We are the biggest commissioner of comedy programming in the UK. Across all broadcasters and SVODs, in 2023 we’ve had eight out of the top 10 scripted comedies, as well as the highest number of new comedy releases in the UK. Not only have we housed some of the most iconic comedies in British television, but we have a track record of nurturing and showcasing work from new talent. With the production community’s continued creativity and collaboration, we aim to remain the greatest home for comedy in the UK.
Our goal is to attract the next generation of comedy fans while continuing to surprise and delight our existing audience. We strive to nurture and develop brand-new comedy voices while collaborating with established household names.
While we’re open to reading any proposal from registered UK production companies, we’re currently prioritising shows that lift moods and offer a post-work escape for viewers who need to unwind after a long day. Shows that feel like comfort food, that families and friends can share together in big helpings. We want shows that make people feel seen, no matter who they are and where in the UK they might live.
The types of shows we’re actively prioritising
Ensemble comedies: we prefer ensemble shows over those reliant on a central character going on a personal journey. While we enjoy the latter, we’ve got quite a few comedy dramas on our slate that service this need.
Returning series: we’re prioritising shows that have a strong story engine providing unlimited stories that can fuel multiple series, rather than resolving after two.
High gag rates that appeal to a wide audience: an obvious point we know, but we want to emphasise that 'mainstream' is not a dirty word, we’re looking for gags that can surprise an audience but also appeal multi-generationally. Ghosts never spoke down to kids, while making grown-ups laugh, too. We’re looking for something for everyone.
Warmth: shows with characters you care about and that don’t feel the need to be 'too cool for school' and a willingness at times to show a bit of heart with the odd tearjerker. It’s like that moment in Gavin & Stacey when Nessa proposed to Smithy or when Dawn is gifted the paintset from Tim in The Office.
Representation: diversity in cast and portrayal are key considerations for us. We’re especially keen on proposals from female talent, writers from underrepresented groups and deaf, disabled and neurodivergent portrayal.
Regional focus: we want shows set in all parts of the UK and are always on the hunt for talent from Northern Ireland, Scotland, Wales and the English regions, so please don’t hesitate to send these to us immediately!
Young audiences: we’ve got an incredible slate of new and returning award-winning shows with Dreaming Whilst Black, Juice, Man Like Mobeen and Such Brave Girls. Our focus for young audiences is to find broader comedies that appeal to those in the 16-24 age bracket and prominently feature experiences they’re going through such as education, dating, first jobs and new friendships.
We offer multiple ways to develop programme ideas and characters with us, and our commissioners are on hand to work with you to find the best path for your idea. We are one of the few broadcasters that fund scripts, and we offer a host of development routes to a possible series commission such as podcasts, radio pilots, tasters, read throughs and short films, providing useful calling cards for talent as well as great opportunities to experiment. We also offer more traditional forms of development such as scripts, non-TX taster tapes, read throughs and non-TX pilots.
Some ways we can work with you
Short Films
Our Short Film strand is a place for new and established talent to develop a self-enclosed short for TX on ±«Óãtv Three and iPlayer. Although these aren’t pilots, we want them to be treated as proof of concepts for larger series. So, while you don’t have to have a whole series worked out, we are interested in ideas that prioritise characters and accessible premises which have the scale to grow to a multi-episode commission. We also fund short film scripts.
Radio pilots/podcasts
We work closely with Radio 4’s Comedy Commissioner Julia McKenzie 4 who commissions a vast range of comedy every year for Radio 4 and ±«Óãtv Sounds. This includes stand-up storytelling, sketch and sitcoms – all of which are great for writers and writer-performers who are looking to develop their voice and characters and reach an audience – and get paid! We have co-commissioned shows such as Icklewick FM from the Delightful Sausage duo which is returning for a second series, and we also have audio scripts in development as a result of our audio sitcom development opportunity launched in 2023. Audio is a proven pipeline for shows making it to TV, and we’re excited to see that continue.
The Sitcom Project
The Sitcom Project is our brand-new initiative for UK producers. We are looking to fund writers’ rooms with show ideas originated and led by experienced showrunners to create the next big UK sitcom that appeals to a mainstream audience. The deadline for ideas is 30 September 2024.
How to pitch to us
We ask that all ideas are submitted to us via the PiCoS pitching system whenever possible. Find out more about how to register and use PiCoS.
Our commissioners are assigned specific production companies to support. If you don’t have a commissioner, please send your proposals to our Head of Development in the first instance who will make sure it reaches the right person. We encourage you to only send us the ideas you’re most passionate about.
Proposals should include information on the writer and their credits. If they are a new writer then please include a sample scene, short film they’ve made, links to their YouTube or social accounts, or a sample of their writing as it’s always useful for us to get a sense of their style and tone.
We aim to get back to everyone within three weeks of submitting an idea. If we can’t read your submission by then we’ll send you a note to let you know where we’re at.
Frequently asked questions
What do you get pitched too much of?
We get pitched a lot of stories based on one flawed main character. While these are interesting, they can often run out of steam after one series, and our ambition is to commission shows that can run for many series. Sometimes it feels like it would be better if that character was only one character in an ensemble show.
Does it matter where my show is set?
We’re keen on shows that are set outside of London and are an authentic look at life in different places in the UK.
What are you not looking for?
Comedy dramas are not a priority for us at the moment, especially ones with a crime theme. Additionally, we’re not looking for sketch shows and darker, cynical comedies or animation. We are less keen on higher concept comedies. Ghosts is a good example of this but reads more as a family sitcom first, so always make sure these ideas feel as accessible and relatable as possible.
How long should comedy shows be?
We can be flexible but if you want your show to be on primetime ±«Óãtv One or Two it needs to be 30-minutes long. We sometimes commission 60-minute comedy dramas, but this is rare.
What is the best time to approach partners for co-financing?
If your project is off brief, for example a comedy drama, it’s always helpful for us if you bring on a co-financing partner. If your project meets our brief, please feel free to share it with us in the first instance, and if a co-financer is needed we can have that conversation further along in the development process.
What kind of talent needs to be attached to a project at point of pitching?
The only talent we need attached at the point of pitching is a writer, otherwise we’re happy to chat further along in the development process about directors and casting.
I’ve never produced a broadcast comedy series before, do I need to partner up with an experienced company? If so, when?
To access our pitching system PiCoS you need a broadcast credit within the last three years. Please see the PiCoS eligibility criteria for more information. If you don’t have this then partnering with an established supplier at the point of pitching is recommended. If that’s not possible, it’s worth thinking about how you can bolster your project in other ways, such as bringing on an established executive producer or showrunner.
How we support producers
We are actively looking to diversify our supply pool, both to ensure we create amazing content that reflects the lives and experiences of our audience, but also so we can work with the very best on and off-screen talent, no matter their background, skin colour or where they come from.
We have ring-fenced budget for projects and suppliers who prioritise diversity in the stories they tell and the people they work with, and we’re committed to engaging with the comedy production community in every part of the UK. Find out more about our diversity commitments and the Diverse Talent Development Fund.
Working with suppliers based outside of London is also a key focus for us, and alongside our annual city of comedy and comedy festivals based in the Nations and English regions, we also have schemes and initiatives targeted at companies outside London, such as our Script Partnership Project.
Gregor Sharp is our commissioning lead for suppliers based in the Nations and English regions and acts as the key point of contact for these producers. Gregor, who is based in Glasgow, helps to support local ideas, talent and creative opportunities and champions stories which reflect the whole of the UK. Find out more about the Nations and regions commissioning leads and how the ±«Óãtv supports indies out of London.
We actively support smaller indies with a turnover of less than £10million via the Small Indie Fund. We also have a number if targeted initiatives to help support smaller and newer companies, such as our short film scheme and our Script Partnership Project.
Find out more on the links below or visit the general Support for producers working with the ±«Óãtv area.