BBC Two's blog

Filming has commenced on a new sitcom set in an advertising agency (title to be announced), for BBC Two, starring Adam Buxton (BBC 6 Music’s Adam & Joe, Hot Fuzz), presenter Iain Lee (11 O’ Clock Show, Absolute Radio), Simon Farnaby (Jam & Jerusalem), Daisy Haggard (Psychoville, Ashes To Ashes) and stand-up comedian Jarred Christmas.

The series, which will be filmed in front of a live studio audience and air later this year, comprises six 30-minute episodes.

The series is penned by former advertising executive and debut screenwriter Jonathan Thake and script edited by Andrew Collins (Not Going Out).

Set in fictional advertising agency HHH&H, the under-worked and overpaid agency staff spend all day trying to persuade you to buy things you don’t want with money you don’t have.

They are uncontrollable urge-bag Keaton (Simon Farnaby), who wants everything and everyone he hasn’t had already; Billy (Iain Lee), who’s smart and funny but still works in advertising; spoiled neurotic Emma (Daisy Haggard), who would like to break the glass ceiling but only if it doesn’t damage her lovely hair; and boss Clive (Jarred Christmas), the most Australian man on the planet.

Then there’s hopeless, witless, feckless Greg (Adam Buxton), who wants to be as ambitious and amoral as his colleagues but can’t seem to manage even that.

The series was commissioned by Lucy Lumsden, BBC Controller, Comedy Commissioning, and produced by Bwark, the makers of The Inbetweeners, Angelos and Free Agents.

Lucy Lumsden says: “I’m delighted to have Bwark’s next comedy on BBC Two. It is another great example of our commitment to developing the audience sitcom and showcasing exciting new and emerging on and off-screen talent.”

The executive producers are Simon Wilson for the BBC and Iain Morris and Damon Beesley for Bwark. Directed by Tristram Shapeero (Reggie Perrin, Peep Show) and produced by Jon Rolph (Taking The Flak).


BBC Two Daytime today announces it has commissioned a brand new 20 x 30-minute series Travels With Bradshaw (working title).

Commissioned by Liam Keelan, Controller, Daytime, for BBC Two, the series will be presented by Michael Portillo and is a TalkbackThames production.

In a series of epic train rides that criss-cross the length and breadth of Britain, Michael Portillo will chart the great British romance with the railways.

Passionate about trains, Portillo will follow in the footsteps of the cartographic legend George Bradshaw, who wrote the first national railway timetables and travel guides in the 1840s.

Armed with Bradshaw’s guide, he will travel all over the country to find out how much of Bradshaw’s Britain remains, see what’s changed and discover how our love-hate relationship with the railways all began.

Michael Portillo will retrace four of the epic journeys, for example Swindon to Penzance and Liverpool to Scarborough, which will be charted nightly across the week.

He will make regular stops along the way to visit the cities, villages and landmarks from Bradshaw’s guide.

He’ll meet up with a fascinating cross-section of the British public who live along those routes, hearing stories of how their lives have been shaped in some way by the railways.

Travels With Bradshaw will create a revealing portrait of Britain as it was in Bradshaw’s time, and how it is today, 150 years later.

Michael Portillo says: “Some of my earliest memories are of long overnight journeys from a smoky King’s Cross to Scotland. I have never quite lost my excitement at embarking on epic trips, whether at high speed or dawdling along branch lines.

“I enthuse about Victorian stations, tunnels and viaducts and I deeply admire those who built them. It will be a privilege to escort the viewing public as we retrace Bradshaw’s footsteps””

Liam Keelan says: “This series will delve right into the heart of one of the great British institutions – our railways. I’m delighted to have secured Michael Portillo to present this new series for BBC Daytime.”

Travels With Bradshaw is a 20 x 30-minute TalkbackThames production for BBC Two Daytime. Executive producers are Charlie Bunce and Camilla Lewis. The series producer is Fiona Caldwell. The BBC executive producer is Damian Kavanagh.

After eight weeks of heats, and an intense final round, the Great British Menu has been revealed.

The winning four-course menu will be served at a banquet at the RAF’s historic Halton House to honour men and women returning from active service in Afghanistan. It will be featured in a special documentary to be screened in mid-June on BBC Two (transmission details to be confirmed).

The winning menu and its chef creators are:

Starter – Salad of Aberdeen Angus Beef, carrots, horseradish and Shetland Black Potatoes (Kenny Atkinson for the North East)

Fish Course – Masala Spiced Monkfish with Red Lentils, Pickled Carrots and Coconut (Glynn Purnell for Central)

Main Course – Lonk Lamb Lancashire Hot Pot, Roast Loin, Pickled Red Cabbage, Carrots and Leeks (Nigel Haworth for the North West)

Dessert – Treacle Tart with Clotted Cream and Raspberry Ripple Ice Cream (Shaun Rankin for the South West).

The menu was the result of fierce competition involving 16 of the top chefs from across the country.

At the end of each of the eight week-long heats, Great British Menu judges Prue Leith, Matthew Fort and Oliver Peyton were faced with the task of deciding which chef from each region or nation would go through to the national finals and face the public vote.

In the final week, the eight heat winners returned to the kitchen to recreate their menus for the judges. At the end of each programme the public also had the chance to cast their vote for their favourite dish. The winning dishes were selected by combining the scores from the judges with the public vote.

The judges were delighted with the final menu and how well it captured the competition’s theme of “A Taste of Home”.

Prue Leith said: “What is really exciting for me is that they haven’t made these traditional British things stodgy and boring – they are exquisite. Their skill, their passion for it, it’s just lifted it to a degree that is just sublime and I can’t wait. Roll on the banquet!”

Kenny Atkinson said: “With the history I have with my family in the forces, to be able to cook just one course for these returning heroes is just an absolute honour for me.”

Glynn Purnell said: “It means a lot to me to cook at the banquet, to pay back the troops, the sacrifices they make. I’m thrilled to bits.”

Nigel Haworth said: “It’s absolutely fantastic! I’m really happy, delighted to be at the banquet with my main course.”

Shaun Rankin said: “I’ve got a dish through and feel on top of the world. To me it’s a taste of home, childhood memories and I think the troops are going to love it.”

The Great British Menu Banquet will be broadcast on BBC Two, week commencing 15 June (details to be confirmed).

Krod Mandoon And The Flaming Sword Of Fire is a groundbreaking action-comedy for BBC Two starring Sean Maguire (Meet The Spartans, Dangerfield, EastEnders) and Matt Lucas (Little Britain).

In the darkest days of the Meconian Empire, tyranny reigned throughout the land. Until a glimmer of hope arrived – the son of a blacksmith and a stay-at-home mum, a man of unwavering determination: Krod Mandoon (Maguire), the last great hope in the struggle against the evil ruler, Chancellor Dongalor (Lucas).

To help fight the great fight, Krod has assembled a band of remarkably ineffectual freedom fighters: Aneka (de Beaufort), the beautiful Pagan warrioress whose weapon of choice is sex; Loquasto (Speirs), the oafish servant with bad aim; Zezelryck (Hart), the young warlock whose greatest magical gift is spinning a line; and Bruce (Ray), bereaved lover of Krod’s late mentor. Together, they must overcome a myriad of evil obstacles in their quest to save the world, including name-calling, hired assassins and bad hair days.

Krod Mandoon And The Flaming Sword Of Fire stars Sean Maguire and Matt Lucas with India de Beaufort (Run, Fatboy, Run), Steve Speirs (Pirates Of The Caribbean, Star Wars: The Phantom Menace), Kevin Hart (Paper Soldiers, Scary Movie 3 & 4, Along Came Polly), John Rhys-Davies (The Lord Of The Rings, Raiders Of The Lost Ark, Indiana Jones And The Last Crusade), James Murray (Primeval, Under The Greenwood Tree, Cutting It), comedian Marques Ray and Alex MacQueen (Holby City, The Thick Of It).

Lucy Lumsden, BBC Controller Comedy Commissioning, comments: “Krod promises to be a real treat for BBC Two – joke-filled, star-studded and gloriously funny.”

Jimmy Mulville adds: “Krod has great scripts and a wonderful cast – it promises to be a real gem.”

The series is co-produced by Hat Trick Productions and MRC for Comedy Central and BBC Television. It is created by Peter Knight, written and produced by Peter Knight and Brad Johnson, directed by Alex Hardcastle (Lead Balloon, Not Going Out) and produced by Mario Stylianides (Fonejacker, Armstrong & Miller).

Krod Mandoon And The Flaming Sword Of Fire was commissioned by Lucy Lumsden for the BBC and Lauren Corrao for Comedy Central. The Executive in Charge of Production for Comedy Central is Scott Landsman. The Executive Producers are Jimmy Mulville and Rob Bullock for Hat Trick Productions and Simon Wilson for the BBC.

The Royal Shakespeare Company’s award-winning production of Hamlet, directed by RSC Chief Associate Director Gregory Doran, and with David Tennant in the title role, will premiere on BBC Two later this year.

Produced by Illuminations, the screen version of Shakespeare’s great tragedy will retain the quality and tone of the critically-acclaimed stage production but filming will take place on location.

All key original members of the cast, including Patrick Stewart as Claudius, are confirmed to star in this special 180-minute production, alongside the same creative team.

Janice Hadlow, Controller, BBC Two, says: “This is a wonderful opportunity for BBC Two to bring one of the great stage successes of last year to a wider audience.”

RSC Artistic Director Michael Boyd said: “We are very pleased that this RSC production will be seen by so many people when broadcast.

“As the show was sold out for its entire run, this is a really great opportunity for our work to be seen by so many who could not come to the theatre and see it on stage.”

Filming begins in June for broadcast later this year on BBC Two.

Broadcasts in the United States and Japan will follow in 2010.

Illuminations previously worked with Doran and the RSC on the filmed version of Macbeth with Antony Sher and Harriet Walter.

Chris Seager is in post as Director of Photography; Robert Jones, who designed the stage production, will also design the film and, as on stage, the music is composed by Paul Englishby, the movement director is Mike Ashcroft and the fight director is Terry King.

John Wyver is the producer for Illuminations and Bethan Jones is executive producer for BBC Wales. The project was commissioned by Ben Stephenson, Controller, BBC Drama Commissioning, and George Entwistle, Controller, BBC Knowledge Commissioning.

The director Gregory Doran said: “Contrary to press reports at the time, the RSC always had plans to make a recording of this production but had the inevitable long journey in getting the cast together again and securing funding for this project. The Hamlet cast and the RSC are all really delighted that we now have the chance to share this show with audiences around the world, and I would like to thank all those involved in making this plan a reality at last.”

To support the new film of Hamlet, a rich online BBC site is being created in collaboration with the RSC. It will feature behind-the-scenes stills and footage; specially-shot interviews with the actors talking about their characters and how they’ve approached the play; further interviews, with the director and other key backstage personnel; and a comprehensive range of links through to the full depth of BBC Learning’s content on Shakespeare and RSC Education’s content on Shakespeare in performance.

George Entwistle said: “We hope we can use our experience in building compelling online sites to encourage a large TV audience to pursue their interest in Hamlet and Shakespeare as far as possible, off the back of a superb TV version of the play.”

Episode Two

Mr Lomax enlists the help of his care worker Michael in the quest to complete his unusual collection of “commodities” and they soon enter into an eBay bidding war. David and his mum Maureen try to cover up events that took place at the Murder Mystery evening and Robert is surprised when Debbie asks him out on a dinner date. Meanwhile, a mysterious black-gloved figure is contacting Joy, Jelly and the rest with another chilling message about the past.

Episode One

Mr Lomax, a blind recluse with an unusual hobby; Robert, a telekinetic dwarf; Mr Jelly, an embittered hook-handed clown; David, a serial-killer-obsessed man-child and Joy, a deranged but caring midwife – all receive the ominous message “I know what you did”. As the past catches up with these five seemingly unconnected characters, we begin to delve into their present-day lives.

What is Psychoville and how did it come about?

Steve: We sat down over two years ago and Reece and I decided to write a new project; we didn’t know what it was going to be or what format it would be in, we talked about doing a sitcom or a traditional sketch show. But one of the ideas that really stuck with us was the idea of doing some kind of mystery or thriller, a comedy but with a different sort of genre aspect to it as well, so the idea of doing a comedy thriller really appealed.

Reece: It kind of was born out of that love of 24, Lost, Heroes and Dexter, those things that kind of hook you in with a cliffhanger every week. We thought that it could be done with a comedy, though it’s a very different set of people that watch those things. We thought if it was intriguing enough and had our sensibility, it would be a great thing to marry those two worlds.

Steve: It’s very difficult as well, because all those examples are of course American series, they get 20-odd episodes to develop characters and storylines and we get seven but we’ve packed 22 episodes worth of plot into seven half-hours and some jokes as well. Basically, Psychoville is a dark comedy thriller.

How did the idea come about?

Steve: We had shows in the back of our minds that were thriller shows where you followed a narrative and if you missed one episode you really felt like you had to catch up and seek that episode out. That’s what we hope people will do with Psychoville. If you happened to miss an episode, then you will feel bereft because it’s a driving narrative. What was really tough was blending those elements of a successful comedy show which delivered the same characters every week, familiar jokes but also giving a really exciting narrative. It was a very organic process and that’s the way we wanted to do it. We wrote one episode and then we had maybe three or four month periods before the next one was commissioned. And then we wrote the second episode. We got halfway through writing the series and we raised a series of questions.

Reece: The same way we used to do with the League Of Gentlemen, there were certainly homages to things, nothing is parodied. If we’re doing a horror bit, we fully go for the horror, or a thriller. In hindsight it occurred to us that a lot of inspiration was very Hitchcockian, and that’s because of the way it panned out being this thriller element to it. It was great writing it, but not quite knowing where we were going with the plot because it means you can’t possibly work it out. So it was a challenge as there was an element of ourselves having to untangle the riddle, it’s more surprising because we were stuck ourselves at points. We love all the films or programmes that genuinely surprise you. I hope we’ve managed it. All the characters have got their own stories, but they’ve got this mystery that’s catching up with them and that all resolves itself at the end – well nearly, not quite, we’ve left the door open for more perhaps.

Tell us about Psychoville online:

Reece: We knew from the word go that there would be a big web experience for the programme, that side of it allows you to explore the detail even more. The show is very detailed, so to give the characters a life outside of the programme on the internet was a great opportunity to add more jokes and a back story. So you can explore it for yourself. It was a challenge to make the experience a kind of puzzle for you to unlock in tandem with the programme. Quite an involved geeky thing to do but there are people that will do it. We’re quite excited by the fact that it’s hard to unlock and you’ve got to be quite vigilant to find the clues. It’s all available on the web because after the episodes are gradually released, if you want to play the game, it’s all there for you to kind of try and fathom from the start.

Steve: It’s like SAW, if you work it out you’ll find yourself locked in a room with everyone else who worked it out and one by one you’ll be horribly killed (laughs). Online wasn’t something we thought much about when we were doing League Of Gentlemen. With the streaming video, uploading, creating forums and messageboards that we’ve seen during the time that the League Of Gentlemen’s been on and then beyond, it’s very much part of the way that the media’s going. It keeps it alive. I think it’s got to come from the people who do the show, we’ve written the bulk of the material for the actual website. We’ve worked very closely with the producers of the website to create a proper story so it’s as detailed and as much a Psychoville experience as you’re going to get, because we’ve actually come up with it. It’s been really exciting to know that it gives the programme a whole new life.

The characters:

Steve: The characters grew quite organically, in the same way the plots did. Having had several discussions about a format for the new show, we just said “Let’s start writing, everything starts with characters”. The fairytale element with Snow White seemed to be a theme because the Joy story has a Pinocchio feel to it, and then Jelly and his hook and Mr Lomax, they feel like quite classic situations. With episode one where you’re setting up all these stories, it felt like it had a classic feel to it. They all felt rich enough to not just be the same joke played out seven times.


Steve: One of the first ideas we had, we were talking about our experiences of becoming parents and I remembered a midwife who did all the ante-natal classes and we started swapping notes and stories. Joy teaches ante-natal classes, she talks to prospective parents who are in very vulnerable positions in quite a cutting, nasty way about what they’re about to go through. But her kind of secret is that she has one of her dolls that she uses in the demonstrations and treats it as if it’s her real child. She absolutely believes that she can make Freddie into a real boy to compensate for something that’s happened in her past. We also hit on this idea of treating Freddie as a real child. I do remember we had a Bristolian woman and she did say “And here he is, here’s Freddie”. And that was the starting point, as soon as we came up with the idea of the doll coming alive, it just added such depth to it.

Reece: We both recalled a doll, a very faceless, sackclothy horrible doll that dads get to hold, to experience what it’s like to hold baby.

Mr Jelly:

Reece: Mr Jelly the children’s entertainer was born out of me wanting to once again play an angry character, inappropriately in front of kids. I’ve played a lot of psychotic characters, many of them in the League and also in Vic and Bob’s Catterick I played a particularly violent madman: I enjoy playing characters with a lot of built in rage! Mr Jelly is the latest in that particular canon.

Steve: It started off with Mr Jelly, he’s a very scary children’s entertainer. One of us suggested he had a hook, one of those scary attachments. But what really brought that to life was deciding there was a rival called Mr Jolly and that they were always getting confused. One was very good and one was very poor. So again, it was just that little twist on it that gave it life beyond being a sketch.

Mr Lomax:

Steve: I remember writing in a notepad when we were doing League Of Gentlemen, a scary old man that lives in a house and that if your ball went over the wall you’d be scared to go to the house to get it back, and some little child goes into the house and the man’s holding the ball and he says “I knew you’d be the one”. I like the idea of a serious-minded person with a very childlike obsession collecting ‘commodities’. Once you put these two things together we were off. And the other thing was this great opening line which we’d had for a long time which Reece recalled somebody saying…

Reece: “Get your claw out of my holy of holies”, which was a real line from someone’s Dad I know. I was in his drawer and it was just full of protractors and books on the cosmos and he screamed that at me from across the room.

Steve: So we built that whole thing around “Get your claw out of my holy of holies”. Also, I had a job reading to a blind man when I was a student, and so I knew it would be an interesting relationship between the man and his helper.

Maureen and David:

Reece: David’s got an obsession with serial killers, which is not a million miles away from mine.

Steve: We had an idea, which was one of Reece’s ideas for a long time to do something around Murder Mysteries and that’s where that came from, because he’s done a lot of those in real life.

Reece: Yes and it seems no-one’s done it and it’s a really interesting world. I used to do those murder mystery evenings where you pay £30 and some of the actors enact a murder. So we thought what if we put someone who’s obsessed with killing in this world that’s all very jolly, Twenties, very sedate Miss Marple type murders, very dignified poisonings. We thought what if he plunges in with a very modern Seven/CSI type scenario and that would tip that world upside down.

Steve: Which is a bit like Theatre Of Blood, one of our all-time favourite films. You enjoy each week somebody being bumped off in quite an unusual way and you’re almost with the killer, which is a bit like Dexter as well. It’s not a whodunnit, you are seeing who’s doing it and you know why they’re doing it and you’re almost by the end rooting for them.


Steve: This was a very strange birth, the small guy who’s doing a pantomime, and he’s in love with Snow White. We just came up with this idea of the sort of telekenesis, that sort of Carrie-like ability that he has to make things happen when he gets angry. To begin with it’s out of his control but he learns to control it.

Reece: We like the parallel of Snow White And The Seven Dwarfs and him falling in love with Snow White and the fairytale element coming through in real life and the backstage of a theatre as well which is always great. It’s a world you don’t really see much of, but it would be fun to show the colourful panto itself and the mundaneness of the horrible dressing rooms.

The black-gloved stranger:

Steve: The black-gloved stranger is seen throughout the series and you may or may not find out his or her identity until the very end. But it’s really the thing that binds the whole series together. Each character has its own storyline and those storylines themselves are very involved and bizarre. But what is going over the whole thing and what is really the catalyst is what the black-gloved figure is trying to do – trying to punish these people for something they may or may not have done.

Reece: It’s a revenge thriller really, the black-gloved figure has a vendetta against these people and it’s how they execute that and gets them back to pay for their crime. With League we had the same idea really of not just wanting it to be disparate sketches. The story of the black-gloved figure and their past and the letters is the glue that binds this series together. They are all scattered around the country, and yet they have this unifying thing that gives you the outside story. The thing of this back story and what they’ve done is important. It’s not just something to throw in every now and again to make them seem linked.

Tell us about episode 4, the episode that is shot virtually seamlessly in two long takes:

Reece: That was an accident that was never planned, because you’d never think to do it, it’s a great episode. It became this big challenge that we set ourselves really. They asked us to do a seventh episode, “So it could just be you and Steve in a room,” they said. We said “What do you mean? We’ve written this very elaborate interlocking story, you can’t just slam in an EastEnders episode where Dot and Pat are in the launderette.” But that’s exactly what we did!

Steve: We talked about it, I was very dubious and said “What about (the Hitchcock film) Rope?” Let’s have a look at it because we had this sort of Hitchcockian idea running through the series anyway so that was a great one to look at. It’s set in one room, with the technology they had at the time they could do 10-minute takes, that’s all they could do because the actual tape ran out. The cameras were as big as this room, it’s not like today when you can strap a steadycam on, it was a huge technical achievement. There’s something about not breaking the tension, it’s like not blinking, you don’t quite know why but something about it is unnerving. So we said let’s try it. And because it’s David and Maureen killing people, we’ll start with them putting the body in a trunk, which is exactly how Rope begins. We came up with loads of ideas, loads of things that we weren’t sure how to achieve without breaking the filming. But every effect in there, everything that happens, happens in real time.

We decided not to use a steadycam, it was too modern. We put the camera on a dolly. It was like a ballet that was going on between us the actors, two stage hands either side bringing on props, pushing furniture out of the way, the sound guy had the longest boom you’ve ever seen and would always be in the corner of the room. We actually shot some of it on DV camera showing how we actually achieved it because it’s not something I’ve seen before because people do long episodes. Say in EastEnders it would be focusing on two characters, that’s multiple camera and you’ve always got the choice to stop and re-take. We didn’t, we kept going and it’s something we’re really proud of now. It does stand out from the other episodes, it’s a special episode and hopefully people will really cherish it.

How do you feel about playing multiple roles again?

Reece: It was absolutely exhausting doing this kind of show where you do all the different characters. I got used to playing one part in other things. When you’re an actor in someone else’s thing it’s easy, it’s terrible to say it because other actors would disagree but you turn up do your lines and it’s not your responsibility at the end of it. But of course if it’s your thing, we’ve got half an eye on our “God we’re overrunning” or “we’re not going to get to that bit”. It matters to us, it’s our baby that we’re trying to give birth to so to speak.

Steve: It was a conscious choice that we would play fewer characters, and whilst we did have a good array of characters, we didn’t know exactly which characters we’d play right up until the last moment really. We knew they were all good strong characters, we knew we had hopefully the opportunity to get some good actors. So we chose two main characters each and a couple of subsidiary ones. I think the balance is about right, it is our show and we didn’t want it to feel like we got lost in it but there’s plenty more opportunities for people like Dawn French, Eileen Atkins, Daisy Haggard, Daniel Kaluuya, everyone we had was just fantastic and it became this great ensemble. When we did the read-through it was really exciting seeing all these faces around the table.

An embittered one-handed clown; a desperately misguided midwife; a lovestruck telekinetic dwarf; a blind avaricious collector; and a serial-killer-obsessed man-child… five seemingly unconnected characters share one thing in common.

Despite coming from different parts of the country and having different backgrounds and interests, each one has been sent an anonymous, black-edged card bearing the chilling message: “I know what you did…”

Having created the kind of northern town that nightmares are made of, The League Of Gentlemen’s Reece Shearsmith and Steve Pemberton return to BBC Two with a spine-tingling, jaw-dropping, thrilling comedy serial. Like the best whodunnits, each episode draws viewers deeper and deeper into the kind of world that only Reece and Steve could dream up.

Joining them in Psychoville is a rich mix of talent, including Dawn French, Eileen Atkins, Nicholas Le Prevost, David Bamber, Janet McTeer, Christopher Biggins, Daisy Haggard, Debbie Chazen, Daniel Kaluuya and Adrian Scarborough.

The world of Psychoville is expanded via an online experience, specially written by the show’s creators Steve Pemberton and Reece Shearsmith. Principal characters will be supported by their own websites, exclusive videos and extra comedy, while users get the chance to interact with the mystery blackmailer.

Liam Keelan, Controller, BBC Daytime, and Jo Street, Commissioning Executive, have commissioned a new entertainment show from BBC Entertainment for BBC Two.

Knowitalls, is the brand new quiz show – without questions – where the players’ breadth of knowledge is tested to the limit as teams battle it out to impress real experts on their specialist subjects.

Liam said: “I’m delighted to commission Knowitalls, a fresh and exciting new addition to BBC Daytime entertainment.”

Author, actor and presenter Gyles Brandreth hosts this fast-paced entertainment show, where each team presents everthing they know on a given subject to the experts in the hope that their knowledge will earn them points.

In the first round the two teams are each given three subjects, and using their knowledge alone they have to pull together all the information they can think of for each one. There are three Knowitalls experts per show with different areas of specialisation and the teams must then decide who in the group will present to which expert.

The second round sees one player from each of the teams going head to head as they try to impress the experts and earn points for their team.

The final round is quickfire with all three players in the team taking part together facing all three experts.

The winning team goes through to the next round, and if they reach the final they will be in with a chance of winning a cash prize and being crowned Knowitalls champion.

Executive Producer is Phil Parsons, and Series Producer is Barrie Kelly.

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