Jane Tranter

In the summer of 2015 she set up a production company with Julie Gardner based in Cardiff, Wales and Los Angeles, California. They named it Bad Wolf after a Doctor Who storyline.

Throughout 2008, there was media speculation that Tranter would be leaving the BBC to take up a position as head of BBC Worldwide's American arm. Despite denying the claims at a Royal Television Society event in June, her new role in the US was confirmed in September. She began her new job as executive vice-president of programming and production at BBC Worldwide's Los Angeles base on 1 January 2009. The BBC had been criticised for consolidating the control of fiction commissioning in one person; following Tranter's resignation, the responsibilities were split between four BBC executives.

In September 2006, Tranter was promoted to the newly created Head of Fiction position at the BBC. This made her responsible not only for drama, but for comedy, films and acquired programmes from overseas. In this new position, Tranter had an almost unprecedented amount of control over scripted drama on the BBC.

In 2003, she was responsible for a programming budget in the region of £324 million, and in 2002 alone was ultimately responsible for 473 hours of television.

In 2000, she was promoted to Controller of Drama Commissioning at the BBC, where she was ultimately responsible for overseeing the Corporation's entire drama output across all channels, from the in-house departments and independent companies, in series, serials and one-offs. During her tenure in charge of the drama department, the BBC screened ratings-grabbing popular dramas such as Spooks (BBC One, 2002–2011) and Waking the Dead (BBC One, 2000–2011), as well as award-winning productions such as Paul Abbott's State of Play (2003) and the adaptation of Charles Dickens' novel Bleak House (2005). She also oversaw the transformation of popular dramas Casualty and its spin-off Holby City into year-round dramas, the addition of a fourth weekly episode to soap opera EastEnders and the highly successful resurrection of classic science-fiction series Doctor Who in 2005.

Her success as an executive producer at Carlton led to the BBC making a bid to bring her back to their staff; she returned to the Corporation in 1997, initially as an executive producer in the Film & Single Drama department. In 1999 she became Head of Drama Serials. In these roles she commissioned and oversaw a range of dramas made or co-produced by the BBC's own drama department, from playwright Arthur Smith's football-based comedy-drama My Summer With Des (1998) to gritty contemporary dramas such as Warriors (1999, starring Matthew Macfadyen) and traditional BBC literary adaptations in the vein of David Copperfield (also 1999).

In 1992, she left the staff of the BBC to take up a position as a drama script editor at Carlton Television, working for Tracy Hofman, the controller of drama. Carlton had won the ITV network franchise for broadcasting in London on weekdays, and planned to produce dramas for national consumption across the entire network. At Carlton, Tranter oversaw the Timothy Spall comedy-drama Frank Stubbs Promotes and the Victorian-era medical drama Bramwell, both of which became successful and popular hits for ITV.

After studying English Literature at King's College London and taking a secretarial course back in Oxford, she joined the staff of the BBC in 1985, initially working as a secretary in the radio drama department. Two years later, she made the switch into television, working as a floor manager on dramas such as EastEnders and Bergerac.

Jane Tranter (born 17 March 1963) is an English television executive who was the executive vice-president of programming and production at BBC Worldwide's Los Angeles base from 2009 until 2015. From 2006 to 2008, she was the BBC's controller of fiction; in this capacity she oversaw the corporation's output in drama and comedy, as well as films and programmes acquired from overseas, across all television channels. Critics were concerned that the BBC had invested too much creative power in one person, and following Tranter's move to the United States, the position of controller of fiction was abolished and the responsibilities divided up among four other executives.