“Just let people be!”: The Assembly, inclusivity, and aspirational feeling
Helen Piper / University of Bristol
The Assembly is a new television talk show which stages the interrogation of the (culturally prominent) few by the (less visible) many—the latter being a “collective of autistic neurodivergent and learning-disabled interviewers.” The premise was original to the French show Les Rencontres Du Papotin (france-tv, 2022– ) and has since been adapted for at least thirteen different territories including Singapore, Poland, and Australia. Although, as Jean K. Chalaby has long since acknowledged, “formats travel precisely because they adapt to local tastes”,1 the commercial success of every articulation is sometimes assumed to be a foregone, formulaic conclusion. Instead, I argue that creative choices about the manner of presentation achieve nuances of mood and tone which are crucial to the value an audience may derive from a programme. Additionally, like most factual entertainment formats built around unscripted encounters between contributors, The Assembly encourages feelings linked to risk””that is, to the possibility that something might, at any point, ignite, or misfire.
In the second episode of The Assembly UK (ITV, 2025), Scottish actor David Tennant exits a lift and walks briskly to the interview space followed by a floor manager and two visible camera operators. It is a sociable, egalitarian sort of an entrance—he is casually dressed in sweatshirt and jeans, looking right and left as he cheerfully greets the handful of people gathering in a high-rise office space, bathed only in natural light from floor-to-ceiling glass windows (Fig. 1).
This mise-en-scène-in-progress is clearly a far cry from the curated warmth (comfy chairs, ambient lighting, vibrant colour) of prime-time celebrity chat: evident, for example, in this image of The Graham Norton Show (BBC, 2007– ) on which Tennant has also been a fairly frequent guest (Fig. 2).
For the British version of The Assembly, there is no stage, no host presenter, and no voice-over, just an occasional glimpse of a facilitator who cues each interviewer to ask their question. Every episode begins with identical announcements as to the event rules: “no subject is out of bounds, no question is off the table, and anything might happen.” In practice, the interrogations which follow are eclectic, engaging, and respectful. Questions are direct, certainly, but perhaps more refreshingly, they clearly matter to those asking them. For example, Tennant is asked whether he believes in God and how he felt when he became the tenth Doctor Who. He plays out a scene from Macbeth with Luka and is taught a series of dance moves by Sophie (Fig. 3). He appears as interested in his interviewers as they are in him. When asked by Sammy about the death of his parents, Tennant responds openly, then asks her the same question, commiserating over the loss of her mother.
Reciprocity is inclusive, of course, and encourages the proceedings to move beyond a formal Q & A and become a dialogue during which speakers can freely disclose subjects close to their hearts. Essin commends Tennant on his support for the trans movement and asks about his being publicly “called out” on the topic by J. K. Rowling. A response will clearly require some diplomacy, but Tennant replies with the generality that “I hope that we can all, as a society, just let people be…just get out of people’s way!” (Fig. 4). The statement is simultaneously pointed and de-politicising yet articulates an aspiration that could usefully serve as a tag line for this entire television series.
As I suggest elsewhere, television entertainment has the potential to actively produce “affective communities”, not just through on-screen representation but amongst off-screen viewership(s) who may feel affinity with others as a virtual collective drawn into being by the show itself.2 Such imaginary communities are often conjoined by a shared aspiration to the values exemplified by a programme, uniting their members in a sense of belonging which is cultivated by aesthetic means. The multi-camera set up and uncensored energy in the space of The Assembly make it feel ‘as live’, perhaps as if it were edited inline, but as the availability of many ‘unseen’ clips makes clear, each show is heavily post-produced. This enables frequent cutaways to close-up reaction shots that guide audience appreciation: effectively aligning the home viewer with the responses of the celebrity and collective alike—whether they are laughing, drawing breath at a risky question, or shedding a tear of empathy.
Curiously, in the Australian version of The Assembly (ABC, 2024), the mutual intimacy of the unscripted encounters is impeded by their framing as a teaching exercise. Here the assembly members sit at a more formal distance from the interviewee, having been introduced as “aspiring journos” who need to “rise to the challenge” of the situation. They have a famous on-screen mentor, current affairs presenter Leigh Sales, who doubles as the show’s host, and whose own tutorial guidance is allowed to interrupt the intimacy with the guest celebrity (Fig. 5). It is perhaps for good reason then that this particular regional version has been critiqued as inherently ableist by Australian disability commentators, including Elly Desmarchelier, who argues that the didactic premise implies a need for the neuro-divergent questioners ‘to “fit in” with neurotypical standards’.3
ABC’s marketing of the show also includes a number of online post-show video debriefs in which celebrity interviewees reflect on their involvement and commend the quality of the questions they were asked. However warmly appreciative the tribute, this kind of paratextual activity also seems to situate the show within a previously dominant reality television tradition, by which inexpert folk are schooled in effective personhood through expert intervention. Instead of exemplifying a shared aspiration that everyone might be allowed to simply “be”, the interviewers themselves must aspire to celebrity and tutor approval. The introduction of judgement inevitably confounds the format’s more radical potential to give unconditional voice to difference.
At the end of Tennant’s interview some of his questioners present a performance of The Proclaimers hit, ‘Sunshine on Leith’ (Fig. 6) by which he is demonstrably moved (Fig. 7).
Ending each episode with a significant musical number was a calculated decision by the disabled-led production company, Rockerdale Studios, who saw in it an opportunity to avoid some of the more “patronising” qualities they had noted in the original French version.4In this particular instance, the performance culminates in a spontaneous decision by the rest of the cast to join in—to sing and dance without inhibition in a celebration of pleasure and feeling. As Sara Ahmed reminds, institutional declarations of diverse inclusivity are always, and perhaps only ever, part of “an appearance of valuing.”5 However, appearance is also one of the ways in which television can model ideal ways of acceptance and belonging for audiences. If we can accept such a capability as an internally significant end in itself, then a final impromptu expression of communality and shared experience is perhaps the most valuable of all this format’s possibilities.
Image Credits:
- David Tennant arrives for The Assembly (UK, ITV, 2025) [author’s screengrab]
- Tennant on the stage sofa for The Graham Norton Show (S:30 E:1, 2022) [author’s screengrab]
- Tennant learns a dance routine in The Assembly UK [author’s screengrab]
- “Just let people be!”, The Assembly (ITV, 2025) [author’s screengrab]
- Leigh Sales mentors the students, The Assembly (Australia, ABC, 2024) [author’s screengrab]
- Performance of ‘Sunshine on Leith’ in The Assembly UK [author’s screengrab]
- Tennant watching performance of ‘Sunshine on Leith’ in The Assembly UK [author’s screengrab]
- Jean K. Chalaby, ”˜The making of an entertainment revolution: How the TV format trade became a global industry’, European Journal of Communication, vol. 26 no. 4, 2011, pp. 293-309, (p. 306). ↩︎
- Helen Piper, Hopeful Vision: Entertainment on The Small Screen, Edinburgh: Edinburgh University Press, 2025, p. 94-95. The phrase ‘affective community’ is repurposed from Veronika Zink’s coinage, see V. Zink, ‘Affective Communities’ in Affective Societies: The Key Concepts, ed. by J. Slaby & C. von Scheve, London & New York: Routledge, 2019, pp. 289-299. ↩︎
- Elly Desmarchelier, ‘“The Assembly” misses the mark: here’s how I’d get it back on track’, The Disability Dialogue, 2024. Available at: https://disabilitydialogue.com.au/the-assembly-misses-the-mark- heres-how-id-get-it-back-on-track/ (accessed 26 August 2025). ↩︎
- Michelle Singer cited in ‘Producers wanted to avoid being ‘unpleasant’ to interviewers on The Assembly’, Craven Herald & Pioneer, 23 April 2025. Available at: https://www.cravenherald.co.uk/leisure/national/25111356.producers-wanted-avoid-unpleasant-interviewers-assembly/ (accessed 26 August 2025). ↩︎
- Sara Ahmed, On Being Included : Racism and Diversity in Institutional Life, Durham & London: Duke University Press, 2012, p. 59. ↩︎
Nice!
he is casually dressed in sweatshirt and jeans, looking right and left as he cheerfully greets the handful of people gathering
This is a really insightful analysis of how format choices shape not just tone but also the ethics and affect of a programme like The Assembly
The spontaneous performance of “Sunshine on Leith” beautifully illustrates how television can foster acceptance and communal joy, transcending traditional narratives.
I found this perspective on “Just let people be!”: The Assembly, inclusivity, really insightful. The points about practical applications particularly resonated with my own experience in this area.
This is a well-thought-out take on “Just let people be!”: The Assembly, inclusivity, . I appreciate the depth of analysis here ”” it’s given me some new angles to consider.
I was really struck by how David Tennant just walked in like he was joining a casual meetup, no big intro””kind of made the whole thing feel more human. The way he opened up about grief and then turned the question back to Sammy really showed how this format flips the typical celebrity interview on its head. If you’re into shows that feel more real, check out moviewordle.
The detail about David Tennant being asked to dance and then reciprocating by asking about an interviewer’s loss really struck me
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It’s refreshing to see a show that flips the power dynamic by letting neurodivergent interviewers ask the questions. This format truly highlights perspectives that are often overlooked in mainstrea…
This piece really captures why The Assembly format works so well. Sophie teaching Tennant to dance is such a lovely example of reciprocity rather than just representation, and Tennant walking in still in his coat set the perfect warm tone from the start. Closing on everyone singing Sunshine on Leith together was the ideal finish. Just let people be indeed.
What stayed with me most was the ending with “Sunshine on Leith.” The article makes a strong point that inclusion is not only about who is present, but also about whether the format allows people to participate without forcing them into a conventional standard of performance.
The spontaneous shift from interview to shared singing and dancing feels like the clearest example of that. I also found the comparison with the Australian version especially useful — once the participants are framed as aspiring journalists who need mentoring, the power dynamic changes in a subtle but important way.
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The Sophie-and-Tennant dance moment really captures what the article calls “aspirational feeling” — that quiet reciprocity is exactly what makes the format land. And yes, closing on Sunshine on Leith ties it together so well; it feels like permission to just let people be, which is such a rare note for prime-time TV. Thanks for the careful comparison with the Australian version too.
The Sophie dance moment really stood out to me – it captures the reciprocity you mention so well. It is lovely to read a piece that treats the interviewees as full conversation partners rather than a framing device, and the closing singalong on Sunshine on Leith lands perfectly. Just let people be, indeed.
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Really enjoyed this piece on The Assembly. The way Tennant walked in so casually and ended up learning a dance from Sophie, then reciprocating by sharing something personal about grief, captures exactly why this format works. The spontaneous Sunshine on Leith finale really does feel like the show at its best — just letting people be themselves.
The Sophie teaching Tennant to dance moment really stayed with me — such a small exchange but it captures the reciprocity the format is reaching for. Tennant walking in so casually and ending up sharing something about grief made it land even more. And that spontaneous Sunshine on Leith finale pulling everyone in feels like the truest version of what this show can do.
The Sophie-and-Tennant dance moment really captures the reciprocity the article is reaching for — a tiny exchange that does more than any scripted Q&A could. Tennant walking in still in his coat, then sharing something about grief, makes that ‘aspirational feeling’ land. And the spontaneous Sunshine on Leith finale pulling everyone in is exactly the note ‘just let people be’ ends on.
This piece really captures what makes The Assembly feel different from a typical chat show. The moment when Sophie teaches Tennant that dance and everyone joins in for Sunshine on Leith is exactly the kind of unscripted warmth the format allows. Tennant’s relaxed entrance also sets the tone – it feels like he actually showed up ready to listen rather than just perform.
Sophie teaching David Tennant to dance is the kind of moment that stays with you — it captures exactly what “just let people be” is really about. I also loved how the closing singalong to Sunshine on Leith turned the whole tone into something so warm and hopeful.
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Really enjoyed this piece — Sophie teaching Tennant to dance captured exactly what makes the format work: it feels reciprocal rather than extractive. The closing singalong to Sunshine on Leith with everyone on stage was a beautiful example of that aspirational feeling you describe. Sometimes just letting people be, in their own way, is the most generous thing a TV show can do.
David Tennant’s thoughtful approach to sensitive topics like the trans movement showcases his commitment to inclusivity. His diplomatic stance encourages open dialogue, which is essential in today’s society.
The adaptation of formats like Les Rencontres Du Papotin showcases the importance of localizing content to resonate with diverse audiences. Creative presentation choices significantly impact audience engagement, enhancing the overall viewing experience.
I enjoyed reading this post. The examples around ““Just let people be!”: The Assembly, inclusivity, and aspirational feeling Helen Piper / University of Bristol – Flow” gave me a useful perspective on the topic.
The moment Sophie teaches Tennant to dance is so tender — it really lands the argument about reciprocal exchange over performance. That closing singalong to Sunshine on Leith genuinely gave me chills too. Lovely piece on how just letting people be, without coaching them toward some ideal version of personhood, often feels like the more radical choice.
The Sophie-and-Tennant dance moment really got me — you can tell she’s leading and he’s genuinely trying, not performing. That’s exactly the reciprocity the format makes possible when the interviewers set the tone. And closing on “Sunshine on Leith” was such a quietly perfect choice.
I appreciated your contrast between David Tennant’s natural-light, uncurated arrival and the curated warmth of celebrity chat. The discussion of reaction shots and unseen clips also shows how editing shapes an audience’s sense of a live exchange. For researchers and producers reviewing dialogue-heavy video, transcripts with speaker labels and timestamps can make those shifts much easier to study.
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The contrast between the show’s “as live” energy and its heavy post-production really stood out. For anyone working with video archives, a searchable transcript would be a useful way to revisit those unexpected questions and responses, especially when the value of the exchange lies in the exact wording and rhythm of the conversation.
The Sophie dance moment really got me — Tennant meeting her at eye level rather than performing for her felt like the whole premise landing in one beat. That final Sunshine on Leith singalong does so much of the aspirational work the article describes, and the contrast with the Australian setup is sharp — framing the interviewers as aspiring journos really pulls the rug out from under that reciprocity.
Sophie teaching Tennant to dance captured exactly what makes the show special – that warm reciprocity. And the Sunshine on Leith singalong at the end genuinely made me tear up. Your “just let people be” framing feels right; thanks for writing about the show with such care.
The Sophie dance teaching moment really got me — it set the tone for everything that followed. Tennant’s relaxed entrance and the closing sing-along to Sunshine on Leith made the whole thing feel genuinely warm rather than scripted. This is exactly the kind of format where just letting people be actually works.
The Sophie-and-Tennant dance moment really captures the reciprocity you’re describing here — she’s leading and he’s genuinely trying, not performing. Closing on everyone joining in for Sunshine on Leith made the whole format feel less like a chat show and more like permission to just be present together. Lovely piece.