‘Bad eggs’ in UK television multiplying according to freelance TV producer shifting to digital content

A freelance TV producer who is shifting to become a digital content producer due to the commissioning drought has written an open letter to the UK industry warning “bad eggs” in the business are multiplying and taking advantage of freelancers.

Francine Jarvis

Francine Jarvis, whose TV credits include work on shows such as National Geographic’s World War II Secrets From Above and Discovery Channel’s Wheeler Dealers, is about to step into a permanent role as a digital content producer after a gruelling few years as a freelancer TV producer.

In her open letter, published on LinkedIn, Jarvis writes that broadcasters demanding more for less and executives agreeing to impossible terms is driving the TV industry to “breaking point.”

“Shorter schedules, mounting pressure and corners cut at every turn have made the work feel more like survival than creativity,” according to Jarvis, whose claims are backed up by stats that show mental health in the UK screen sector is deteriorating at an alarming rate.

Reflecting on last year, Jarvis said: “Commissions disappeared, there were unbelievable lay-offs, budgets shrank, schedules tightened (again), and opportunities dwindled even more than the year before. More for less, where does it end? For many freelancers, it wasn’t just hard, it was unsustainable.

“The people on the ground are the ones who pay the price. Freelancers often stay silent about these struggles out of fear, fear of rocking the boat, of being labelled ‘difficult’ and not getting that next and vital gig.”

Moreover, Jarvis warns that “bad eggs” in the business who are willing to take advantage of freelancers are “multiplying” as the crisis in UK television continues.

“There are good eggs in this industry, producers, crews, and companies who genuinely care. If you’re reading this, I hope you know who you are. But the bad eggs are multiplying, and they’re taking advantage: fixing rates so there is no negotiation, excessive hours, and an atmosphere where passion is often punished with burnout or even injury. And to add to this, the industry is still allowing bullies to thrive, and unprofessional behaviour to continue unchecked (in front of and behind the camera),” said Jarvis.

Among Jarvis’ credits are work in 2022 on season eight of Voltage TV and the BBC’s Inside the Factory, which was presented by Gregg Wallace, who has since faced a series of allegations about his conduct.

Jarvis, who most recently worked as a shooting producer director on Windfall Films’ World’s Most Secret Hotels, believes the TV industry’s shift away from linear TV to non-linear online platforms “still feels sluggish.”

“There is so much creative talent in our industry, yet very few of the companies we rely on are taking the leap to bypass traditional broadcasters and streamers to create their own online presence. They are stuck in a bygone age. I understand, it’s a risk. But standing still isn’t safe either,” said Jarvis.

“Early last year, I realised I needed to diversify. Yet breaking free from TV’s informal, credits-based experience and selling it to non-TV industries, felt like unlearning a language.

“Leaving isn’t easy when you’ve loved something so deeply. But financial and emotional sustainability are non-negotiable, and for many of us, the current system simply isn’t providing that. That said, I’ll never say never. If the tides turn, if things improve, I might be back one day.

“If you’re considering a change, I can’t recommend TV Switch Up by Telly Mums enough. They’re brilliant. If you’re staying and fighting to make this industry better, I wish you every success. Here’s to hope, to change, and to better stories, on-screen and off,” Jarvis said.

It comes after a study published in October last year with the participation of UK audience measurement firm Barb highlighted the growing dominance of YouTube and social video in the UK market, as well as the lack of engagement in traditional broadcast television among under-35s.

Among the study’s aims was to demonstrate the wave of change that is set to sweep through a UK production industry that is already struggling to find its way in the digital age, with numerous companies going out of business in 2024.