The best reality formats work because they're secretly documentaries—structured around a question about human behaviour, then pressure-tested until something true spills out. That's the space I want to work in: factual entertainment that earns its insights rather than just its ratings.I grew up in a family where the television was never off. ... Read More

The best reality formats work because they're secretly documentaries—structured around a question about human behaviour, then pressure-tested until something true spills out. That's the space I want to work in: factual entertainment that earns its insights rather than just its ratings.I grew up in a family where the television was never off. My mum’s obsession with property shows through to my Grandad’s loyalty to Quest meant I absorbed both ends of the factual spectrum before I even had a language for it.Watching Channel 4’s Supersize VS Superskinny as a teenager and the arguments it sparked taught me that factual entertainment shape public conversations. That’s when I started paying attention to how these programmes are made, not just what they show.

As an Account Executive for a media agency, my day-to-day involves interpreting creative briefs, analysing target audiences for global markets, and producing omnichannel media campaigns for these brands. TV Development and commission ask the same question I answer every day: what does this audience want, and how do we deliver it? 

I thrive in environments where I'm connecting the dots between vision and execution. I am in a point in my career where I want to apply that thinking to the work I’ve always cared about most. Contributing to TV concepts as they develop, supporting creative teams, finding the talent and being embedded in television from the ground up rather than on the periphery.

I would relish the opportunity to discuss any openings or opportunities you may have within the commissioning and development realm, and how broadcasters today are shaping the next generation of television. Read Less