The Talent Masterclasses at Series Mania Forum 2025
This year The Series Mania Forum offered three Talent Masterclasses, part of its Creative Business Inspiration strand, featuring three leading UK producers: James Norton, Sally Wainwright and Patrick Walters.
James Norton, Kitty Kaletsky and Patrick Holland
For years, the boundaries between execs and talent were fairly rigid. That time is over. More and more onscreen talent are taking a greater role behind the camera, running their own production labels and taking more control of their work both creatively and commercially. Olivier and BAFTA-nominated British TV, film and theatre actor James Norton, known for his standout roles in Happy Valley, War & Peace and McMafia, among many more, teamed up with scripted executive Kitty Kaletsky to launch their own production company, Rabbit Track Pictures in 2019, with Banijay UK investing in the business in 2023. The company is behind a raft of successful projects including Netflix film Rogue Agent, ITV hit series Playing Nice and upcoming BBC series King & Conqueror. Norton, Kaletsky and Patrick Holland, Executive Chair & CEO of Banijay UK took part in the first masterclass of SMF, discussed their motivations, discoveries and ambitions for the business going forward.
Norton discussed his transition into production, sharing insights into his motivations, challenges, and the evolution of his company, Rabbit Track Pictures. Norton, alongside his producing partner Kaletsky and Holland, delved into the creative and strategic aspects of their venture.
Norton revealed that his decision to move into production stemmed from a realization of the “disconnect between the way actors are treated and the credit they take … and their actual contribution.” While actors are often seen as the face of a project, much of the creative work happens long before they step onto set. He noted, “I started to hanker after more creative contribution,” acknowledging that while actors do have an artistic role, much of their work is dictated by others.
His desire for greater involvement led to the creation of Rabbit Track Pictures in 2019. “What I have learned recently is that so much of the world-building is done years before the actors are invited onto the set. Once you’ve been in that room, sitting around the table building worlds, everything else pales into insignificance. I want to be in that conversation.”
Understanding that he needed a strong partner, Norton turned to Kaletsky, who was then leading Black Bear’s TV department in Los Angeles. Initially, he asked if she knew anyone interested in joining him on this venture. By the end of their conversation, he jokingly suggested she consider it herself. A few months later, Kaletsky called back, ready to take the leap.
Kaletsky admitted she had initial hesitations. “It was a real worry of mine because we were good friends. There are versions of this that don’t work out. But I was really lucky with James—he has it in his DNA.” The duo’s shared taste and strategic approach helped them quickly gain traction, selling their first film, Rogue Agent, to Netflix and securing greenlights for their early series.
Rabbit Track Pictures has taken on an eclectic mix of projects, ranging from action-packed thrillers to genre-bending dramas. “As an actor, you come on these things for a couple of months. As a producer, you’re developing it for years. If you don’t love the material, you’re screwed,” Norton said.
The company’s projects focus on relationships, family dynamics, and authentic storytelling. With a current balance of 20% films and 80% television, Norton clarified that Rabbit Track was never intended to be a vanity project. “We didn’t want to be a company that just builds things for me to be in. It was about producing compelling stories.”
In 2023, Banijay UK acquired a stake in Rabbit Track via its Growth Fund. Patrick Holland explained that the decision was based on whether the team could secure commissions, attract top talent, and stand out in a competitive market.
One of the most anticipated projects in Rabbit Track’s pipeline is King & Conqueror, a historical drama chronicling the relationship between William the Conqueror and Harold Godwinson, leading up to the Battle of Hastings. “No one’s told the story of the Battle of Hastings before, which is extraordinary,” Norton noted. The show, produced in collaboration with The Development Partnership, Shepherd Content, RVK Studios, CBS Studios, and the BBC, aims to explore the personal dynamics behind the legendary battle, particularly through the influential women in their lives.
Another major announcement was Wavewalker, a miniseries based on Suzanne Heywood’s memoir. Written by Jack Thorne, the series follows a family’s decade-long global sailing journey in the 1970s after the father—played by Norton—sells their house to retrace Captain Cook’s route. “It’s about parenting, freedom, and resilience,” Kaletsky said. “But there are also tidal waves, shipwrecks, and near-death experiences. So, there’s real scale to it.”
With Rabbit Track’s rapid growth and a strong partnership with Banijay, Norton and Kaletsky are focused on building a diverse and compelling slate of projects. Their approach balances artistic integrity with commercial appeal, ensuring their work resonates with global audiences. As Norton continues expanding his role behind the camera, it’s clear that his passion for storytelling extends far beyond acting.
The second masterclass featured acclaimed British screenwriter and showrunner Sally Wainwright who discussed her latest project, Riot Women, a dramedy about a group of middle-aged women who form a makeshift punk rock band. Speaking alongside her producing partner Roanna Benn of Drama Republic, Wainwright revealed how deeply personal the series is to her and the challenges of getting it made.
Wainwright first conceived the idea for Riot Women a decade ago, inspired by her own experiences navigating menopause and the transitions that come with midlife. “It’s very personal,” she shared. “It’s about my life, about the menopause, elderly parents that need your help, difficult children … my husband also decided to leave. But nobody wants to talk about the menopause, or it can be an energy drain.” Instead of portraying menopause as something to be endured, Wainwright wanted to make it dynamic. “Menopause can be seen as an energy, but I wanted to find a way to give it a new kind of energy.”
The six-part series stars Joanna Scanlan (After Love), Rosalie Craig (Serpent Queen), Tamsin Greig (Sexy Beast), Lorraine Ashbourne (Alma’s Not Normal), and Amelia Bullmore (The Buccaneers). While Rosalie Craig had a musical background, the rest of the cast had little experience with instruments. They trained extensively, bonding as they learned to play together. “They were literally playing together and had to get to the end without stopping while playing at full speed,” Wainwright recalled. “At the end, Amelia said, ‘We really are a band.’”
Wainwright collaborated with a real band to create Riot Women’s original songs, co-written by the cast. Among the standout tracks are Seeing Red (about menopause), Shitting Pineapples (about childbirth), and I'm So Depressed I Can't Get Dressed. Wainwright described the process as exhilarating, saying the musicians took her lyrics and “put them in a machine and turned out fabulous stuff.”
Despite Wainwright’s reputation as one of the U.K.’s most celebrated TV creators, getting broadcasters to back Riot Women wasn’t easy. “There are no dead bodies in this show,” Benn noted, referencing the industry’s preference for crime-driven narratives. “In this climate, it’s not what people said they were looking for, which is just sad.”
Wainwright added that television rarely focuses on women in their 50s, despite them being “fun and entertaining.” While the BBC was eager to work with her, Benn admitted that had Wainwright not been involved, selling the show would have been significantly harder. “It’s a hard show to describe. It’s not a musical. It’s not just about middle-aged women. But when people read the script, they got it.”
Though Riot Women is primarily a dramedy, Wainwright revealed that the show has a darker undercurrent. “It has a really serious historic crime story,” she explained. “A character had something distressing happen to them as a child, and it has been triggered.” This unexpected depth aligns it more with her hit series Happy Valley than with Last Tango in Halifax.
Shot in Hebden Bridge, West Yorkshire—the same setting as Happy Valley—Riot Women is produced by Drama Republic for the BBC and BritBox. Mediawan Rights is handling worldwide sales, aiming to bring Wainwright’s punk-fueled vision to an international audience.
As Wainwright continues to push creative boundaries, Riot Women stands as a testament to her ability to tell compelling stories about women at every stage of life. By blending humor, music, and raw honesty, the series redefines what midlife representation can look like on television. As she put it, “Menopause is the ultimate punk rock.”
The third masterclass, part of the Creative Business Inspiration strand, featured UK producer Patrick Walters of Heartstopper, The Essex Serpent and Sweetpea fame. Through his new in-house label Fanboy at See-Saw Films, Walters has developed bold, fiercely modern series with a strong appeal to young adults and beyond. How does he work? Where does he find inspiration? What are his personal beliefs when it comes to crafting authentic storytelling?
Walters addressed the current challenges in the U.K. drama industry and the prospects for the show's continuation. He highlighted the difficulties in the U.K. drama sector, noting a decline in scripted commissions as broadcasters reduce spending and become more risk-averse. He observed that each season of Heartstopper has faced increasing production complexities, reflecting broader industry trends. He emphasized the importance of pitching unique and specific content to captivate broadcasters, acknowledging that such an approach inherently involves risk. "Often I find I’m wanting to work towards risky material in order that you’re going to broadcasters and saying, ‘Hey, we’ve got to do this, it’s so exciting.’ It needs that passion," he explained.
Regarding the much-anticipated fourth season of Heartstopper, Walters indicated that the team is diligently working towards its realization but could not provide a formal update. He acknowledged the numerous factors at play and assured fans that any developments would be promptly shared.
The discussion also touched upon the recent acquisition of See-Saw Films by French media conglomerate Mediawan. Walters expressed optimism about the partnership, noting that See-Saw has always valued independent creative work. He is enthusiastic about the potential collaborations and resources this new relationship could bring, aiming to enhance the scale and ambition of future projects.
Norton discussed his transition into production, sharing insights into his motivations, challenges, and the evolution of his company, Rabbit Track Pictures. Norton, alongside his producing partner Kaletsky and Holland, delved into the creative and strategic aspects of their venture.
Norton revealed that his decision to move into production stemmed from a realization of the “disconnect between the way actors are treated and the credit they take … and their actual contribution.” While actors are often seen as the face of a project, much of the creative work happens long before they step onto set. He noted, “I started to hanker after more creative contribution,” acknowledging that while actors do have an artistic role, much of their work is dictated by others.
His desire for greater involvement led to the creation of Rabbit Track Pictures in 2019. “What I have learned recently is that so much of the world-building is done years before the actors are invited onto the set. Once you’ve been in that room, sitting around the table building worlds, everything else pales into insignificance. I want to be in that conversation.”
Understanding that he needed a strong partner, Norton turned to Kaletsky, who was then leading Black Bear’s TV department in Los Angeles. Initially, he asked if she knew anyone interested in joining him on this venture. By the end of their conversation, he jokingly suggested she consider it herself. A few months later, Kaletsky called back, ready to take the leap.
Kaletsky admitted she had initial hesitations. “It was a real worry of mine because we were good friends. There are versions of this that don’t work out. But I was really lucky with James—he has it in his DNA.” The duo’s shared taste and strategic approach helped them quickly gain traction, selling their first film, Rogue Agent, to Netflix and securing greenlights for their early series.
Rabbit Track Pictures has taken on an eclectic mix of projects, ranging from action-packed thrillers to genre-bending dramas. “As an actor, you come on these things for a couple of months. As a producer, you’re developing it for years. If you don’t love the material, you’re screwed,” Norton said.
The company’s projects focus on relationships, family dynamics, and authentic storytelling. With a current balance of 20% films and 80% television, Norton clarified that Rabbit Track was never intended to be a vanity project. “We didn’t want to be a company that just builds things for me to be in. It was about producing compelling stories.”
In 2023, Banijay UK acquired a stake in Rabbit Track via its Growth Fund. Patrick Holland explained that the decision was based on whether the team could secure commissions, attract top talent, and stand out in a competitive market.
One of the most anticipated projects in Rabbit Track’s pipeline is King & Conqueror, a historical drama chronicling the relationship between William the Conqueror and Harold Godwinson, leading up to the Battle of Hastings. “No one’s told the story of the Battle of Hastings before, which is extraordinary,” Norton noted. The show, produced in collaboration with The Development Partnership, Shepherd Content, RVK Studios, CBS Studios, and the BBC, aims to explore the personal dynamics behind the legendary battle, particularly through the influential women in their lives.
Another major announcement was Wavewalker, a miniseries based on Suzanne Heywood’s memoir. Written by Jack Thorne, the series follows a family’s decade-long global sailing journey in the 1970s after the father—played by Norton—sells their house to retrace Captain Cook’s route. “It’s about parenting, freedom, and resilience,” Kaletsky said. “But there are also tidal waves, shipwrecks, and near-death experiences. So, there’s real scale to it.”
With Rabbit Track’s rapid growth and a strong partnership with Banijay, Norton and Kaletsky are focused on building a diverse and compelling slate of projects. Their approach balances artistic integrity with commercial appeal, ensuring their work resonates with global audiences. As Norton continues expanding his role behind the camera, it’s clear that his passion for storytelling extends far beyond acting.
Sally Wainwright and Roanna Benn
The second masterclass featured acclaimed British screenwriter and showrunner Sally Wainwright who discussed her latest project, Riot Women, a dramedy about a group of middle-aged women who form a makeshift punk rock band. Speaking alongside her producing partner Roanna Benn of Drama Republic, Wainwright revealed how deeply personal the series is to her and the challenges of getting it made.
Wainwright first conceived the idea for Riot Women a decade ago, inspired by her own experiences navigating menopause and the transitions that come with midlife. “It’s very personal,” she shared. “It’s about my life, about the menopause, elderly parents that need your help, difficult children … my husband also decided to leave. But nobody wants to talk about the menopause, or it can be an energy drain.” Instead of portraying menopause as something to be endured, Wainwright wanted to make it dynamic. “Menopause can be seen as an energy, but I wanted to find a way to give it a new kind of energy.”
The six-part series stars Joanna Scanlan (After Love), Rosalie Craig (Serpent Queen), Tamsin Greig (Sexy Beast), Lorraine Ashbourne (Alma’s Not Normal), and Amelia Bullmore (The Buccaneers). While Rosalie Craig had a musical background, the rest of the cast had little experience with instruments. They trained extensively, bonding as they learned to play together. “They were literally playing together and had to get to the end without stopping while playing at full speed,” Wainwright recalled. “At the end, Amelia said, ‘We really are a band.’”
Wainwright collaborated with a real band to create Riot Women’s original songs, co-written by the cast. Among the standout tracks are Seeing Red (about menopause), Shitting Pineapples (about childbirth), and I'm So Depressed I Can't Get Dressed. Wainwright described the process as exhilarating, saying the musicians took her lyrics and “put them in a machine and turned out fabulous stuff.”
Despite Wainwright’s reputation as one of the U.K.’s most celebrated TV creators, getting broadcasters to back Riot Women wasn’t easy. “There are no dead bodies in this show,” Benn noted, referencing the industry’s preference for crime-driven narratives. “In this climate, it’s not what people said they were looking for, which is just sad.”
Wainwright added that television rarely focuses on women in their 50s, despite them being “fun and entertaining.” While the BBC was eager to work with her, Benn admitted that had Wainwright not been involved, selling the show would have been significantly harder. “It’s a hard show to describe. It’s not a musical. It’s not just about middle-aged women. But when people read the script, they got it.”
Though Riot Women is primarily a dramedy, Wainwright revealed that the show has a darker undercurrent. “It has a really serious historic crime story,” she explained. “A character had something distressing happen to them as a child, and it has been triggered.” This unexpected depth aligns it more with her hit series Happy Valley than with Last Tango in Halifax.
Shot in Hebden Bridge, West Yorkshire—the same setting as Happy Valley—Riot Women is produced by Drama Republic for the BBC and BritBox. Mediawan Rights is handling worldwide sales, aiming to bring Wainwright’s punk-fueled vision to an international audience.
As Wainwright continues to push creative boundaries, Riot Women stands as a testament to her ability to tell compelling stories about women at every stage of life. By blending humor, music, and raw honesty, the series redefines what midlife representation can look like on television. As she put it, “Menopause is the ultimate punk rock.”
Patrick Walters
The third masterclass, part of the Creative Business Inspiration strand, featured UK producer Patrick Walters of Heartstopper, The Essex Serpent and Sweetpea fame. Through his new in-house label Fanboy at See-Saw Films, Walters has developed bold, fiercely modern series with a strong appeal to young adults and beyond. How does he work? Where does he find inspiration? What are his personal beliefs when it comes to crafting authentic storytelling?
Walters addressed the current challenges in the U.K. drama industry and the prospects for the show's continuation. He highlighted the difficulties in the U.K. drama sector, noting a decline in scripted commissions as broadcasters reduce spending and become more risk-averse. He observed that each season of Heartstopper has faced increasing production complexities, reflecting broader industry trends. He emphasized the importance of pitching unique and specific content to captivate broadcasters, acknowledging that such an approach inherently involves risk. "Often I find I’m wanting to work towards risky material in order that you’re going to broadcasters and saying, ‘Hey, we’ve got to do this, it’s so exciting.’ It needs that passion," he explained.
Regarding the much-anticipated fourth season of Heartstopper, Walters indicated that the team is diligently working towards its realization but could not provide a formal update. He acknowledged the numerous factors at play and assured fans that any developments would be promptly shared.
The discussion also touched upon the recent acquisition of See-Saw Films by French media conglomerate Mediawan. Walters expressed optimism about the partnership, noting that See-Saw has always valued independent creative work. He is enthusiastic about the potential collaborations and resources this new relationship could bring, aiming to enhance the scale and ambition of future projects.
