At a time when television is fighting for attention, funding and cultural relevance, Jane Tranter is making the case for something more powerful than trend-chasing: empathy. Speaking at Rome’s MIA Market, the veteran producer and Bad Wolf co-founder used The Other Bennet Sister to argue that the future of great TV lies in stories that widen perspective, challenge beauty norms and allow overlooked characters to take center stage.
For anyone watching the evolution of prestige drama, Jane Tranter’s message lands as both creative advice and an industry challenge. Her remarks touched on representation, the resilience of genre storytelling, the financial realities of scripted television and the lasting influence of the late James Gandolfini on her career and production philosophy.
Jane Tranter says TV needs more empathetic storytelling
In her keynote, Jane Tranter emphasized that television has the power to make audiences see themselves in unexpected characters. She pointed to a reaction from an older farmer who connected deeply with Mary Bennet, the socially sidelined heroine of the BBC drama The Other Bennet Sister, played by Ella Bruccoleri.
That example captures the central argument from Jane Tranter: the most meaningful stories are often the ones that refuse conventional expectations. Mary is not presented as the polished, idealized female lead viewers have historically been conditioned to expect. Instead, she is awkward, distinct, self-possessed and emotionally real.
Tranter’s broader point was clear: TV creators should seek out stories that encourage acceptance and deepen human understanding. In a media landscape often driven by algorithms and perceived market safety, she argued for stories that push against social norms rather than reinforce them.
Why Mary Bennet matters in 2026 television
The Other Bennet Sister, adapted from Janice Hadlow’s novel, reimagines the world of Pride and Prejudice through the eyes of Mary Bennet, the often-overlooked sister. Instead of keeping Mary in the background, the series gives her an interior life, agency and a journey that extends beyond the drawing rooms familiar to Austen fans.
The series follows Mary from family marginalization to new experiences in London and the Lake District, reframing a classic literary universe through a character usually denied narrative importance.
That matters because audiences increasingly respond to:
- Fresh perspectives on established stories
- Female characters who do not fit narrow standards
- Period dramas with modern emotional relevance
- Character-led storytelling rooted in identity and belonging
With a three-part Christmas special already ordered, the show appears to be resonating at a moment when viewers are hungry for both familiarity and reinvention.
Jane Tranter on making bold TV despite industry pressure
As one of Britain’s most accomplished TV executives, Jane Tranter has credibility when she tells creators to ignore defeatist thinking. Her career spans leadership at BBC drama and the building of Bad Wolf into one of the UK’s most influential production companies, with credits including Doctor Who, Industry and His Dark Materials.
Even while acknowledging that financing high-end scripted drama is difficult, Jane Tranter argued that demand still exists for ambitious series. Her message to producers was refreshingly direct: if someone says a certain genre is no longer selling, make it anyway and find a way.
That stance is especially notable in today’s TV economy, where buyers are often described as risk-averse. Tranter’s view suggests that creative conviction still matters, particularly when paired with strong execution and a clear audience proposition.
What her comments mean for the TV industry
Her remarks speak to several wider trends in television:
- Period drama is evolving — not disappearing. Audiences still love historical settings, but they want new angles and richer character psychology.
- Genre remains resilient — fantasy, literary adaptation and finance dramas can still break through when the storytelling is sharp.
- Representation is broadening — viewers increasingly want protagonists who reflect a fuller range of appearances, behaviors and life experiences.
- Prestige TV needs emotional purpose — spectacle alone is not enough; audiences connect with stories that say something about how people live and see one another.
James Gandolfini’s influence on Jane Tranter and The Night Of
One of the most revealing parts of the conversation centered on The Night Of, the acclaimed HBO crime drama starring Riz Ahmed. Jane Tranter recalled the project’s difficult path after James Gandolfini, who had championed the adaptation and appeared in its pilot, died unexpectedly in 2013.
His death put the production in jeopardy and left the team facing major uncertainty. Eventually, John Turturro stepped into the role, and the series moved forward to critical acclaim and multiple Emmy wins.
For Jane Tranter, the experience was more than a production setback. It became a lesson in continuity, community and loyalty. She described continuing to work with members of Gandolfini’s crew, many of whom had also been part of The Sopranos. That exposure to a deeply rooted production community helped shape how she thought about building a lasting studio culture.
How Gandolfini’s legacy helped shape Bad Wolf in Wales
Tranter connected that experience directly to her decision to expand production infrastructure in Wales. Observing the loyalty and local identity around Gandolfini’s collaborators helped her recognize the value of investing in a creative community rather than treating production as purely project-based.
That mindset became central to Bad Wolf’s Welsh footprint, particularly during its era producing Doctor Who. In practical terms, it reinforced the idea that successful television depends not only on stars and scripts, but also on stable crews, regional talent and long-term investment in place.
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Why Jane Tranter’s message matters now
In an industry obsessed with data, IP and budget pressure, Jane Tranter is making a more human argument: the best television can expand empathy. Whether through Mary Bennet’s outsider perspective or the collaborative lessons she took from James Gandolfini’s legacy, her comments point to a simple but timely truth. Audiences still want bold, emotionally intelligent stories that reflect people as they are, not just as convention says they should be.
The takeaway from Jane Tranter’s speech is hard to ignore. If television wants to stay vital, it must keep backing stories that challenge assumptions, honor individuality and make viewers feel less alone.
