All language subtitles for movieddl.me_W1A.S01E03.1080p.NF.WEB-DL.AAC2.0.H.264-WELP_track3_[eng]

Stand-by, two.
Mix through. Cue on two.

The BBC has
announced the appointment

of ex-head of Olympic
Deliverance, Ian Fletcher,

as its new Head of Values.

Time now
for the Shipping Forecast.

Superimpose.

I mean, I'm a bit
busy this morning,

so I'll have to
get back to you,

but, no, from the hip,
I mean, surely,

unless,
I've misunderstood this,

Songs Of Praise isn't
actually about ratings, is it?

I mean, that's not it's...

8:30 on another
morning at New Broadcasting
House in Central London.

Ian Fletcher
has now been in his job

as the BBC's Head of Values
for nearly a month.

If you take that out,
what have we
actually got left?

In the end... Thanks, Will.

In the end,
if we're not careful,
it'll be Top Gear,

Strictly Come Dancing
and, you know,
bake offs of various kinds

and, frankly, I'm not sure
that's quite what
Lord Reith had in mind.

Reith. Lord Reith.

As opposed to
people watching each other

stuffing their faces
with caramelised whatever

or crying because they
haven't got the right kind
of, I don't know,

self-rising flour
in their apple turnovers
or whatever.

Okay, I don't care whether
you do or not, that's
just an example, okay?

Right.

Perhaps, I should say
what's driving this, I think,

apart from that it's crucial
in its own right, of course.

The real urgency behind it
is this Reith thing
next month.

By 9:00 a.m,
Ian is already chairing

the fortnightly
Way Ahead Task Force Group.

BBC Director-General Tony Hall
is due to deliver
the keynote speech

at a major BBC thing,
next month to celebrate
the death, 43 years ago

of the first ever
Director-General, Lord Reith.

Cameron's been invited,
Miliband, I think,

uh, Maria Miller,
Culture Secretary, obviously.

So, basically it's...
Lis Murdoch from Shine.

Right, yes, so...

Peter Fincham from ITV.

Right, yes, thank you.
So, basically,
anyone who's anyone.

And not to mention
the Prince of Wales...

Exactly. Yes.
Thank you, Simon.
Yay!

I'm not sure who he's from.
He's from Wales.

What?
Duh.

With the anniversary in mind

and the campaign for
Charter Renewal in 2016 coming
closer by the fortnight,

Ian is joined by Director
of Strategic Governance,
Simon Harwood,

Head of Output, Anna Rampton,

Senior BBC
Communications Officer,
Tracey Pritchard,

Brand BBC Consultant
Siobhan Sharpe
from PR Company Perfect Curve,

and two other people,
to think some big thoughts
about the BBC's purpose.

This will be the opening shot
in the campaign

to secure the future
and the values

of the institution
were all sitting in now.

Cool.
Yes, very good, very strong.

So, with that in mind,
I thought, it might
be interesting,

maybe illuminating, who knows,

just to start
by asking everyone in
this room to write down...

Yes.
To write down one word...

This is so cool,
we love this.
Okay, no.

One word?
I'm sorry.

Yes, one word. Turquoise.

No, I haven't started yet. Okay.

Just write down
one word that... Yep.

The first thing that...
No, sure.

The first thing that
comes into your mind when
you hear the word BBC.

Okay, so, it's not
actually a word.
Okay, yeah.

Just write that word down,
then fold it up
so no one can see it...

Okay. Go.
Right. Okay.

You've got 30 seconds.

Okay, okay, okay.

Can I just say,
I'm not being funny
or anything,

but I'm really not
good at this.
Don't worry. It's not a test.

I'm okay at most things.
I don't mind...

Just whatever comes
into your head.

Er, no,
that's way better.
This is so cool.

Finished, sir!

Can you have smells?
Smells?

You know, like the smell
of the building when you
come in in the morning.

I don't know what it is.
Is it the smell of success,
Tracey?

No, it's not that, Simon.
It's more like some sort
of detergent or something.

I don't know.
You can have
whatever you want.

You're sure you can have
whatever you want.
It's cool.

Right. Okay.
Don't say I didn't warn you.

Okay, so if you just want to
pass them along.
No peeking.

Anna, you haven't...
You really don't...
No.

No, okay.
The fact is,
I really don't do this.

Right, okay. Okay, good. So...

Right, okay, good.
So, that's all good.

Okay. Okay, sure,
but the screening
itself starts at 7:00.

Okay, great. Thanks, Margo.

No, yeah, I'll tell him,
but I'm sure that'll be fine.

Okay, see you later.

Okay, thanks, great. Bye.

Hi, Will.
Oh, yeah. Hey, yeah, hi.

You okay?
Oh, yeah, no, that's cool,
I don't mind.

Meanwhile,
intern Will Humphries

is busy with
an important mission
of his own.

This is, like,
Ian Fletchers' bike.
Okay, yes.

I have to find somewhere
to put it, 'cause
he's like a nomad.

What?
Nomad.

Right.
Yeah, I know, mental,

but it's, like, a challenge. Right.

Yeah, so, I was thinking,
maybe it could be right
here near your desk?

Okay.
So, then I would know
where it was.

Yeah. You can leave it here,
if you like.

Okay, wow, cool.
I can keep an eye
on it for him.

I've got to keep an eye on it
for him. That's the challenge.

Well, whatever. Yeah.

Put it next to Simon's.
We can both
keep an eye on it.

Okay, cool.

Actually, Will,
are you busy this morning?
What, now?

Well, this morning, yes. No.

Um, it's just,
I'm a bit busy today.
Would you be able to...

Okay, cool, yeah, no worries.

We're sending out
the invitations
to the Reith thing today.

Yeah. The what?

Will, uh... Tony Halls'
going to be giving this...
Actually, it's a bit...

It doesn't...
Okay, yeah.
No, that's cool.

Would you be able
to fold the letters

and just put them
in the envelopes?
Cool.

And then, actually...
Do you want to sit down here?

Okay, cool, yeah, no worries.

So, they're all printed out
and signed by Tony Hall,

and all of the envelopes
have got the addresses on.

Wow! How many
of them are there?
400.

Whoa! Cool.
They're all in
the right order in the piles,

so, it should be
really straightforward. Yeah.

But it is quite important...
That's okay.

It's important to make sure
that the right letter
goes in the right envelope.

Yeah, no, obviously.
Yeah, cool.

So, are you going to
be okay with that?

Yeah, cool. Yeah, no worries.
With what?

With everything
that I just explained to you.

Yeah, no worries.
Yeah, cool. Right.

Yeah, so where are you
going to sit? No...
I could sit on the bike.

No, no, no. I've got this
Syncopatico Update
course this morning.

Oh. Okay.

But I'll be back
at lunchtime.
Okay, cool.

Hey, you ready?
Yes, just coming.

Really, Will,
that'll be so brilliant.
Thank you.

You're a star.
Yeah, okay, cool.

I suppose what I'm
not clear about

is how moving it to radio
would refresh it

or what sort of signals
that would send out.

Back in Frankie Howerd,

Ian has moved the Way Ahead
meeting away from Big Thoughts
and onto Detail.

It's a show. It's people
singing in churches.

Well, yes.
Cool idea.

The fact is
there's no Jeopardy!, there's
no appointment to view.

It's not even a competition.
Oh, bummer.

There's been
a proposal

to move the BBC's much-loved
religious big-hitter,
Songs Of Praise

from its current slot
on Sunday evening.

And just so I know, am I right
in thinking that what's in
your mind, Anna, here instead,

is Britain's Tastiest Village?

Village is still floating
at the moment.
Right. Is it?

But we have a duty
to give people what they want.

I suppose my question is,
might it be our duty sometimes
to lead people towards things

they didn't realise
they wanted?
Yes, very good.

Well, no.
Duh!

Right.
Frankly, that's ludicrous.

Guys, you don't
sell crab cakes
in a sausage factory.

Brilliant.
What?

Exactly.
Have we got that?

Mmm-hmm.
Tony'll be practically
beside himself.

Right, well,
the big positive
to take out of this

is that this is exactly
the sort of debate

we should be having
at this stage.

Brilliant.
So, that's all good.

And for what
it's worth, I guess

the other thing to think about
at some point
will be the logo issue.

Sure, yeah.
The logo issue?

Yeah.
Cool.

Ah, okay. You guys
haven't spoken yet.

Uh, no, no, but that's cool.
I mean, that's so
going to happen.

Right, well, what about
it happening now?

Well, this is just something
that Siobhan
mentioned in passing

and I happened to mention it
to Tony, that's all.

Right, I see. So
Okay, so, here's
the thing with this, guys.

I mean, you wanna
up-size your footprint, um,
you gotta get different shoes.

As part of
the debate about
what the BBC is for,

Siobhan has come up
with the idea of
refreshing the BBC's logo

as a way of achieving
various different things.

Your home screen,
your brand takeaway,
right there in the logo,

you're drinking from
the fire hose
from the get-go.

It's a no brainer. Right.

I'm sorry, Siobhan,
I'm not being funny
or anything,

but so far, I don't think
I've understood a single thing

you've actually said
this morning. Cool.

Well, if it helps,
what Siobhan said to me,

and what caught
Tony's attention,
was that the BBC

should maybe look and feel
generally more like an app
going forward.

Sure, totally.
Uh, right.

An app.
Okay, that works.

Well, but are we in danger
of putting the cart
before the horse here?

Ah, yes, very good.
Okay, we so
don't need horses here.

Right, no.
I don't think you've quite...

Okay, that's so wrong,
I don't even know
where to start.

Brilliant.

Dan, hi!
Oh, hi, yeah.

What are you doing out here?
Um, yeah...

Why weren't you
waiting inside?
Yeah, no, I went in.

I prefer it out here, really. Right.

Meanwhile,
down at reception,

producer Lucy Freeman
has gone down to meet
new writer Dan Shepherd.

So, when did you come down?
I came down last night, yeah.

You've got friends
you stay with?
I stay with my ex-girlfriend.

Right. Sounds like
a very level-headed
arrangement.

Yeah. It was all right. Yeah.

I didn't know she was
my ex-girlfriend
when I set off.

Oh. Right.
But, no, still,
yeah, it was okay.

I've read it again
this morning.
All right.

It's really good, you know.
It's really good.

We should be going in there
with real confidence.

Yeah. If you want to do that.

Well, no.
I think, I'll just
go in as me.

Now 36, Dan has
come in for a potentially
important meeting

about a potential project
that Lucy's been
helping him develop

for the last few years
of his potential life.

It's easy for me to say this.
You've got to
believe in yourself.

Yeah.

I'm not doing this
as a favour, okay?

You know, life's too short. Yeah.

I probably,
shouldn't say this,

but I end up working
on so many shows
I don't really care about.

Yeah, bloody hell,
these chairs are a height,
aren't they?

Ridiculous, yes.
Should we just stand up?

I think,
I'd feel safer, yeah.

Yes, of course,
yes, good idea.

You okay?
Yeah.

Eventually, a continuity
announcer somewhere
is going to end up saying,

"And now on BBC Two,
it's time for Home Truth."
Yeah.

"A brand-new comedy drama
starring, you know,
whoever and whoever."

Yeah, them.
I genuinely believe that.
So must you.

Yeah. Do they have
loos in here?

Of course. Yes, yeah.
Through the doors
at the end and on the left.

Right. Great. Thanks. Yes.

No, we have
bloody apologised.
No, I have.

No, we did. Yes, it is.

Meanwhile,
Current Controller of
News and Current Affairs,

Neil Reid is busy
being a man under pressure.

Look, we've got
an apology on the website,

we did an apology
on the Today programme,

I've apologised to
Tony personally. He's...
No, I haven't finished yet.

He's apologised to Patten,

I think,
he's looking for someone
to apologise to as we speak.

So, you know,
we really are bloody sorry.

I don't know
what else we can do.

Yeah, well. Please do.
And while you're at it,
give her one from me.

Thanks. Bye, bye.

Phew. Right.

Ah. The joy of news!

Fuck, that's hot.
What do you want, Simon?

Have you got a minute?
No, I haven't.
No, not really.

No, I mean,
for what it's worth,
I know that.

Tony's absolutely
behind you on this.
Yeah, bollocks.

Following an item
broadcast on
the BBC News Channel,

there's been
a serious complaint about
the quality of journalism

in the Corporations coverage
of the ongoing crisis
in Syria.

Just to be clear.
This is what? A junior
picture researcher, was it?

It was 4:00 in the morning.
It's not his fault.

No, of course.

He's been working all night.
But the fact is...

Nick, I'll phone you back. Yep.

The fact is that for about
half an hour this morning,

just till we start
getting the calls,

we were running the story
with a picture of
Sting's wife, Trudie Styler

instead of
President Assad's wife Asma. Yep.

You know, that's not good.
No. And what was the story?

She's been shopping
for something somewhere.
Who cares? I don't know.

We fixed it as soon as
we could, but by then,
of course, it's too late

and then we get the call
and all bloody hell
breaks loose.

No, I mean, that is bad luck.
Yeah!

And by all accounts,
if there's anyone
you don't want to cross,

it's Trudie Styler.

No, its Asma bloody Assad
who's complained.

Oh, yeah, I see,
of course, yes.

That's why it's such
a giant fuck up.

No, brilliant,
Neil, brilliant.

Tracey, hi.

Hang on, when you say
I might like to know about it,

so this is a bad thing...

Meanwhile, elsewhere
in the building,

it's becoming clear to Ian

that as Head of Values,
you can never be sure
what's coming next

or exactly where
it's coming from.

Well, I mean, where are you?

Right, okay, yes, I know.
You mean the...

Is it Beirut?
I thought it was Cairo.

They're saying they might
run it tomorrow. Right.

I know. I don't want
to be negative
or anything, Ian,

but I've got a very bad
feeling about this.

Senior BBC Communications
Officer, Tracey Pritchard

has had advance warning
from the media editor
of The Daily Telegraph

of a feature
they're about to run

on the issue
of BBC executive salaries,

as part of which
they're intending
to use Ian's salary

as its so-called so-called
Head of Values as an example.

The first thing to say, Ian,
I've no idea personally

whether that figure
is actually accurate or not. Right.

Presumably that's something
you'd be able to confirm
or otherwise for yourself now.

Yes. I mean, yes.

Because, I mean,
they're bandying
this figure about,

but that's obviously
at the heart
of the whole story.

Well, yes, absolutely, yes.

I don't want to pry
into your personal
affairs, Ian,

because I don't do that,
that's not the sort
of person I am.

But is that what you earn?
Well, I mean, it's
broadly speaking...

It's certainly...
They've obviously...
That is what you earn.

Well, I mean, I'd need,
obviously, to...

Right. Okay.
I'd need to go back

and just check the,
you know, just look at the...

I'm not being funny
or anything, Ian,

but when I saw it,
I was assuming
it was wildly inaccurate.

Right. Well...
As it is, I've gotta say

we are not
in a good place here.

Well, obviously
we need to start
thinking about a strategy now.

Yes, I don't want
to be dramatic
or anything, Ian,

but I think what we could be
looking at is a miracle.

Dan, hi. Really good
to meet you.

Yes, you too. Yeah.
And Matt.

Dan.
Yeah, hi.

Thanks for this. We know
how busy you guys are. Yes.

No sure. You came down
from Leeds?
Yeah.

Great.
Well, from Wetherby, yeah.

Right.
I got a bus to Leeds.

Great. Have a seat. Yeah.

Meanwhile,
Lucy and writer Dan Shepherd

have got their potentially
vital meeting

with Head of Output
Anna Rampton

and BBC Head of Generic
Comedy Drama Matt Taverner.

You want to tell us
a bit about Home Truth?
Yeah.

They know that if they're
ever going to have a chance

to get Dan's idea
finally off the ground,

this is either it or not.

'Cause I've seen it develop
to this point,

which has been
a terrific process,

but, Dan, maybe you can
just say a bit
about the basic premise.

Yeah, okay.
Okay, good.

Right. So, basically,
it's set in Scarborough,
believe it or not.

Great.
I mean, that's not very...

It's basically... It's just
about ordinary people

trying to live their lives
as well as they can.

Right.
Great.

I mean, obviously,
it's a relationship story
at the centre of it.

Yeah, kind of, yeah.
So, this script
is what? It's...

Yes, so when Dan
first came to me
with the idea originally,

I suggested he do a synopsis,
maybe a couple
of sample scenes.

But what Dan came back with
eventually was,

he came back
with the whole thing,
all the characters,

say their whole world,
you know, just there. Great.

And by there,
you mean Scarborough. Yeah.

I mean, obviously,
I suppose... Well, Dan,
we haven't talked about this,

but I suppose it doesn't
actually have to be Scarborough...

Yeah, no.
...if that's going
to be a problem.

Could just as well
be Bridlington...
Well, yes.

...or Whitby if you want
to go north.

It's a character-led piece.
That's the point. Great.

The location's
actually secondary.

It's called Home Truth.
Yeah. Yes.

Why is it called that?

I guess it's called that, um,
because she's
a small-town solicitor.

A solicitor?
Yeah, but not like
a hotshot or anything.

She's dealing with
ordinary people's stuff.

But in the end, what she's
dealing with is truth. Right.

I have to say, I think
it's a brilliant title.

But, like, in her life,
in her relationship... Yes.

...I guess, um,
what she starts to realise...

Yeah, no, sure.
I mean, Matt... Yep.

What's your...
What do you think?

Yeah, no, I mean, great, Dan.
I mean, really interesting. Yeah.

I mean, I have to say, for me,
it does feel a bit long.

Long?
For me, a bit, yeah.

Right. Okay.
I mean,
do you want to put

a bit of detail on that, Matt?

No, sure.
Just to help Dan
get a sense of,

you know, what you mean.
Yeah, no, sure.

Hi, Will.
Oh, cool, yeah, hi.

Wow, amazing.
Yeah, no worries.

I was pretty slow
to begin with, but then
you get like, a rhythm.

That's really...

No, but hang on.

No, the envelopes... Yeah.

You've got them...
They're upside down.

Yeah, no, cool,
'cause it's actually
a lot quicker like that.

Right.
Yeah, it's, like, flap up,
in, seal, done.

It's like a system. Yeah.

Uh, no, but they were
in the right order,
the addresses.

Yeah, no, they're in like,
the same order.

It's just like,
they're the other way up.

Right, so that's
the wrong order. Yeah.

Completely.
With the bottom one
on the top.

Yeah, okay, no.
I mean, Jesus Christ. Will...

Yeah.
I've got the second half

of that bloody course
this afternoon.

It's like sometimes
I just don't think.

I guess, I'm just thinking
in terms
of hinterland, really.

Maybe show, don't tell. Yeah.

Uh, I don't know,
may be wrong. Yeah.

Back in the script meeting,

Head of Generic Comedy Drama,
Matt Taverner

is still explaining
what he means
to Lucy and Dan.

I think is it worth maybe
thinking about consequences. Consequences.

I mean, It might just be
this particular iteration
of the idea.

Yes, you do realise you've got
two episodes there, Matt?

Yeah. Yeah, no, sure.

So, one of the great things
about working with Dan is,

he goes away
and comes back with two
whole scripts off his own bat.

I had to.
I wanted to know
what happened next.

Yes, no, of course,
don't get me wrong,
that's great.

No, I mean, I don't know.
Just in terms of story,
I suppose...

Yeah.
Is there a way of maybe
starting in the middle here

instead of at the beginning?
Oh, okay.

Or is it maybe a question
of re-imagining the precinct?
Yeah.

You know, just to give it,
if you like, maybe
a bit more narrative heft.

Yeah, maybe, yeah.
Good, okay.

Well, no, hang on...
Really good to meet you, Dan.

Yes, really.

So, what would be
really great, Matt and Anna... Sure.

I mean, good for Dan
and, well, no,
good for both of us, actually,

good for me too,
is to come away
from this meeting

with a clear sense
of where we are with this.

Yeah, I think I've got that.
No, I'm with you, Lucy.

It'd be great if we could get
this thing

finally across the line. Yes.

Across...
Well, that's... Let's...
It is across... What line?

I mean, I'd say this really
does feel like
a very strong first draft.

Yeah.
I mean, really strong.

I mean, what I'd say
is it's absolutely worth you

keeping us in the loop
about where you go
with it creatively.

Right.
Anna?

Yeah, absolutely. Good. Yeah.

Okay. Okay.

Well, that's...
I mean, thank you very...

Thank you very... Thank you.
Yeah, great.

Yeah, yeah,
yeah, yeah,
so I had this thing

where if you take
the first B and flip it
the other way, okay?

Okay, I don't get that.
Then it's more...

I don't get it.
Well, straightaway
it's just... I mean...

Do another one.
Flippety-flip-flip.

Meanwhile, across town
at PR company Perfect Curve,

Siobhan Sharpe's creative team

are already feeding back
to her creatively

on the issue
of the BBC logo.

We're like
"What if the BBC was a fruit?"
Okay.

What sort of fruit
would it be?

Yeah, fruit, yeah. Cool.

So, what we came up... Mango.

Yeah, so first...
Kiwi fruit. Guava.
I love this.

Yeah. So, first we were
like, "An apple?"

Yeah, yeah, an apple, yeah. Yeah,

or maybe like a pear?
Or an apple.

No, we love apples.
Say some more.

Yeah, maybe a kind of cheese.
Yeah, that's not a fruit.

But a hard cheese,
not a smelly one.

Okay, guys,
I don't know how to say this,

but this is not just
another brand refresh, okay?

This is the British
Broadcasting, like, Company.
This is major shit.

Yeah.
For sure.

We screw the pooch
on this one,

we're sucking nothing
but sauerkraut here.

Tasked with the task

of re-conceptualising
the world-famous BBC brand

to make it feel more
like an app,

Ideation Architect,
Barney Lumsden,
Trending Analyst, Coco Lomax

and Viral Concept Designer,
Karl Marx

have put their individual
heads together

to see if anything happens.

So, we've had
this really big idea.

Okay. This is good, guys.

So, we're like, you know when
you look at your iPad
or your phone,

whatever, yeah,
and you, like,
look at the apps,

and it's, like, none of them
have got, like,
any letters or anything.

Yeah, like,
or they've got one letter.

Yeah, one letter.

Like F for Facebook. Yeah.

Yeah, or, like, a phone
for, like, a phone.

Yeah, but what they don't have
is any, like, writing.

No. No. Okay.

And then you look
at the BBC app
and it's got...

It's like it's got writing,
like, all over it. Yeah.

'Cause they've got, like,
B, B and C.

Yeah, it's letters
city here, guys.

Yeah, and then it's got like,
BBC Weather, BBC News,

BBC Sport, BBC iPlayer...

Sure. Okay, I get this.

Yeah, it's like,
they don't know what to do
with all the letters,

they just stuck them
on the app.

Yeah, help me,
I can't see for writing.

Yeah, it's like,
it's not Jane Austen
here, guys.

Get real.
It's an iPad,
get an iCon.

That's why we had an iDea.

Yeah, and that's when... iDea.

And that's when we realised
what the thing about
the BBC logo was.

Yeah.

Okay, what?
Don't do this, say stuff.

Lose the letters. Shit.

Yeah, 'cause they're just not
a very appy thing to have.
Shut up.

It's un-appy.
Shut up.

Yeah, that's why...
Yeah, we're not doing
cheese, okay?

Okay.
It doesn't work.

Yeah.

I mean, presumably, Tracey,

the reason they've given us
a sporting head start on this

is so we can give them
some kind
of official statement.

Exactly, Simon, yes.
"In response,
the BBC issued a statement

"in which it described
the role
of Head of Values as..."

You know, duh-duh-duh-duh,
something or other. Brilliant.

Yes, although is it just me,

or is "duh-duh-duh-duh,
something or other"

not quite going
to do it somehow?

Yes, no, very good. Yes.

Meanwhile, Director
of Strategic Governance,
Simon Harwood

has convened a down and dirty
Damage Limitation Session

in order to have a chat
about the impending
Daily Telegraph feature

on the size of Ian's salary.

So, I mean,
beyond the e-mail exchange
I've read,

how much more detail
have they given you

about the piece
they're going to run?

Nothing.
Right. Okay.

No, this guy Andrew,
he's features editor,
he's Scottish,

and not in a good way,
if you know what I mean. Right.

But you'll know
how you want
to handle this, Ian,

but it's not difficult
to predict

where they're going
to go with it. Is it?

Well...
That's easy.

What are we doing
spending hard-earned

licence payer's money...
Very good.

...and a sizeable chunk
of it, on some big,
fancy job...

Well...
...with a title that doesn't
actually mean anything,

when we could be spending it
on things that really matter?
Yes.

That's where they're going
to go with this. Brilliant.

It's all very predictable,
Ian, yes.
So, I mean,

in a situation like this, Tracey... Yes.

...how does it, who is it
that actually drafts

this official statement?
Right, yes.

It's not really
for me to say this,

but I'm
in a situation here...
Yes, you are, yeah.

I mean, this is potentially...

I mean, I'm going to need
the unequivocal

and public support
of the organisation itself.

Oh, yes, no,
very good.
You certainly are, Ian, yes.

No, I think
that's very strong. Right.

So, who is it
who actually drafts the...

Tracey, you'll know more
about this than I do. Yes.

But, for what it's worth, um,
I think the ideal guy for this

would be the Head of Values,
wouldn't it?

So, hang on, what?
I write my own
official statement

in support of myself.

Well, apart from
anything else,
it saves time, basically,

and keeps everything
nice and neat. Right.

I mean, you can CC me
along the way,
if you can be bothered.

Yes, me too, Ian,
please, obviously.

I mean, Tracey, what is
the time frame on this?
Right.

Presumably, we're going
to have to move
pretty bloody quickly.

No, I gotta say,
I don't want
to worry you, Ian,

but for all I know,
we may well be already
too late.

Right. Well, thanks for that. Brilliant.

So, that's all good, then.
Uh-huh.

Brilliant, brilliant, brilliant.

No, but, Alan, love,
we can't apologise
any more than we have.

That's not humanly possible.

But then we'd be apologising
for apologising.

You know, we're going
to go fucking mad.

Down on the newsroom floor,

current Head of News
and Current Affairs Neil Reid

is still very sorry.
Okay, so wait,

we now issue
an official apology

for issuing
an official apology
to Asma Assad,

apologising for any offence
we may have caused.
Right. Okay.

And then we issue another
official apology for any...

Hang on,
I'm going to write this down.

But despite how sorry he is,

a Conservative MP
has now criticised the BBC

for its craven appeasement
of the Syrian regime

and Sting has phoned up
Alan Yentob personally

and called him
an actual prick.

Yeah, okay.
Well, that all
sounds pretty, um...

How about, just to save time,

how about I just blow
my brains out
live on the 10:00?

That should just about
cover it, shouldn't it?

How you doing, Will?

Yeah, hey, cool,
yeah, no worries.
It's pretty good.

I spoke to Simon and he says
these are probably okay
to go out tomorrow morning.

Okay, cool, yeah.
Yeah, these are
definitely right.

I feel a bit bad
about leaving you here.

No, that's cool.
It's my own fault.
It's just...

Yeah, sometimes
you just need to try harder.

It's just, I've got to go
to this screening
with Simon.

Yeah, no, what? Cool, yeah.
That's cool, yeah, no worries.

Okay, well...

We good?
Yes, just coming, yep.

Brilliant. Rotten bad luck
in the envelope
department, Will.

Yeah, I know, yeah, crap.

Still, what doesn't kill you
makes you stronger, I guess.

No, that's cool.

Good-o.
See you in the morning, Will.

Yeah, that's cool.
See you, Izzy.

Good night, Will.
Yeah, see you in the morning.
Yeah, cool.

No, there are some.
They're in the freezer.

No, in the bottom compartment,
where they always are.

Yes, there are.
There's a mushroom one...

By 10:00 at night,

New Broadcasting House
is virtually empty,

except for those people
who are still there.

Bye.

If it hasn't exactly
been a good day

for producer Lucy Freeman,

for Ian it's been
worse than good,

and it's about
to get worse than bad.

I'm on it.
Yes, thanks.

Oh, hi.
Yes, hi.

Think I might be here
for a bit.

Yes, I was going
to give you this.

Oh, right, is that it?

Just in case...
You said you'd never read
a script.

No, I will.
I could do
with something funny.

Yes. Also...
Yes?

Um...

I'm proud to work for the BBC.

I'm especially proud
to be its Head of Values.

I haven't done
anything wrong here.

BBC.

Rick Stein's wrong for this.
Yeah, no. Definitely, yeah.

Lovely Rick.
We're not doing
"old and bald".

Leave aside the rights
and wrongs from all

the personal stuff
for the moment.

Right. Well, now,
wait a minute...

Yes, 'cause I'm not being
funny or anything, Ian

but who knows what
they're going to turn up next.

Cool flowers.
Yes, do you want them?

Say again?
It's like it's coming
out of the...

Sure. That's comin' at ya.

Okay, it was a mistake. Okay?

It was a mistake.
I think I probably knew it
at the time.

Yeah, do you want these?
What?

Well, we don't know
what to do with them.

Who are they from?
No, Will.

If ever there was
an opportunity
for the BBC to stand tall

and make a big, bold statement

about how much it values

the idea of valuing values

then surely this is it.
No, brilliant, brilliant.

"Sally, I'm so sorry.

"If there's anybody
that doesn't deserve it,
it's you.

"I hope you're okay."
Sally?