Wonderhood Studios, the production company established by former Channel 4 CEO and TLC boss David Abraham, is making Trump In Tweets (w/t), the company’s second commission for the British public broadcaster.
It comes as the President of the United States of America lands in the UK for a three-day visit that includes a Nato meeting to mark the 70th anniversary of the defense alliance and a reception for world leaders hosted by the Queen.
Trump In Tweets will examine POTUS’ love affair with social media. Using his tweets, it will tell how he came of age on Twitter, from a technophobe to a serial tweeter, as well as documenting the impact of his social media across the world.
Using first-hand testimony from people in his inner circle, interviews with experts and journalists, as well as hearing from his avid Twitter followers, the documentary will tell the story of how Trump weaponized Twitter and used it as a political tool to shape his policies, conduct diplomacy and wage war on the establishment.
From his first innocuous tweet to the extraordinary exchanges with North Korea’s Leader and his continuing war on anyone who opposes him, the film will explore how his tweets provide an insight into his psyche, as well as maintaining his cult-like popularity amongst his followers.
The hour-long doc will air on BBC Three, the corporation’s youth-skewing network. It was commissioned by Fiona Campbell, Controller, BBC Three and Commissioning Editor, Specialist Factual Jack Bootle and is exec produced by Katharine Patrick and Emeka Onono.
It comes a month after Abraham’s Wonderhood Studios scored Eat The Years, a cooking-meets-history format starring Michelin star chef Heston Blumenthal, for BBC Two.
Abraham, who used to run U.S. cable network TLC, set up the company, which also includes an advertising agency, last year. The television business is run by former BBC creative director Samantha Anstiss and Emma Lorenz, previously director of development at All3Media’s Lion Television, who are overseeing its push into non-scripted television.
Abraham told Deadline last year that he wanted to work with the top creative people and believes that he can “build a better mousetrap” than some of the other, heavily consolidated production groups. “I felt the consolidation models within television and advertising were running their course and weren’t necessarily optimizing the creative output of talent, whether it was crunching production companies together into larger and larger groups with more and more debt,” he said.
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