-up This includes graphic footage of how fishing practice bottom trawling is damaging the seabed and causing long-term damage to the ocean. The 90-minute movie aims to highlight opportunities for marine life recovery. He said of the film's release: "After almost 100 years on the planet, I now understand the most important place on Earth is not on land, but at sea." 5 The star has become the international face of wildlife documentaries Credit: PA 5 At 99 years old, the star continues to release multiple projects a year Credit: Getty
The National
an hour ago
- The National
REVIEW: Martin Luther King drama hits the heights, and a technical low
King calls room service and requests a coffee. A young maid by the name of Camae arrives with his beverage. So begins American dramatist Katori Hall's Olivier Award-winning 2009 play The Mountaintop. If you are – as I am in writing reviews – averse to spoilers, Hall's drama is a tricky proposition. It is necessary, yet possibly saying too much, to reveal that the fictional figure of Camae is not what she seems. The maid is Black, working class, clever, fast talking, flirtatious, irreverent, yet very much in respectful awe of King. As such, this multifaceted character is a brilliant foil to Hall's imagined MLK. King himself emerges – in Hall's characterisation – as a complex combination of traits inspired by both his public persona and what we know of his private biography. Inevitably – given the ever-present threats against his life – he is afraid for his person. His conversation with Camae explores the tussle between fear, on the one side, and determination, faith and a sense of purpose, on the other. Camae's respect for King does not prevent her from invoking Black radicals such as Malcolm X and the Black Panthers, and from airing opinions on the struggle for racial justice that are at odds with MLK's insistence on non-violent resistance. READ MORE: 'Joy, celebration and warmth' of Palestinian art to be showcased at Edinburgh Fringe In one particularly memorable scene, she even imagines a new, radically Black nationalist rhetoric for King. Yet the dialogue between the pair is so deftly wrought, so believable in its humour, affection and growing familiarity that its political dimension never comes close to polemic. The characters' interactions reflect to a considerable degree MLK's well-established 'weakness' where his extra-marital relations with women were concerned. In this, and in other – by turns delightful and anguished – aspects, the play's broad humanism is inflected with feminism. Caleb Roberts (MLK) and Shannon Hayes (Camae) create a powerful and transfixing theatrical duet as they perform on set designer Hyemi Shin's impressive set (a vertiginous rendering of King's motel room). Caleb Roberts Although contrasting in so many ways, the actors generate characters who are in equal measure charismatic and vulnerable, all the better for Camae to guide King through a dark night of the soul and up to the titular mountaintop. Indeed, so spellbinding are the actors that one cannot help but feel disappointed by the needless distraction – in what should have been a shuddering denouement – of very visible stagehands invading the stage in the crucial final scene. This misjudgement on the part of acclaimed director Rikki Henry seriously undermines an otherwise sure-footed staging. The director exhibits a misplaced loyalty to a visual metaphor for which he and his team have been unable to find a satisfactory technical solution. Which is a great shame as, otherwise, this production does excellent justice to Hall's celebrated drama. Until June 21:
