The Floor

Lead Creative, Editor, Copywriter and Social Strategy

I was the Lead Social Producer and Creative on The Floor, a high-stakes ITV quiz show making its UK debut after international success across the US, Holland, Ireland and other territories. Hosted by Rob Brydon, the format sees 81 contestants, each representing a trivia category, battle to conquer a giant LED floor through head-to-head duels.

The Challenge

The key challenge was relevance. How do you launch a primetime quiz show in a way that resonates with 18–25s, while also engaging 25+ audiences who don’t traditionally watch live TV and instead consume entertainment in fast, bite-sized formats online?

While some audiences were already aware of The Floor through its sound going viral on TikTok internationally, the task was to turn awareness into genuine interest, cultural relevance and long-term engagement in the UK, without relying on paid social.

The Strategy

The campaign was delivered as a fully organic, no paid spend social strategy, broken into clear stages that evolved alongside audience behaviour and platform performance.

Awareness stage
Focused on introducing the show to UK audiences by tapping into existing communities around game shows, popular culture and viral formats. Content leaned into recognisable trends, humour and accessible moments from the show, with subtle references to the format rather than overt promotion.

Reactive stage
Built around social listening and analytics. Performance data, comments and audience behaviour were monitored daily to identify what was resonating. Content was edited, adapted and refined in real time, responding directly to how audiences were engaging and what they were talking about, allowing the strategy to flex week by week.

Commitment stage
Shifted focus from reach to connection. This phase prioritised community building, conversation and participation. Contestants were positioned as personalities, not just players, encouraging audiences to return, engage and feel part of the show rather than passive viewers.

A key part of the strategy was leaning into authenticity. I travelled to Amsterdam, where the show was made, to create BTS and vlog-style content with contestants. This stripped away the glossy TV layer and made the show feel human, reachable and relatable. With such a diverse cast, it was important the content reflected that diversity and allowed different audiences to see themselves in the show.

Rob Brydon was also encouraged to participate in challenges and viral formats, always rooted in platform culture, with light-touch references back to the show.

My Role

Over the 10-week run, I personally created over 70 pieces of original content, leading creative ideation, filming, editing and publishing across platforms. Due to the show’s weekend transmission, I was consistently on call to react quickly, turn around content fast, and capitalise on live audience moments as they happened.

Champions: Full Gallop S2

Lead Creative, Editor, Copywriter and Social Strategy

Champions: Full Gallop – Season Two Social Campaign

I led the social strategy and creative for season two of Champions: Full Gallop, a gripping docu-series exploring the high-stakes world of jump racing. The series follows jockeys, trainers, owners and horses as they battle through the jumps season, where risk, pressure and emotion are constant.

The Challenge

Season two launched under significant pressure. The show was placed in an unfavourable 10:45pm Friday night slot, and social performance needed to justify re-commissioning with all odds stacked against it.

Linear viewing alone wasn’t enough. The objective was to prove the audience was larger, more engaged and more valuable than scheduling suggested, drive viewing on ITVX, and uncover untapped audiences beyond traditional racing fans.

Audience Insight

Champions naturally spans three distinct audiences:

• Rural communities who have grown up around jump racing

• The gambling community, highly invested in racing knowledge and outcomes

• Viewers who idealise jockeys as elite athletes operating in extreme conditions

Before creating content, I conducted independent social listening across forums, fan pages and racing communities to understand what fans actually wanted from the show. The insight was clear. Audiences were drawn to the intensity, danger and emotional stakes of the sport. They wanted high-octane, visceral storytelling rather than surface-level highlights.

The Strategy

The creative direction was built around an “against all odds” mentality, mirroring both the sport itself and the show’s position in the schedule.

Content was designed to feel dramatic, fast-paced and emotionally charged, showcasing the physical risk, mental pressure and personal sacrifice involved in jump racing. Edits were bold, cinematic and scroll-stopping, positioning Champions as a premium sports documentary rather than a niche racing programme.

Alongside organic content, I deployed paid social strategically, informed by ongoing social listening and performance analytics. Different edits were targeted at specific demographics depending on motivation, whether sport, betting, rural identity or athlete admiration, ensuring spend was efficient and insight-led rather than broad.

Execution

Creative was constantly refined based on performance, comments and audience behaviour. High-energy edits, emotional moments and intensity-led clips were prioritised, while underperforming formats were quickly iterated or dropped. This agile approach allowed the campaign to evolve week by week, optimising both reach and intent.

Results

Despite the late-night slot, the campaign delivered strong, measurable digital performance and demonstrated clear appetite on ITVX.

Across paid social activity, the campaign generated over 880K views and 100,000+ high-intent actions, including link clicks, landing page views and profile visits.

Traffic-driving campaigns achieved a CTR of up to 11.36%, significantly outperforming industry benchmarks for broadcast content and indicating genuine viewer intent rather than passive consumption.

The results proved Champions: Full Gallop was engaging both core racing fans and previously untapped audiences, reframing the show as digitally relevant and commercially viable beyond linear scheduling.

World’s Apart

Lead Creative, Editor, Copywriter and Social Strategy

Twelve strangers, young and old, take on the ultimate treasure hunt across Japan, paired into intergenerational teams.

The challenge with Worlds Apart was clear. While the subject matter was distinctive, the format naturally invited comparison to Race Across the World. The opportunity was not to replicate what audiences had seen before, but to position the series around something deeper: connection across generations.

Rather than relying on assumptions about age based behaviour, the strategy was built around genuine audience understanding. I led platform specific planning across Facebook, Reddit and Quora alongside TikTok, Instagram and YouTube, recognising that cultural engagement is shaped by mindset and interest, not age alone. This ensured the campaign reached people where they were already choosing to engage, rather than forcing behaviour.

Extensive A/B testing and social listening informed the creative direction. What consistently resonated was emotional truth. Many older contributors were widowers who viewed the experience as a final chance to step into something new. Many younger contributors carried trauma and were searching for guidance, reassurance and growth. By foregrounding these stories, the campaign felt authentic, relatable and human, which encouraged longer watch time, stronger sharing behaviour and meaningful discussion across platforms.

While staying true to the competitive format, the overarching creative idea was to invite audiences to play the game and feel the journey alongside the contributors. This approach worked because it lowered the barrier to entry, encouraged emotional investment before transmission, and positioned the show as a shared experience rather than a passive watch.

To extend reach and relevance, I led collaborations with micro influencers across travel, quizzes, makeup, documentaries and comedy. These creators acted as cultural bridges, translating the show’s themes into formats that felt native to each platform, which increased trust, discovery and engagement across generations.

This campaign was not just about advertising the show, but about immersing audiences in its emotional and human stakes ahead of broadcast. Each platform had a clear role, driving younger audiences towards All 4 while supporting appointment viewing for older viewers on Channel 4.

The Holiday

Lead Creative, Editor, Copywriter and Promo Director

The Holiday was an original drama that premiered on Channel 5. As lead creative, I was tasked with creating the creative for the campaign, copywriting, creating several video assets and creating the idea for the Key-art/billboard and through all these assets establishing a feeling of escapism without losing the drama/thriller aspect of the show. These assets would be shown on broadcast television, social and digital.

Lightsource bp Brand Film

Lead Creative, Editor, Copywriter and Director

I created a hero brand film for Lightsource bp, showcasing our global leadership in utility-scale solar. The film highlights our decade-long journey of building impactful partnerships across the energy transition. With a bold, inspiring tone, it celebrates our gigawatt-scale approach—driven by innovation, ethical procurement, and a commitment to sustainable progress. Through powerful visuals and storytelling, the film positions Lightsource bp as a trusted partner, accelerating the shift to a cleaner, brighter energy future. It’s a proud statement of who we are, what we stand for, and the positive impact we’re making across the world.

Lightsource bp Rebrand

Lead Creative, Editor, Copywriter and Director

As the creative lead at Lightsource bp, I spearheaded the development of our first comprehensive visual identity system. Upon joining, I identified a lack of cohesion across our brand visuals and took full ownership of solving it. I directed the strategy, design, and rollout of brand guidelines and toolkits that defined everything from typography and colour palettes to photography style and video templates. Working closely with in-house teams and external agencies, I ensured every visual touchpoint reflected our identity as a solar leader—bright, warm, and globally consistent. This framework now underpins all creative output across the organisation.

The Ivory Project

Creative Director, Art Director and Photographer

The Ivory project was a series created for Robert Kigozi, a talented artist/producer based in South London. The photography is inspired by vintage Jazz artwork, vintage jazz era photography and the strength of blackness.

5Star’s Sexpod

Creative, Copywriter, Promo Director and Editor

Neighbours Night/Final Episode

Creative, Copywriter, Promo Director and Editor

The creative challenge for Neighbours night was to honour a show that had been on the air for over 30 years, bid farewell to that show and to make the night feel like an event. With that in mind, I created several pieces of content, such as a countdown timer modelled after the famous ‘Ramsay Street sign’, a Channel 5 ident that reworked the channel 5 logo into the legendary Neighbours Cul-de-sac and a promo trailer inspired by the original neighbours opening credits. My main aim was to make the whole campaign feel nostalgic, celebratory and warm, which I feel was achieved.

Swarve - Best friend

Editor