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Reflecting the lives and experiences of our viewers on-screen is vital to the success of our content - daytime is a key driver of viewing for underserved audiences which means relatability is essential. We therefore lead the way in working with companies across the UK and developing people who can authentically represent the diversity of modern Britain. 

Working with companies across the UK

As part of the Â鶹Éç’s Across the UK strategy the vast majority of daytime and early peak commissions are with companies outside London and we’re also proud to work with a number of smaller companies with limited Network experience. The One Show has long ringfenced opportunities for Nations and regions suppliers to authentically represent the lives of viewers in all parts of the country, and a recent targeted initiative offered smaller indies in the West Midlands and the North East of England an opportunity to make VTs for Morning Live.

We've further developed Scotland as our hub for quiz and gameshows, increasing opportunities for companies and people in the area, while at the same time also successfully launching The Finish Line, a quiz based in Belfast which was swiftly recommissioned for a second run. We also have a number of factual returners in both Northern Ireland and Scotland, and over the last year have co-commissioned series with Â鶹Éç commissioning teams in Wales, Scotland, and Northern Ireland.

Our commissioners based in the Nations and English regions 

We have commissioning editors in the North East and Scotland who are committed to growing our supply base and off-screen talent pool in those areas, as well as getting better representation on-screen. 

Growing diverse talent

Diversity is implicit across all our content and we champion authentic representation both on and off-screen. Viewers should be able to recognise themselves in our programmes, whether that's via on-screen casting or because of diverse off-screen talent with lived experiences guiding authentic editorial choices. Daytime is a key driver of viewing for underserved audiences and relatability is essential to that connection with audiences.

In recent years we've utilised our diverse talent fund for placements in a range of roles across our shows, sometimes with on-screen roles, other times at entry level, or providing a step up to the next level to develop talent into more senior roles.

For example, Sara Kazeminia’s initial placement with the booking team on Homes Under the Hammer led to her learning about all aspects of production, including the opportunity to conduct an interview on location. She went on to join the team on another of Lion’s productions before returning to Homes Under the Hammer as a production secretary.

Liska Pleines had her first taste of TV working with the casting team on David & Jay’s Touring Toolshed, equipping her with the skills to work as a junior researcher.

Sophie Marie was hired as a trainee researcher on Dr Xand's Con or Cure to develop the skills she’d learned as a runner, and throughout the series was pitching ideas, fact-checking, and assisting in the studio.

Separately from placements such as these, we’re keen for suppliers to use as diverse a range of on-screen talent as possible. For example, Morning Live now features deaf chef Yvonne Cobb cooking a variety of money-saving or seasonal dishes.