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Richard Brock´s Final Film Released on the First Anniversary of his Death – Super Stream or Not?
By Jason Peters
30th December 2025
To mark this first anniversary of his death, as the last act of the Brock Initiative, we have released his final film, Super Stream or Not?, with aerials by Ross Birnie, edited and finished by Gareth Trezise.
Note the clever edit nod to Richard´s narration at the end of the film.
Super Stream or Not? – The struggle to save a classic chalk stream in Wiltshire, through six months, revealing wildlife, people and politics in the controversial water business.
The film explores the ecological significance and current vulnerability of the River Kennet, a rare and vital chalk stream running through the English countryside.
The narrative follows a diverse cast of wildlife, including water voles, otters, and various waterfowl, as they navigate the seasonal changes from winter floods to summer blossoms.
Beyond its natural beauty, Richard highlights the severe man-made pressures facing the waterway, such as sewage discharge, chemical runoff from farming, and plastic pollution. He underscores the tension between human development and environmental preservation, questioning whether this "super stream" can survive increasing contamination.
Ultimately, the film serves as a plea for the protection of this unique ecosystem and its fragile food chains against the backdrop of climate change and industrial neglect.
Richard was very keen that as part of his legacy his ¨Wildlife Winners & Losers¨ films be used and shared for the good of nature, so please watch, comment and share this film, and all of his others.
Richard Brock´s Penultimate Film Released on his 87th birthday
By Jason Peters
22nd December 2025
Richard Brock sadly passed away on the 30th December 2024. To mark what would have been his 87th Birthday, today the 22nd of December 2025, Gareth Trezise has completed his penultimate film, which has been approved for release by the estate solicitors.
Thus, the past, present and future of man and wildlife in the Mediterranean, Richard´s film Man, wildlife and the Mediterranean, can now be enjoyed by us all!
Man, Wildlife and the Mediterranean traces the deep history of the Mediterranean Basin—from its dramatic birth 5.5 million years ago, when a colossal Atlantic waterfall filled a vast trench, to the modern ecological pressures reshaping it today. The film highlights how ancient human societies quickly settled around this new sea, cultivating crops, domesticating animals, and exploiting marine resources with traditional fishing techniques. Over millennia, these activities transformed the landscape, altered ecosystems, and contributed to the distribution of species such as the bluefin tuna, now seen as far north as Britain.
The documentary then examines contemporary pressures. Climate change, fuelled largely by fossil-fuel-driven industries including aviation, is intensifying extreme weather events such as hurricanes, floods, and Mediterranean forest fires. Rising tourism—once enabled by cheap air travel—has had mixed effects: it brings economic benefits but accelerates habitat damage, plastic pollution, and wildlife disturbance, including the decline of the endangered Mediterranean monk seal.
Human reshaping of ecosystems continues through introduced species (like prickly pear cactus, and Red-Legged Partridge), changes in grazing pressure from goats and pigs, and persistent overfishing of key species. Traditional hunting and farming practices coexist with modern pressures, often straining fragile habitats, affecting species such as the Painted Lady butterfly.
Yet the film also showcases hopeful conservation efforts: the rehabilitation of nature reserves, renewed protection for marine areas, the return of species such as black vultures, and grassroots attempts to safeguard clean water and shoreline ecosystems. It concludes with a call for sustainable tourism, firm environmental regulation, and proactive conservation strategies to preserve the Mediterranean’s extraordinary biodiversity in the face of accelerating climate change.
Richard was very keen that as part of his legacy his ¨Wildlife Winners & Losers¨ films be used and shared for the good of nature, so please watch, comment and share this film, and all of his others.
Richard´s final film will be released on the anniversary of his death, the 30th of December 2025.
Made by Más que Pájaros, a small team of wildlife biologists and filmakers from NW Spain, mainly focused on nature conservation with endangered species as their subjects.
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Big News: PWFF Sets Sail for Mombasa in 2026!
We’re making waves in honor of our 5th Anniversary!
We’re thrilled to share our first big announcement: Pridelands Wildlife Film Festival is taking place next MAY (2026), and we’re heading to Mombasa!
A new city, a milestone year, and a fresh wave of coastal energy to bring the wildlife filmmaking world together once again.
Why Mombasa?
After four transformative years in Nairobi-including our coastal 2023 Watamu edition that tripled attendance-we are strategically relocating PWFF to Mombasa, Kenya’s marine capital (County 001) and the heart of the nation’s tourism (60-65% of revenue) and blue economy.
This move underscores our commitment to holistic conservation storytelling, integrating marine ecosystems with terrestrial wildlife and environmental narratives. Beyond tourism, we pivot to amplify coastal creativity, decentralizing from Nairobi to ignite meaningful exchange among local, Kenyan, African, and global filmmakers. Mombasa unlocks unprecedented scale to champion marine conservation while empowering the coast as a dynamic hub for inclusive, global dialogue.
The Ocean Connection
47,000 km of stunning African coastline.
Africa’s blue economy is projected to reach $405 billion by 2030.
It’s estimated 57 million Africans are set to be directly employed in the blue economy by 2030 (up from approximately 49 million as of 2018)
40% of African wildlife species rely on marine ecosystems during their lifecycles.
Yet, no major film festival showcases African marine conservation stories…until now.
A Festival Reimagined
PWFF 2026 marks the dawn of a land-to-sea storytelling movement:
Workshops & Masterclasses on coastal and terrestrial filmmaking
Panels bridging scientists, storytellers, and local communities
Screenings that make conservation cinema accessible to the public
New networking spaces and industry conversations
Nkaang’ Awards celebrating excellence in environmental storytelling
Stay tuned, more details coming soon! But trust us, PWFF 2026 will be an edition you won’t want to miss.
David Attenborough’s new BBC film showcases the wildlife found in the ‘greenest city in the world’. You’ll be surprised where it is…
After travelling around the world, David Attenborough turns his attention closer to home in his latest BBC project
When you think of wildlife havens within the UK, its National Parks, UNESCO Global Geoparks or outstanding beaches might spring to mind. But the starring location of David Attenborough's latest BBC project is actually somewhere a little more unexpected: London.
In his upcoming TV film, Wild London, the legendary broadcaster shares surprising wildlife encounters that can be found across England's capital. The city is considered one of the greenest in the world and contains its fair share of unexpected animal stories.
Exploring the connections between nature and neurodiversity
Time in nature supports our wellbeing. If we are neurodivergent, it can stimulate our senses, feed our curiosity and help us find others with the same deep interests. But why do natural environments have such profound effects?
After receiving an ADHD diagnosis in his thirties, Joe Harkness began to question whether his bond with nature was intrinsic to his neurodivergence or something developed through his life choices. Keen to know more, he connected with other neurodivergent people who share his passion for the natural world. Threading their stories with his own, Joe explores why they chose to seek diagnosis, the ways they find solace and understanding through nature, and what led many of them into nature-related careers.
Drawing on his personal and professional experiences, Joe highlights the creativity, skills and passion that can benefit communities, schools and workplaces when neurodiversity is welcomed and supported in all its forms.
¨A persuasive and passionate book that explains the vitally important connections to be made with nature that can radically improve neurodivergent lives (and everyone else's too).¨ — Robin Ince, author of Normally Weird and Weirdly Normal
¨A timely and interesting study of the value and meaning of "nature" to neurodivergent personalities.¨ -- Richard Smyth — New Scientist
¨A thoughtful, well-researched and very powerful call for diversity and inclusivity, for the benefit of both people and nature.¨ — Stephen Moss, author of Ten Birds That Changed the World
A BBC WILDLIFE BEST BOOK OF 2025 – Available to buy here: Amazon.co.uk
New Book from Earthling Ed: How To Go (and stay) Vegan
The expert guide to veganism from leading vegan content creator, activist and bestselling author Ed Winters (@earthlinged)
'–
So, you want to go vegan. The big question is how?
He says: ¨ I am thrilled to announce that throughout this year I’ve been working on my third book, which is now available for order! It’s called How to Go (and Stay) Veganand is being published by Penguin Random House on the 18th of December. This means that if you pre-order it now, it will arrive in time for Christmas and Veganuary.¨
Deciding to become vegan can feel daunting, but with the right support, it doesn’t have to be. Drawing on years of experience, vegan advocate and educator Ed Winters is here to guide, inform and empower you on your journey.
From explaining the ethical and environmental benefits of a vegan lifestyle to showing you how to eat a nutritionally balanced diet and what to do if you experience setbacks, this book is your non-judgemental companion to thriving as a vegan – for life.
´The perfect companion for sustainable vegan living' – VEGANUARY
´This book will be a cornerstone for our movement. Ed combines rigorous evidence with lived experience, making veganism not only accessible but sustainable. It’s the kind of resource I wish had been available when I first chose to go vegan.´ — Matthew Glover, co-founder of Veganuary
´An easily digestible guide to going and staying vegan. Ed Winters is a force for good in this world.´ — Jenny Kleeman, British journalist, author and broadcaster
Publication date: 18 December 2025 ... Order here: amzn.to/3KqZBXJ
WFFR Flamingo Awards 2025 - The Winners
The eleventh edition of the Wildlife Film Festival Rotterdam took place in November!
From the 3rd - 9th November, a week of inspiring films were celebrated, a great reunion with fantastic filmmakers (and moderators!), new moments from the Industry Days, a Flamingo Awards ceremony at the Arminius Church, a wonderful show at Cinerama.
And of course: from our fantastic audience, who brought everything to life.
As every year, WFFR presented the Flamingo Awards, celebrating unique achievements in eleven different categories.
The winners were announced during the ceremony on the Saturday evening, 8th of November.
After a careful selection, the jury members—Jet Sol, Maarten van Rouveroy, Gabriel Martina, Dick Harrewijn, and Ruud van der Velden—made their choice.
And these are the winners of the Wildlife Film Festival Rotterdam 2025:
Festival Grand Prix: Birdsong
Best Short Film: Would you still love me if I was a Sticky Frog
Best Cinematography: Wild Transylvania
Animal Behaviour Award: Fluorescence
Awareness Award: Birdsong
Van Lawick Conservation Award: Turtle Walker
People & Nature Award: Birdsong
Best Film for Kids: The Real Jungle Book
Award for Best Newcomer: Out of the Blue
Award for Best Independent Production: Green Musketeer
The public votes were also counted for the winner of the WFFR Audience Award 2025: Een Gemeenschap van Leven (A Community of Life)
Indie film Trade Secret, directed by Abraham Joffe, was awarded the Golden Panda Award 2025 at this year’s Wildscreen Panda Awards 2025.
The awards – for international wildlife film and TV productions Headline – have 17 categories, plus three special awards including the Golden Panda for best overall production. They are headline sponsored by Warner Chappell Production Music.
Trade Secret, executive produced by Adam McKay, reveals how conservation, politics and commercial interests collide in ways the public was never meant to see. The film exposes the sanctioned sale of hundreds of polar bears each year on the global market and uncovers a disturbing truth: those entrusted with safeguarding the species may be entangled in their continued international commercial trade.
Trade Secret also won in the Independent Film category.
Recognised by the jury for its “fearless and compelling investigative storytelling,” the filmmakers took significant financial, creative, and physical risks over six years and nine countries, to produce “a powerful film that reveals the lines between protection and exploitation have become blurred.”
Two National Geographic series that dominated this year’s winners, walking away with three category wins a piece, were Underdogs and A Real Bug’s Life, Series 2, both recognised by the Jury for reshaping the boundaries of the natural history genre and its audiences.
Underdogs, a co-production from Wildstar Films and Ryan Reynolds’ Maximum Effort, picked up category wins for Editing, Producer/Director and Scripted Narrative. The jury noted that the humorous series which celebrates nature’s unsung and unconventional heroes reshapes the boundaries of the natural history genre and its audiences.
A Real Bug’s Life, Series 2 from Plimsoll Productions, an adventure into different micro bug worlds around the globe, scooped up best Cinematography, Children’s and Series. Awkwafina’s witty and playful narration combined with stunning macro-photography transforms a seemingly unremarkable biome into a stunning cinematic world that immerses viewers across generations.
Silverback Films picked up two category wins – Behaviour for Sea Lions of the Galapagos and the much-coveted Impact Award for Ocean with David Attenborough which was co-produced with Open Planet Studios – the 99-year-old broadcasters’ untold story of the ocean and greatest message of hope.
Other winners include: Ryan Wilkes for The Bird in my Backyard (Emerging Talent Award), Tides of Life (Short Award), The Birds (In-Country Production Award), Rock Pool (Sound Award), Superskilled with Eva Zu Beck (On-Screen Talent Award) Pangolin Journey to Freedom (Sustainability Award), Pangolin: Kulu’s Journey (Music Award), and The Americas (Production Management Team).
Martha Holmes, from Plimsoll Productions, received the Christopher Parsons Outstanding Achievement Panda Award in recognition of her exceptional leadership and innovation within the natural history genre.
This, the competition’s 43rd Edition marked its move to an annual awards event. The ceremony was the finale of the inaugural Wildscreen Industry Summit, which convened the global wildlife film, TV and content community in Bristol and online from the 20-22 Oct.
Lina Tebbs, Director of UK Production Music said: “We’re thrilled to partner with Wildscreen for another year. Warner Chappell Production Music champions great storytelling, and we absolutely understand the value in educating and entertaining audiences through nature programming. The Panda Awards celebrate the dedication and hardwork of all the people behind-the-scenes and we’re honoured to be headline sponsor for the second-year running.”
Laura Marshall, who after more than six years as Chair of Wildscreen, is stepping down from the Board.
An huge thank you was extended from everyone at Wildscreen from everyone at Wildscreen — team and Board of Trustees.
Laura’s passion, commitment, and support have made a significant contribution to Wildscreen’s growth and reach, and they are grateful for everything she has brought to the role..
Lynn Barlow and Carrie Greene will be stepping in as temporary Co-Chairs as they begin the search for a new Chair. They say ¨We’re excited for this next chapter and grateful for their leadership during the transition.¨
The search is on ... so, if you are interested in finding out more about becoming involved with Wildscreen as a Trustee or Chair please email governance@wildscreen.org.uk to arrange an informal discussion..
They say:
You don’t need to have a specific background in wildlife TV or film - what truly matters is vision, leadership, and a passion for connecting people with nature and storytelling.
We're looking for experience from a wide range of backgrounds - whether that’s the wider creative industries, non-profit leadership, environmental advocacy, fundraising, B-corps, community engagement, or other relevant sectors. What we need is a commitment to nature and a belief in the power of storytelling, a future-focused mindset and the drive to lead with purpose.
Wildscreen has been at the forefront of natural-world storytelling for over 40 years. We're looking for a purpose-driven, experienced and visionary Chair of our Board of Trustees to help guide and grow our mission of enabling more people to experience nature through powerful storytelling.
The deadline to apply is 5th January 2026, 11:59 pm GMT.
Also:
Wildscreen Festival is Moving to Bath!
The 2026 edition of the festival relocates to World Heritage site after 40 years in Bristol
They say: ¨We are thrilled to announce that the Wildscreen Festival 2026 will be hosted in Bath, at an exciting new venue that offers us the chance to refresh the event and offer something new to our delegates.¨
The event will be held from 19th – 22nd October 2026, with the Festival and Panda Awards hosted in Bath, and our workshops & masterclasses spread across Bristol and Bath.
Our goal is to ensure that our events are affordable and accessible for as many people as possible within the wildlife film, TV and content genre, and by moving the festival to Bath we are able to freeze delegate ticket prices at 2022/24 levels. It also allows us to maintain our commitment to UK and international bursaries.
Confirmed Wildscreen Festival 2026 sponsors include: BBC Studios Natural History Unit as Headline Sponsor, Save our Seas Foundation as Principal Sponsor; Boomerang Carnets and ORF Universum as Major Sponsors.
BBC Studios Natural History Unit is once again on board as Headline Sponsor of the Festival, marking its commitment to supporting the evolution of the wildlife film and TV genre. Jonny Keeling, Head of BBC Studios Natural History Unit said: “We’re thrilled to be supporting the 2026 Wildscreen Festival as headline sponsor once again – and this time in an exciting new location. I’m sure the global community of wildlife filmmakers will be inspired and energized by the gorgeous setting of Bath. This festival is such an important event – sparking new ideas for compelling content to engage audiences across the world.”
Vanessa Berlowitz, Co-Founder of Wildstar Films and Wildstar Academy, said: “Wildstar is proud to be a long-term supporter of Wildscreen as we share a mission to nurture a more equitable and global community of storytellers. Bath is a stunning city and a major creative and cultural hub – an ideal location to host our global community. A change of scenery will be positive, helping us focus more deeply on the impact we seek to have with our stories of the natural world.”
26th Planet in Focus International Environmental Film Festival Awards
Thank you to everyone who participated, supported, attended and enjoyed the festival. We proudly screened more than 33 films from around the world, with incredible conversations, panels and presentations over the course of 6 days.
The festival concluded with the Film Awards, and the winners are...
WINNER: Best Canadian Feature Award
EVEREST DARK Directed by Jereme Watt. Produced by Merit Motion Pictures, Killawatt Productions, Michael Bodnarchuk Productions.
WINNER: International Feature Award
YANUNI Directed by Richard Ladkani, Malaika Pictures. Protagonist and producer Juma Xipaia is our 2025 PLANET IN FOCUS INTERNATIONAL ECO-HERO AWARD recipient.
WINNER: Best International Short Award
SNOW BEAR Directed by Aaron Blaise. Produced by Nicolas Burch.
WINNER: Mark Haslam Award
NECHAKO: THE RIVER WILL BE BIG AGAIN Directed by Lyana Patrick. Produced by Lantern Films, Experimental Forest Films and the National Film Board.
WINNER: People's Choice Award
SNOW LEOPARD SISTERS directed by Ben Ayers, Sonam Choekyi Lama and Andrew Lynch
WINNER: The Green Pitch Award
Jenin & The Nakba Between Us directed by Serene Husni. Producers: Rula Nasser, Marc Serpa Francoeur
Realscreen to honor Jane Goodall with posthumous Action Award
Realscreen is honoring the late Dr. Jane Goodall during the Realscreen Awards ceremony set for February 3, during the 2026 Realscreen Summit.
The world-renowned ethologist, conservationist, founder of the Jane Goodall Institute and UN Messenger of Peace is being celebrated with the Realscreen Action Award, which recognizes individuals whose work within the unscripted and non-fiction content sector has inspired meaningful social impact and driven positive change in the industry and beyond. Last year’s recipient of the Action Award was acclaimed filmmaker Dawn Porter.
Dr. Goodall’s work in the field as a pre-eminent scientist and animal behavior expert, and as a global voice for community-centered conservation and biodiversity protection, has been the focal point of scores of documentary films and series, dating back to 1965’s Miss Goodall and the Wild Chimpanzees, narrated by Orson Welles for National Geographic, to Brett Morgen’s riveting 2017 documentary Jane, also for Nat Geo. Through Jane Goodall Productions, she and her team have been in production and development on many upcoming projects, including Matriarch, a collaboration with BBC Studios, PBS and the WNET Group. Her passing in October of this year led to an outpouring of love from around the world, spanning world leaders, noted celebrities and inspired citizens — all of whom have been touched by her legacy.
“Over the span of decades, Jane Goodall’s name has been synonymous with the ideas of conservation, care for the animal kingdom and curiosity, and her presence and creative leadership in more than 40 documentaries and films, reflecting the important work of the Jane Goodall Institute, has cemented that status,” said Barry Walsh, content director and editor-in-chief for Realscreen. “We are honored to celebrate her lifetime of contribution — not only to the world of wildlife documentary, but to our understanding of the world around us — with our Action Award.”
Accepting the award on Dr. Goodall’s behalf will be her longtime film collaborator and the Jane Goodall Institute’s wildlife cinematographer, Bill Wallauer.
Joe Galuszka is a British composer, conductor, and performer who began his musical journey as a self-taught pianist from a young age before joining a brass band at 14.
International Wildlife Film Festival - Open for Entries
The mission of the International Wildlife Film Festival is to promote awareness, knowledge, and understanding of wildlife, habitat, people, and nature through excellence in film. The long-standing festival champions wildlife filmmakers and challenges conventional expectations about how we conserve wildlife and habitat.
Festival Dates: April 18-23, 2026
Virtual IWFF program offered April 26-May 1, 2026
We are pleased to announce the theme of United Nations World Wildlife Day 2026 will be "Medicinal and Aromatic Plants: Conserving Health, Heritage and Livelihoods!"
Medicinal and aromatic plants (MAPs) are essential for both human health and well-being and ecological balance. These plants form the foundation of many traditional healthcare systems, contribute to modern medicine and support diverse industries ranging from cosmetics and food to agriculture and luxury goods. Across the globe, approximately 50,000-70,000 MAP species are harvested for their healing properties, cultural significance and economic value. Of these, almost 1,300 are estimated to be listed in the Appendices of the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), including over 800 in Appendix II.
Organized by the CITES Secretariat in collaboration with partners such as the United Nations Development Programme (UNDP), International Fund for Animal Welfare (ifaw), Jackson Wild and others, the WWD2026 activities will aim to:
Celebrate conservation efforts – Highlight sustainable management initiatives through creative expressions such as youth artwork, photography and film.
Strengthen knowledge and awareness – Share insights on MAPs, highlight their vital role in our daily lives as well as their conservation challenges and the CITES provisions governing international trade.
Encourage research, innovation and partnerships – Foster collaboration among stakeholders to promote sustainable use of MAPs and share lessons learned from successful conservation models.
Leading up to the high-level United Nations event for WWD2026 on Tuesday, 3 March 2026, online activities will include the annual Jackson Wild Film Showcase and ifaw Youth Art Contest. More details will be announced soon.
Updates and information about the celebrations will be ongoing and communicated via the World Wildlife Day website (to be updated) and social media channels: wildlifeday.org/en
Jackson Wild WWD2026 Film Showcase
Submit your film to the 2026 Film Showcase!"
Each year on March 3, the world comes together to celebrate World Wildlife Day, honoring the incredible diversity of life on Earth and the vital connections between people and nature. In partnership with CITES, the United Nations, UNDP, and IFAW, Jackson Wild joins this global celebration through the World Wildlife Day Film Showcase.
Jackson Wild is seeking films that explore this theme — from the healing power of nature to the communities protecting these species — and we invite anyone with a relevant film (of any length) to reach out to scarlett@jacksonwild.org for more details. Deadline to submit is February 2nd, 2026.
Films selected for the World Wildlife Day Film Showcase are available throughout 2026 in free educational screenings. The selection of films will be announced on March 3rd during the virtual World Wildlife Day Celebration
The World Wildlife Day website and social media channels: wildlifeday.org
BBC Studios NHU head Jonny Keeling on landmark series “Kingdom” and the outlook for blue chip
When it comes to natural history filmmaking, the BBC Studios Natural History Unit has long been seen as one of the genre’s gold-standard producers. Its list of genre-defining landmark series tells the tale: the Blue Planet, Frozen Planet and Planet Earth franchises are, to use natural history-appropriate language, the tip of the iceberg.
Veteran natural history producer Jonny Keeling (pictured top) was appointed head of the unit in 2021, and as such, is tasked with not only adding to that estimable oeuvre, but also ensuring that the unit’s programming retains its relevance in a cross-platform era, with all of the shifting audience behaviors that accompany it. With Kingdom, the unit’s latest multi-part entry into landmark territory set to debut next week on the BBC in the UK and in January on BBC America, Keeling and team are confident that they’re on the right track.
The six-part series was filmed over five years in a single habitat — a remote river valley in Zambia — and follows four animal families of lions, leopards, wild dogs and hyenas to not only capture the challenges they face over that time span, but the interconnected nature of life in the region. Using local crews as well as the NHU team, Keeling says the decision to focus on a single habitat and select animal families required a lengthier stay than other landmark series.
“We wanted to make sure we had enough time to see all of their dramas unfold,” he tells Realscreen. “Some of them have quite long lifespans and if you were there for only a year you might not see that much, but as it turned out the dramas that unfolded were extraordinary.
“We had what might be a slightly cheesy line, but nature writes the best scripts,” he adds. “Very few people have sat and watched a leopard family for that duration of time – even scientists don’t get to be in the field as much as some of the crews were.”
Keeling says the onus was on having a “low-key, low-impact” team of one to two camera operators on hand at all times in addition to local crews who would “tag-team” over the months. A permanent base, outfitted with solar panels and other environmentally-friendly touches, was established to house the team, provide a hub for footage downloading and viewing, and be close at hand to contributing scientists working on the series.
Taking natural history to “scare school”: Plimsoll, Blumhouse on Netflix’s “Nightmares of Nature”
As with all television programming genres, unscripted sometimes gets a bad rap for being derivative — witness the glut of pawn shop shows in the wake of Pawn Stars’ massive success, or any number of reality competitions placing a group of contestants in close living quarters, outfitted with strategically placed cameras.
But unscripted is also known for risk-taking and diving head-first into the development deep-end, in search of that loud, buzzy idea that breaks through the content clutter. And sometimes, those ideas come in the form of hybrids — taking two sub-genres and seeing if, in combining the two, there’s a sweet spot that will create the programming equivalent of chocolate and peanut butter.
With the recent Netflix series Nightmares of Nature (pictured top), which premiered its second “season” of three episodes on October 28, producers Plimsoll Productions and Blumhouse Television combined the storytelling approaches of natural history filmmaking and good ol’ hair-raising horror to illustrate the often scary experiences faced by creatures in the wild. And to hear their executives talk about it, it’s not as far-flung a concept as it seems on paper.
“We’re very much an entertainment-first production company, and we’d been thinking of cross-fertilizing the horror genre with natural history,” says Plimsoll’s head of natural history, Mark Brownlow (pictured left). “The thing about nature is that if you’re a little field mouse, your survival chances are quite slim. Nature is full of horrors.”
“We do feel like there’s a lot of unexpected places our genre can go,” offers Gretchen Palek, head of alternative television for horror specialists Blumhouse, the team behind the recent Black Phone 2 feature that is currently scaring the bejeezus out of audiences internationally. “When I first came on board, Jason [Blum, company CEO] asked me what type of categories I wanted to get into. And I immediately said natural history.”
BAFTA albert launches ACCELERATE 2025 - a landmark new report and path to net zero
ACCELERATE 2025 outlines five key areas where our industry can make meaningful change.
We’re proud to launch BAFTA albert ACCELERATE 2025, the first landmark practical guide to environmental sustainability for the film and TV production industry.
The report sets out a clear and achievable pathway to reduce carbon emissions, based on data from over 2,500 productions using the BAFTA albert toolkit. It’s designed for everyone working in production – from crew on the ground to decision-makers at the top.
In 2024, our industry emitted nearly 175,000 tonnes of CO2 – the equivalent to the annual footprint of almost 40,000 UK citizens. This report is a call to action and together as an industry, we can lead the way to a more sustainable future.
To accompany the report, we’ve created a new guide featuring BAFTA albert Managing Director Matt Scarff, Sustainability Consultant Mandy Cayford and BAFTA albert Chair Ralph Lee, where they introduce ACCELERATE 2025 and answer some of the key questions behind the report.
Pablo Behrens is a London-based film director and producer.
His latest film ¨London´s Last Wilderness¨ is about the ecology of a fantastic region close to London.
London’s Last Wilderness is the visual experience of an explorer landing on an undiscovered planet.
Every shot in the film was captured using truthful documentary techniques—no retakes, no setups. What you see happened once, and only once.
Like the first Europeans in the Amazon or astronauts orbiting the moon, there was no time for rehearsals or scripted reflections. The camera moved with the explorer—fast, focused, in the moment.
A mere 30 miles crow's flight from Piccadilly Circus lies a place London largely ignores: the Greater Thames Estuary. It's an ecological and cosmological force hiding in plain sight.
One of its secrets is scale. The estuary rivals London in size. To truly cover it, you need years — exploring north and south banks. From land, sea and sky.
Beyond the coast lies a maze of creeks and shifting islands, shaped by rivers and tides that change everything, twice a day. Half the terrain vanishes and reappears with the North Sea. No two days are the same. No tide repeats.
To be honest with this place, you have to film it all. Across four seasons, in all weather, under every tidal condition. Nothing could be skipped. Nothing faked.
The film has no presenters. This is not exactly a human story.
Lazarus Training – First aid, medical & safety training based in Essex & London.
Lazarus Training specialises in delivering
realistic, scenario-based first aid and safety
training designed for the unique challenges of
the media and production industry. We offer
tailor-made courses to meet your specific
operational needs, whether on location or in a
studio setting. Training can be arranged in
country or on location.
Our training uses professional casualty actors
and real-life scenarios to create immersive,true-to-life experiences, preparing your team to
respond effectively in high-pressure situations.
With a highly experienced training team drawn
from medical, armed forces, and emergency
services backgrounds, we bring unrivalled
expertise, practicality, and realism to every
session—ensuring your crew is ready for
anything.
First Aid on Remote Locations is designed for production teams working away from the office or studio. Whether filming or recording, this course is aimed at groups who will experience a delay in accessing medical care for a colleague injured or taken ill.
Specialist Medical Training for Media Production Teams
When Your Crew is Hours from Help, Preparation is Everything
Filming overseas?
Working in remote deserts, dense jungles, icy mountains, or distant villages?
When you’re out of range of immediate medical support, knowing how to respond in the first minutes after an injury can save lives — and save your production.
Lazarus Training’s First Aid in Remote Locations course is explicitly designed for media production companies operating in areas with limited access to hospitals or rescue services.
This isn’t generic first aid — it’s tailored by professionals, for professionals who face real risk in remote environments.
As a full member of the site, you get a listing in all appropriate sections, a profile page, access to our members' private Facebook Group and priority on your news across the site, this newsletter and our social media accounts.
Membership fees help to keep the site going too ... Your support is much needed and appreciated!
Protecting nature is protecting ourselves.
Respect the Amazon.
The Amazon rainforest sustains life for millions of people and countless species. It is also one of our greatest hopes for a livable future, asall life on the planet depends on the rainforest’s powerful ability to regulate climate and weather patterns.
Deep in the Amazon, a Macaw family fights to protect their home and future.
Their story is our story, a reminder that every family, feathered or human, deserves safety, peace, and a place to call home.
When we protect the Macaws, we protect all who depend on this living forest: the jaguar, the rivers, the trees, its people… and ourselves. Because nature’s safety is our safety.
Once used as a decoy airfield in the Second World War, Harestone Moss still bears its bomb craters – but today they’re filled with life. On this Aberdeenshire farm, part of our Northwoods Rewilding Network, Laura Hay and Gavin Drummond are letting nature reclaim the land, restoring wetlands and reimagining farming through an underground glamping enterprise built from recycled materials.
Scotland TBP´s new short film captures Laura and Gavin’s vision to transform a landscape shaped by war and intensive farming into one of recovery and hope.
The Earthshot Prize Highlights from Awards Night 2025
The Earthshot Prize 2025 Awards Night in Rio was truly unforgettable!
From the moving moments the five Winners were announced to the show-stopping performances by some of the world’s biggest stars, it was an evening full of celebration and optimism for the planet’s future.
See the Finalists’ winning moments, presented by Olympians, activists, TV stars, and sports icons:
Post-Covid ‘boom-and-bust’ cycle hit hard, but revenues up 11% from 2022
A total of 53 indies based in Bristol have ceased trading in the three years since 2022, but TV and film production revenues are on the up, according to a sector study.
The Go West! 2.5 Bristol’s Film and Television Industries interim report, compiled by the University of the West of England (UWE Bristol), highlighted how an industry-wide “boom-and-bust cycle” since 2021 had created “instability, company closures and severe economic wellbeing problems” for the freelancers on which the region depends.
Among the indie casualties was River Monsters producer Icon Films, which had traded for more than three decades before closing in 2023.
Bristol’s core sub-sector of natural history production has been hardest hit. Natural history indies experienced the most pronounced contraction, falling from 17 companies (8.6%) in 2022 to 13 companies (7%) this year. The genre’s contribution to Bristol’s aggregate turnover also dropped from almost half (44.2%) in 2022, to less than a third (30%) in 2025.
The decline in indie numbers contrasts sharply with the previous iteration of UWE’s report in 2022, which saw an increase in companies from 131 in 2016 to 189 in 2021.
Revenues recovering
Despite the severe difficulties, the report found that the local film and TV industry continues to be economically significant to the region with an aggregate turnover of £325m in 2025, an increase of £37m (11.4%) from the figure reported in 2022.
The report was launched at the Bristol Screen Summit this week, an annual event for industry professionals organised by UWE Bristol.
One of its authors, Andrew Spicer said: “The difficulties experienced by Bristol’s film and television sector reflects the wider national picture, but its natural history specialism was particularly hard-hit.
I’m excited to share this short film (watch it down below) with you ... I shot the entire piece on my iPhone near my home here in Arizona. The idea behind it is simple. You do not need expensive gear to start making wildlife films. You can begin with whatever you already have and still create something meaningful.
Working on this reminded me that storytelling and curiosity matter far more than equipment. The desert around my home is full of life, and when you slow down and really listen, it reveals incredible moments. I wanted to show that you can capture those moments with tools that are already in your pocket.
I had the lovely Alana Helapitage (my girlfriend) narrate the film as well. We have enjoyed working on larger projects together, and she even narrated my most recent documentary film on Burrowing Owls which was recently a finalist a the Jackson Wild Media Awards this year.
I would love your thoughts on this one. Since this was an experiment, your feedback will help shape future shorts like it.
What stood out to you the most?
Was there a moment that surprised you?
Does the idea of showing what is possible with simple tools resonate?
How AI-Generated Animal Videos Mislead Millions About Nature
A house cat stares down a leopard in a suburban backyard. The big cat growls, the child in the background freezes, and—against all odds—the cat lunges. The leopard turns tail and bolts. Within seconds, the clip racks up thousands of likes and comments: “Cats really are fearless!” or “This is why I love animals!”
Except, of course, none of it ever happened.
The leopard, the child, and the heroic cat are all creations of artificial intelligence. Yet the video has been shared tens of thousands of times across TikTok, Facebook, and X, fooling millions into believing it’s real. And it’s not alone. Other viral AI-generated wildlife clips show raccoons riding crocodiles down jungle rivers, bears playing on trampolines, and deer politely joining family picnics. They’re funny, heartwarming, and almost believable—but according to scientists, they’re also dangerous
A new study from the University of Córdoba (UCO) in Spain warns that this wave of synthetic wildlife videos is quietly eroding public understanding of nature. Far from being harmless entertainment, these ultra-realistic fabrications are distorting how people—especially children—think animals behave, what species are truly endangered, and even what kinds of creatures live near them.
“The main conclusion from our study,” José Guerrero Casado, lead author of the research, explains to A-Z Animals, “is that AI-generated wildlife videos often present distorted or unrealistic portrayals of nature. These misrepresentations can spread misinformation, especially among children and audiences with limited ecological knowledge.”
As social media becomes a dominant source of environmental learning, the researchers say this flood of digital fantasy is undermining conservation efforts and fueling a dangerous disconnect between society and the wild world it claims to love.
Why Are AI-Generated Wildlife Videos Harmful?
To understand the implications AI-generated wildlife videos have on audiences, the Córdoba team analyzed dozens of viral AI-generated clips across the social media platforms TikTok, Facebook, Instagram, and X, examining how often they were shared, liked, or commented on to measure their influence. They found that these digital creations often depict animals acting in ways that defy biology and ecology, predators playing gently with prey, apex carnivores wandering suburban lawns, and rare species appearing as common backyard visitors
“Some AI-generated videos depict highly implausible or exaggerated human-wildlife interactions—such as large carnivores entering homes, attacking pets, or even harming people,” Casado says. “These videos are often presented in a format that imitates low-quality security footage, which can make them appear more authentic.”
Such fantasy-filled depictions can have subtle but serious consequences. When young audiences or less scientifically literate viewers take these portrayals at face value, they form unrealistic expectations about the natural world. “When social media users, especially children or individuals with limited ecological knowledge, perceive these videos as real, they may develop distorted views of wildlife,” adds Casado.
The problem lies not only in spreading falsehoods but also in creating a false sense of familiarity. Videos that portray dangerous species as friendly or endangered species as abundant can distort the sense of rarity and risk that conservation messaging depends on. They erode the emotional urgency that motivates people to protect wildlife.
The viral “cat versus leopard” clip is a particularly damaging example. The idea that a leopard would appear in a European suburb—or that a domestic cat could scare one away—is pure fiction, but the imagery feels plausible enough to shape viewers’ beliefs about big cats.
This distortion becomes more dangerous as AI tools grow more accessible. Videos that once required film studio budgets can now be created on a smartphone in seconds.
“Some AI-generated videos depict highly implausible or exaggerated human-wildlife interactions—such as large carnivores entering homes, attacking pets, or even harming people,” Casado explains. “These videos are often presented in a format that imitates low-quality security footage, which can make them appear more authentic.”
The psychological effect may swing in two directions. On one hand, fake videos showing predators in human spaces can heighten fear, making species like leopards, wolves, or sharks seem more threatening than they are. That, in turn, could reduce public sympathy for conservation measures. On the other hand, overly cute or humanized portrayals of wildlife—animals acting like pets or performers—could make viewers complacent, leading them to believe that endangered species are plentiful or that wild animals are safe to approach. Both extremes weaken conservation attitudes and blur the line between wildness and domestication.
“Not even AI could imagine that!” Photographer finds unreal-looking sea creature in Cornwall
Rainbow slugs are being found more frequently in the UK as a result of warming waters.
A wildlife photographer in Cornwall has shared hypnotic footage of what might be the UK’s most beautiful slug.
“Have you ever seen such a colourful slug?” says wildlife filmmaker Jacob Rheams on Instagram while sharing footage of the nudibranch creeping along in the rockpools.
The multicolour animal looks like a make-believe creature with its bright pink body, and pink and purple cerata (finger-like projections that allow it to breathe) flecked with orange and yellow “frosted tips” at the end.
Now, wildlife documentaries need to feel like blockbusters: Kalyan Varma
Kalyan Varma believes today’s audiences want wildlife documentaries to grip them like a Christopher Nolan thriller. Viewers no longer approach the genre with earlier patience or reverence, says the Emmy-nominated filmmaker and photographer, whose Wild Tamil Nadu was recently screened at the nature film festival in Bengaluru.
“As a documentary filmmaker, I’m competing with blockbusters… Attention spans are low; and if you don’t hook people in the first 10 minutes, they’ll switch off.” For him, this shift signals an evolution — natural history storytelling “must meet audiences where they are” while staying true to the wild.
‘With wildlife filmmaking, unlike photography, you need to tell a whole story’
Filmmaking, says Kalyan, demands far more than capturing striking images. “If you’re doing wildlife photography, you can walk in and walk out with a few nice pictures. But when you make a wildlife film… You have to show the entire story — the habitat, the behaviour, the reasons behind it. The storytelling becomes far more complex,” he says, adding, “That complexity has only grown in recent years, and it proved to be a major hurdle while filming Wild Tamil Nadu, the follow-up to Wild Karnataka. Based on monsoon arrival, jackfruit would fruit, and three weeks later, the monkeys would come to eat it. But when we started filming, none of this was happening. Schedules were off. Some things would happen a month before, a month later, or wouldn’t happen at all. In the age of climate change, trying to predict these stories and document them through the whole cycle was really challenging.”
'Music is an integral part of any film'
The film features a soundtrack by Grammy Award winner Ricky Kej. “Music is very integral to any film,” says Kalyan. “Even in a documentary… to enhance all of that, music plays a key role. There’s only so much we can do with visuals because we don’t control our subjects.”
ZDF Studios to shop WildBear’s “Baby Animals Down Under” globally
ZDF Studios, the commercial production/distribution arm of German pubcaster ZDF, has picked up global rights for Baby Animals Down Under, a 6 x 1 hour docuseries from Australia’s WildBear Entertainment
The series, filmed across the diverse geography of Australia, captures the first steps of baby marsupials, monotremes, birds, reptiles and marine creatures while also featuring the unique habitats they call home. From newborn koala joeys the size of jelly beans to dingo pups learning to survive in the unforgiving outback, the series documents the challenges faced and survival strategies employed by each species.
The deal, brokered by Wild Thring Media, is the latest in a longstanding partnership between ZDF Studios and WildBear — other recent deals include an international distribution pact for history series Fatal Conflictsunveiled in August, and a pick-up of three factual titles, ranging from natural history to factual entertainment, last November.
VMI opened the Bristol division in 2015 and moved into its current building in St George a year later. Run by Gary Davis and Jon Noad, VMI Bristol was set up specifically to cater for natural history programmes and documentaries, stocking specialist cameras and larger lenses/grip and acting as a full satellite branch of VMI.
However, changing marketing conditions post-Covid, saw a sharp contraction of Bristol-based productions, to the point where VMI has made the difficult decision to close this branch in September 2025, resulting in all operations now being centralised at our London office, where we will continue to service our national clients.
Over the last 10 years, VMI Bristol has serviced cameras and lenses for some extraordinary productions and here are a few highlights:
A Real Bug’s Life featured on Disney+ was produced by Plimsoll Productions for National Geographic and the combination of the Phantom VEO 4K camera and Infiniprobe TS 160 lens allowed the team to get up, close and personal with the featured critters, whilst also attaining an impressive slow motion – with each individual wingflap visible on screen.
Earth at Night in Colour, produced by Offspring Productions for Apple TV used the incredible 4m ASA Canon ME20F-SH camera to achieve super low-light scenes, shining light on a world we wouldn’t otherwise be able to see, with minimal disturbance on animal subjects
Nledi – One Little Elephant, was produced by Off the Fence Productions, which also used the Canon ME20F-SH camera in a bold plan to shoot a family of elephants 24 hours a day in the in Okavango Delta and included a dramatic sequence capturing the birth of an elephant in the wild, in colour with more depth than had ever been seen before.
Finally, The Battle to Beat Malaria, an incredible piece directed by Cat Gale and from the work of multiple production companies such as Wingspan Productions and HHMI Tangled Bank Studios, for the BBC. Cinematographer Robert Hollingworth took advantage of the Phantom VEO 4K, RED V-Raptor, and InfiniProbe TS-160 to present the inside story of a historic new vaccine and the efforts against the world’s deadliest disease
Despite the closure of our Bristol branch, VMI’s doors will remain firmly open to similar productions, as we can provide various national delivery options, as well as van deliveries. Importantly, VMI will maintain its impressive stocks of Phantom VEO 4Ks, Freefly Ember super slow motion cameras, super-low light cameras, our wide RED camera fleet, motion-control rigs and other specialist equipment, though producers will need to consider that these will now be supplied from our London hub, rather than directly from Bristol.
To really immerse our audience in the Kingdom of Nsefu, we wanted to do justice to the rich soundscape that accompanies our character’s daily lives: from the gurgling Luangwa River with its honking hippos to the bush squirrel alarm calls, the African wild dog’s unique twitters, the moody trumpeting elephants, the hyena’s haunting whoops, to the bones cracking at a lion kill.
The legendary recordist Chris Watson, who has been recording sound for BBC wildlife documentaries for over 25 years, was the perfect person to capture the varied auditory landscape of South Luangwa.
Q: Why is sound so important to the Kingdom series?
One of the things about coming here to the banks of the Luangwa River is that it's a wonderful mosaic of habitats, and so there are different sounds within a few hundred metres of each other and also different animals. And each habitat has its own signature sound. What I've really enjoyed about the process of recording here is being able to tap into that sound. We’ve been recording it in surround sound, so what I’m hoping to do is put the audience where my microphones were when I made the recording and immerse them in each habitat.
The animals also use the acoustics of their environment to broadcast their message. When you hear the echo of lions’ voices and the reverberation of hyena whoops, I’m sure that it helps them localise themselves within the habitat. For the predators, they need to be able to be very quiet and listen to the calls of the animals, the antelope that they’re stalking.
And for the antelope, they need super hearing to be able to feed: when they get their heads down in the grass, they can’t see something like a leopard approach. So sound is a key element to their lives, and I’m really excited about collecting those beautiful, detailed minutiae of sound, which help to understand the animals.
David Attenborough Leads at 99! UK Documentary Ratings Snapshot for 2025
A hard-to-get UK ratings snapshot for 2025 thru late October reveals several notable Takeaways:
BBC1 tops all of the Top 5 most-viewed broadcast documentaries.
The UK’s unscripted ecosystem delivers audiences whose scale and shares are the envy of the U.S. and other markets.
Netflix‘s #1 doc earned a fraction of the audience for the BBC’s documentary leader.
However, the decline in broadcast viewing is captured by comparing 2025’s most viewed doc (Gavin & Stacey, 6.7m) with 2017’s (Blue Planet II, 14m viewers.)
Attenborough
David Attenborough’s KINGDOM was broadcast on BBC1 in early November, earning an impressive 4.8m viewers and 34.4 share.
Young Baltimore Filmmaker Inspires Hope through Oyster Restoration
A new short film by 27-year-old Baltimore local Jacob Jackson highlights the healing power of oysters in the Baltimore Harbor. In his video, Saving the Bay: The Untold Story of Oyster Gardening, Jackson shows how oysters can both clean the water and inspire a community to connect to local waterways and the Chesapeake Bay
“For me, this project came from a lifelong sense of wonder about the natural world — the same curiosity that made me chase frogs and turtles as a kid,” said Jackson. “The more I’ve learned about the Bay and its wildlife, the more I’ve realized that some of the most impactful restoration work is also the most approachable. I wanted this piece to show that anyone, no matter their background, can take part in rebuilding something as vital as our oyster reefs.”
Jackson’s film showcases the Chesapeake Bay Foundation (CBF)’s oyster restoration efforts in Baltimore. The program includes hundreds of volunteer oyster gardeners, like Jackson, who help CBF grow young oysters and tend to their cages, which hang off marina docks around the city.
Blackfoot Strive to Reintroduce Buffalo After 100-Year Absence
This documentary tells the story of the Blackfoot people striving to re-establish wild buffalo on tribal land after 100 years of absence.
The film recounts efforts to restore buffalo, land, traditional culture and bring healing to the Blackfeet community. Narrated and executive produced by Oscar nominee, Blackfeet/Nez Perce actor, Lily Gladstone, the film has been an audience favorite at festivals.
This program is made possible by viewers like you. Support PBS: pbs.org/donate
Rhino review – Tom Hardy channels David Attenborough in mission to save Kenya’s rhinos ***
The actor is a slightly distracting narrator in this documentary about a local ranger’s efforts to protect a group of rhinos from poachers – and from killing each other
Here is a rare wildlife success story. The world’s black rhino population has plummeted to just over 6,000 as rhinos are pushed to the brink of extinction by habitat loss and poaching. But conservation efforts have resulted in a rhino comeback in Kenya, where numbers are growing in fenced-off sanctuaries known as conservancies that employ local people and keep poachers out.
Tom Hardy provides a slightly distracting narration to this documentary, channelling David Attenborough with a dash of 19th-century aristo-explorer. The film opens with the fact that in the past three years, 1,900 rhinos have been poached across Africa, but not a single one in Kenya. In the Borana Conservancy we meet charismatic head ranger Ramson Kiloku, a man who knows every single rhino on his patch by its footprint and the nicks on its ears.
Kenya’s rhinos, however, are becoming victims of their own success. Increasing numbers in the conservancies are causing competition between males, who will fight to the death for territory. There is a horrible irony of rhinos protected from poachers killing each other, and a plan is hatched to move 21 rhinos 100 miles away to Loisaba Conservancy – a high-risk strategy, we’re told. A similar attempt ended in disaster with the death of all 11 rhinos being moved.
But before the rhinos can be transported, Kenya is hit by a drought, devastating for locals whose survival depends on agriculture and livestock. Gangs of bandits terrorise farms, and poaching is on the rise. Oddly, the film doesn’t explore the threat to endangered species from the climate crisis. I could have lived with a bit more of Hardy on the voiceover if he had been given the remit to explain – and possibly without some choices on the soundtrack, including a mawkish rendition of Knocking on Heaven’s Door.
Also read: Rhino: documentary unravels the challenges rangers face, but that’s not the whole story – On the western flanks of Mount Kenya lies the Laikipia plateau, an achingly beautiful landscape that is both a refuge for wildlife and a home to traditional Masai communities. Black rhinos, which were once nearly extinct, are now thriving on some of these conservation properties, thanks to the intense efforts to keep them safe
Inside ‘Prehistoric Planet: Ice Age’ - Mike Gunton Talks Science, Storytelling, And Tom Hiddleston’s Narration
Apple TV's Prehistoric Planet has become a landmark showcase of what modern technology can achieve in natural history storytelling.
The series brings to life animals that vanished millions of years ago, species we will never see in the real world, yet presents them as if they were filmed today. The first two seasons transported viewers to the age of dinosaurs, narrated by none other than Sir David Attenborough, giving the prehistoric world a sense of realism and wonder.
The latest season shifts closer to our own time, exploring the Ice Age, with Tom Hiddleston taking over narration. Mike Gunton, Senior Executive at the BBC Natural History Unit and Executive Producer of Prehistoric Planet, talks to us about the making of the series, the decision to change narrators, and the scientific and creative challenges behind this groundbreaking production.
One of the biggest surprises this season is that Tom Hiddleston is now narrating instead of Sir David Attenborough. How did that change come about?
Mike Gunton: I think it's interesting you say surprise. We're moving 58 million years further, closer to our time. I just thought it was a new series, a new era. We just thought it would be interesting to change the voice, and Tom seemed a really good choice. He's one of the Apple universe voices for Natural History, so it seemed a good choice. I think he's done a lovely job. I really like his narration on it.
A foot-tall elephant? 'Prehistoric Planet: Ice Age' on Apple TV reveals surprising creatures
If you've seen any of the "Ice Age" animated Disney movies, we have some bad news: You don't know the real ice age.
It was an incredible time when the Earth was going through immense systemic changes and was filled with often nightmarish creatures—carnivorous kangaroos, 14-foot-tall bears and armadillos bigger than cars. Sid the sloth's eyes would bulge even more.
A hyper-realistic picture of life during that Pleistocene era emerges with Apple TV's five-part, computer-driven "Prehistoric Planet: Ice Age," which takes place millions of years after the dinosaurs' extinction.
"Nobody's made a natural history representation of these creatures behaving and interacting in the way that we have in this series," says Mike Gunton, co-executive producer and senior executive at the storied BBC Natural History Unit.
3 films selected for the European Wildlife Film Awards 2026!
Marco Polo are delighted to announce that three of their documentaries are part of the Official Selection of the prestigious European Wildlife Film Awards 2026.
The films are all part of the ‘Beaches of Europe’ series and portray three unique coastal regions of Europe, impressively demonstrating how closely natural processes, biodiversity, climate change and human influences are intertwined.
The selected films are:
‘Beaches of Europe – Spiekeroog’ (A film by Herbert Ostwald, ZDF/Arte, 2023) ‘Beaches of Europe – Santorini’ (A film by Annette Scheurich, ZDF/Arte, 2023) ‘Beaches of Europe – Sardinia’ (A film by Mi-Yong Brehm, ZDF/Arte, 2023)
The European Wildlife Film Awards ceremony will take place on 7 February 2026 in Hamburg.
We focus in documentary making on land and underwater, we do high speed, infrared and thermal filming. We can also help as fixers in Cyprus and Greece.
Victoria Clarke – an Australia-based Presenter/Host/Narrator
Victoria is a freelance television presenter, broadcaster, science communicator and narrator for documentaries and television series specialising in wildlife, science, natural history and adventure/travel.
She studied a Bachelor of Science in Zoology at the University of Queensland, which she paired with formal training in television presenting and communications, and has since combined the two fields as a host for wildlife and natural history media.
Her work as a wildlife presenter has taken her to many interesting and remote places in the natural world, and she is an avid traveller and adventurer.
Victoria believes in the power of storytelling, and it's her objective to share information about our planet, and the scientific discoveries made here, to the wider community through compelling, entertaining and accurate stories.
Victoria knows that through the art of nature filmmaking, the importance of conservation and exposure to the beauty of the natural world can be truly understood and appreciated.
Massimiliano (Max) Finzi – a Marine Supervisor – Assistant Underwater Camera – Water Safety Diver
Max is a professional Marine Supervisor and Safety diver in Media, Film and HATV at Netflix, Prime, Lionsgate, Disney, BBC amongst others.
Based in both the UK (Devon) and Italy.
He says" "I have great experience in water diving safety. I am a PADI Master Scuba Diver Trainer, an SSI Divemaster Instructor and the HSE Scuba L.4 and I’m also Instructor of many diving specialties; I’m an underwater camera assistant and also operate independently. I also have experience of training cast and crew in scuba diving to facilitate underwater sequences.
I have done over 10,000 dives in extremely different places and locations such as sea, ocean, river, altitude, lake, caves, under ice, deep and wrecks using all different equipments; I have worked as a dive instructor and dive manager for 21 years and in the last 5 as part of a team in the Marine department in film and TV.
Before becoming a diver in 1996 I was a studio still-life photographer a profession that I brought with me underwater;
I have the Gates STO (Setup/Test/Operate) certification made by Esprit Film; RYA PowerBoat L2, VHF Radio Operator, Day skipper.
I also have the IRATA Rope Access certification L1 and A1/A3 Drone open category.
NHK on board feature-length version of wildlife documentary My Otter Diary
Japanese broadcaster NHK, distributor All3Media International, Oxford Scientific Films and Aranya Parva Creations are collaborating on an extended feature-length version of wildlife documentary My Otter Diary.
Aimed at the Japanese market, the 1×90’ special follows wildlife filmmaker Sugandhi Gadadhar as she uncovers the lives of otters in one of India’s most rapidly changing waterways.
The original 60-minute doc, which was commissioned by European broadcaster ZDF/Arte and coproduced with All3Media International, Oxford Scientific Films and Aranya Parva Creations, aired on Arte recently.
The NHK Natural History Department will lead the creative development for the film, while the NHK channel has secured the first window for both versions of the doc in Japan. All3Media International will shop the title outside of Japan.
Tony Ziran Tang, All3’s VP of finished and formats sales in Asia, said: “NHK remains one of the most important windows for natural history coproductions in Asia. All3Media International is thrilled to partner with them again after so many successful collaborations, and we’re confident that this new project will inspire and resonate with audiences even more widely.”
Chris Packham narrates ‘Killing our countryside’, a film which reveals the damage done to our wildlife and countryside by the shooting industry’s mass release of tens of millions of pheasants and partridges every year.
The film, and the accompanying campaign, make the argument for a ban on the production and release of birds for shooting.
The report details not only the horrific cruelty of so-called ‘game bird’ shooting, but also the devasting impact that it has on our environment and wildlife. Every year around 40-60 million non-native pheasants and partridges are released into the British countryside, trampling flora and outcompeting native wildlife for food. Toxic lead shot pollutes the land and waterways, poisoning animals. In reality, shooting is a million miles from its portrayal as a rural, natural pastime.
Viral animation uncovers the shocking mistreatment of foxhounds
– Narrated by Chris Packham
We’ve just released our latest animation, narrated by Chris Packham! This 60-second film exposes the shocking mistreatment of foxhounds by hunts and reveals how the hunting world is exploiting these animals in a desperate attempt to protect their cruel pastime.
Groundbreaking research carried out by Protect the Wild earlier this year found a staggering 2,444 welfare incidents involving foxhounds in just the last 3 hunting seasons and that’s what motivated us to create this animation.
I won’t say too much more, I’d rather you see it for yourself.
Since going live last night, the film has already been viewed over 600,000 times, and thousands of people have joined the call urging the Government to deliver on its promise to ban trail hunting.
Please share or forward this email to family and friends, and encourage them to add their names to the petition too.
With thanks to Chris Packham for his continued support and the brilliant Fire Lily Studio for putting it together for us.
Join Viva! for an inspiring – and deeply thought-provoking – Trilogy of Talks that reveal the truth about our connection with animals and the natural world.
From the hidden horrors of industrial farming to the wild magic of ecological restoration, Viva! founder Juliet Gellatley and Randal Plunkett, the 21st Baron of Dunsany, share powerful, personal journeys from their extraordinary lives.
Viva!'s Juliet Gelatley transports an audience back to her first experience of entering a factory farm, describing how it felt to be a young teenager traipsing through rows upon rows of pigs confined to cages, gnawing on their metal prisons – and how this moment led to her dedicating her life to saving animals.
For over 30 years, Viva! has been at the forefront of animal campaigning and this is Juliet's personal and unfiltered story of how she launched and sustained the vegan charity through its ups and downs.
Randal Plunket, the 21st Baron of Dunsany, discusses how he is transforming his inherited estate into a wildlife haven through the 'rewilding movement', a form of environmental restoration that he has rebranded as 'V-Wilding'. By rewilding a third of his considerable estate, Plunkett has seen huge swathes of lost species return to their natural habitat, driving the return of biodiversity. In this talk for Viva!, he uses his trademark humour and wit to discuss the cost of progress, the unbelievable arrogance of humans and his contributions to natural restoration.
Viva! founder and director Juliet Gellatley delivers a searing indictment of the meat industry, describing it as a "vast machinery of greed" that desecrates the sanctity of life. Drawing on decades of firsthand experience entering factory farms, she recounts the horrors hidden behind their walls and exposes how animals are reduced to mere cogs in the machine of death. In this talk, Juliet unpacks the megalithic power of the industry, from its immense financial backing to its far-reaching influence and relentless stream of misinformation. She confronts the uphill battle of challenging its lies while calling for a dismantling of the system that profits from suffering.
The
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The newsletter distributes information, likely via email, covering a wide range of topics including vegan recipes, environmental issues, health and fitness, news, and culture.
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From the co-creator of the sensational hit documentary films Cowspiracy & What The Health, comes HOW TO MAKE DRUGS (and feel great about everything), a comedic look at the process of drug development in the US, uncovering the wasteful, dangerous and the often absurd use of animal testing in the 21st century.
Through interviews with premier researchers, physicians, policy experts, lobbyists and activists, a story unravels of unchecked government spending, entrenched culture and faulty science costing taxpayers billions of dollars and hundreds of thousands of lives each year.
One moment changed Juliet´s life forever – and led her to start Viva!
She says: ¨As a teenager, I snuck into a factory farm and saw the truth with my own eyes. From that day, our mission has been clear: end cruelty, inspire compassion, and build a kinder world.
Together, we’ve shut down farms, rescued animals, and exposed the reality of factory farming to millions. Now, I’m asking you to help secure Viva!’s future – for the animals who still need us.¨
Please consider leaving a gift to Viva! in your Will. Your love for animals can live on – saving lives, changing minds, and creating lasting change. viva.org.uk/legacy
My Role on the Katavi Series – ¨Over several years, I had the privilege of working on the Katavi series during both the dry and rainy seasons, immersed deep in the bush. My primary role involved extensive long-lens cinematography from a vehicle, supported by my incredible local drivers – Naiti and Kahimba – whose tracking skills and instinct in the field were invaluable.
Alongside ground-based filming, I also operated drones to capture aerials and dynamic bird-following shots that helped bring the vastness and drama of Katavi to life from above.
During my time there, I picked up some “kidogot” Swahili, basic tracking techniques, and, more importantly, a profound respect for the land and its rhythms. I filmed intense and emotional wildlife behavior, including dramatic hippo fights, a rare pelican kill, and powerful sequences of infanticide – alongside many other unforgettable moments from this remarkable series.
A highlight of this experience was being mentored and deeply inspired by Owen Prümm – an extraordinary filmmaker, cameraman, and bushman. His passion and presence in the field made this one of the most meaningful and unforgettable chapters in my career.¨ Luana Knipfer
Andreas Fiskeseth – Underwater filmmaker, drone pilot and DP based in Thailand.
Born and raised on the Western coast of Norway, I moved to Thailand at 23 to pursue a career in underwater filmmaking.
I'm a certified PADI Divemaster with 14 years experience and 3000+ ocean camera dives.
I've had the pleasure of working on various films, documentaries and tv-shows for clients such as the BBC, Disney+ & UFC.
Having dived all over Thailand I also offer consultations and location scouting, both for remote and underwater destinations.
I'm also an experienced drone pilot & timelapse photographer and have shot art films, music videos and promo videos.
While I'm experienced shooting with cameras from RED, Sony, & Canon my personal setup consists of a Panasonic Lumix GH7 for underwater – a great rig paired with the right glass.
Also the owner of a DPV rental company so I have access to some very handy DPV setups for underwater filmmaking to create unique images or keep up with fast moving subjects.
Located in Thailand but available to work anywhere. Speak Norwegian and English fluently.
I'm passionate about the ocean and marine conservation and this is reflected in my safe conduct around any subject or reef.
I also have a huge 6K/4K Stock library of mantas, whale sharks, macro, reef, turtles etc.
Wildlife Film Productions inc. – a boutique production company specialized in creating groundbreaking natural history films for audiences worldwide.
Wildlife Film Productions (WFP) was founded by Alex Jones, an Emmy-nominated and Panda award-winning Director of Photography (DOP) who has worked with top broadcasters like Disney, NatGeo, BBC, Netflix, and Apple. With over a decade of experience, Alex is known for his breathtaking macro and long-lens work, creating world-class wildlife films. Initially hired as head DOP on many shows, he quickly became involved in the creative direction and writing, showcasing his storytelling talents beyond the camera. His ability to shape the overall vision of a project adds a unique depth to every production.
Award-winning filmmaker Jaap Perenboom joined Alex after a chance encounter while filming in the jungles of Corcovado, Costa Rica. Their mutual passion for wildlife filmmaking brought them together, and they soon realized they shared the ambition to build a boutique Blue-Chip wildlife film company. With Jaap’s background in both business and filmmaking, he brings a rare combination of business savvy, strategic insight, and hands-on experience as a DOP, perfectly complementing Alex’s creative vision.
United by their love for wildlife and a shared dream to produce top-tier films, Alex and Jaap are building a strong, passionate team. Their collective vision and expertise drive WFP to deliver captivating, high-quality wildlife content that stands out in the industry.
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