Charlotte Moore has been overseeing content at the British broadcaster since 2020. Although this year has had its challenges: former presenter Huw Edwards resigned from the BBC in April after being accused of making indecent images of children and entertainment of celebrity dance. Strictly Come Dancing faced complaints about bullying on set: Moore can still boast numerous critical and commercial successes.
These include the reboot of the 90s action game show Gladiators and the return of the Liverpool detective saga The Responderwith Martin Freeman and Adelayo Adedayo. When it comes to the transition from broadcast to streaming, the BBC has excelled. Moore says: “I'm really proud of the success story of our BBC iPlayer; it is now the fastest growing VOD platform in the UK”
Named one of The Hollywood Reporter's The most powerful women of 2024 in international TV, Moore spoke THR about the BBC's efforts to improve diversity in front of and behind the camera, her advice for young women entering the industry and the programs she watches for pleasure.
What was your first job in the company?
I worked as a personal assistant to the boss of an independent production company in Bristol. I did everything from painting the office to sorting receipts to fact-checking proposals and typing letters. It was a great way to learn about the business and within a few months, when the company got a commission, I found myself on site working on a show and seeing how programs are made.
What do you consider your biggest accomplishment of the past year?
I'm really proud of our success story with BBC iPlayer – it's now the fastest growing VOD platform in the UK. BBC iPlayer has seen remarkable growth year on year and is outperforming all its competitors across all audiences, thanks to creativity and storytelling from across the UK. The truly distinctive British service continues to break records: it has grown by more than 20% so far this year. BBC iPlayer's viewership growth is double that of Netflix, three times that of ITVX and four times that of Channel 4. This is a success story for British creativity because, as the largest investor in producers, talent and UK skills, the value of our spend is kept in the UK and benefits the long-term sustainability of our world-class sector.
What needs to be done to improve equality and diversity within the sector?
I think it's more important than ever in this fragmented world to foster a truly inclusive industry. It's critical that we get this right so we can continue to be relevant to our audiences, representing and serving everyone, no matter who they are. And the only way to achieve this is through much greater collaboration so that we don't compete with each other or score points, but truly work together to improve and make lasting change. That's why TAP [The TV Access Project, which is an alliance of 10 UK broadcasters and streamers working together to ensure inclusion and access for disabled talent on and off-screen] has been instrumental as a model for how to transform the experience of working in this sector for all deaf, disabled and neurodivergent people.
What current industry trends do you hope to see return to soon?
Obsession with programs judged based on late-night ratings. They are truly a thing of the past in an on-demand world.
What advice would you give to young women just entering the industry?
Be yourself, never lose your sense of curiosity and interest in the world, be passionate and make connections – reach out to people and find mentors, you'll be surprised how many women want to support people who come along.
What do you watch for pleasure?
Classic comedy with my daughter, whatever Miranda OR Gavin and Stacey OR Curb your enthusiasm.