Two people walking on a beach beside a stream, Racing on the Edge

AS SEEN ON SAILGP'S RACING ON THE EDGE

We turn access
into storytelling.

Premium documentaries & behind-the-scenes series.
Production consultancy & creative leadership.

Trusted by world-class brands, including Rolex and SailGP.

Let's talk Partner with us

32.3mviewers across the last two seasons

40+episodes

200,000hours watched in 2025

01 / 06

Racing on the EdgeA moment away from the race.

How do we tell stories
and should you tell yours.

Illustration of a documentary crew interviewing a swimmer beside a pool

How we tell them

All non-fiction, all made for entertainment audiences.

We take our time with people, because the first answer anyone gives is usually the one they’ve given everyone else. We look for the small things, a joke made out of nerves or a phone call taken outside, and place them early, so that when the moment comes, nothing needs to be said. We try not to tell an audience how to feel.

With a partner, we start by learning their world and the ideas they live by. Then we search for the story that carries those ideas without ever stating them. The film itself never sells. The moment it starts to, an audience stops believing it. From there, we work with broadcasters, distributors and digital channels to get it seen.

Would your story
matter?

Yes, if something real is at stake. We started in sport, where something always is. The same is true anywhere the competition is fierce and nobody knows how it ends: a company racing a rival to launch, a trading floor, a kitchen chasing its first star. We’d film any of them.

And audiences care whether a story is real. Tell people AI wrote one and they get less absorbed in it, even if a person actually wrote it. AI can’t be there when something real happens. We can, and we know what to do with it.

Instinct

As old as
the fire

81% of firelight talk involved stories

Hunter-gatherers, PNAS 2014

Connection

Closer to
the people

3 in 4 docuseries viewers feel closer to athletes

dentsu, October 2025

Authenticity

Real beats
generated

78% say AI makes ads feel less authentic

The Harris Poll, June 2026

Originality

Same old story

AI help made stories better, but more alike

Science Advances, 2024

More evidence

See all sources

Sports-creator followers who say storytelling matters to how they connect with sport: 74%
People who say authentic images and video are key to trust: 98%
People less likely to buy from a brand that uses AI-made ads: 63%
Students who recalled a speech’s stories, against any one statistic: 63% v 5%
How much more often hunter-gatherers chose skilled storytellers as campmates: Nearly 2×
Daily YouTube viewing on UK TV sets, 2022 to 2025: 9 → 19 min

What we make

Tell your
story.

Some stories last for generations, some need following as they happen, and some are best told a minute at a time, every day. We make documentary films and series, behind-the-scenes series and vertical shorts series, and part of our job is working out which one your story needs.

Viewing by title age: 68%+ of US streaming time goes to titles at least two years old. Digital i, 2025.

01 - OVER TIME

Documentary films & series

A good documentary outlives its release. It becomes the account audiences return to, and it leaves a lasting mark. Will your story live past this year? Will it matter to the next generation? Is it transformative at heart? If so, this might be your format.

75% of viewers started following a sport more closely because of a docuseries; 80% enjoy behind-the-scenes access. 8,600 people in 10 countries, dentsu, 2025.

02 - AS IT HAPPENS

Behind-the-scenes series

Nobody knows how this ends, not even the people living it. Let an audience behind the scenes while it happens, and they start following the real thing too, not just the series. We know which moments matter.

Daily minutes per user on phones: ReelShort 35.7, Prime Video 26.9, Netflix 24.8, Disney+ 23.0. US, Q4 2025; Omdia from Sensor Tower data.

03 - IN A MOMENT

Vertical shorts series

Does your story move in moments rather than chapters? Is there always something new happening, across a season or a campaign? Do you want a place in your audience’s day, not just their week?

Starts with empathy

How is P1 different?

There are plenty of good documentary makers. What makes us different is empathy. We want you to understand the people on screen well enough to feel what they feel. Empathy is also the title of the episode we’d show you first.

Empathy
at the heart

The stories we tell always start with the person. Once you know what someone is carrying, a mistake, an argument or a win means something, even to people who’ve never watched the sport.

Racing on the Edge · 2026 · Episode 5

Empathy.

Watch the episode

Made for SailGP, in partnership with Rolex

Known by
our work

We’re closer to a record label than a production company: a small group of filmmakers with one way of telling stories, and a body of work that shows it.

See all our work

The private half

Spain’s strategist, Nicole van der Velden, took on responsibility young when her mother fell seriously ill. Failing others still hurts her most. So when Spain make a costly mistake in the Portsmouth final, then come back from fourth to win, you know what it means to her.

Two answers,
one pressure

Spain work with a psychologist on trust. Canada swap their F50 for dinghies and race local young sailors, just for fun. Side by side, the episode asks what holds a team together.

Before the result

Most sports documentaries arrive a year late. The crew films a whole season, the edit takes months, and by the premiere everyone knows who won. We film, cut and release as we go, so people watch to find out what happens next. Empathy came out with two events left in the season.

Liked it?

Tell us what’s at stake in your world, and we’ll tell you the story we’d go looking for.

Let’s talk

Our Mission: to make people care about worlds they might otherwise pass by.

Our job is to entertain: to let people live more lives than their own, flex their emotions and come to understand each other. We do it by finding what a moment means to the person living it and telling it while it’s still happening.

Editors working in a warmly lit editing suite overlooking Bristol. — Offline edit control at P1 offices in Bristol.

Next steps

How do we start
working together?

Every production starts the same way, whether you're a league, a team, a brand or a broadcaster: with your story. Four steps take us from a first conversation to the finished programme.

Production planBehind-the-scenes series · Season one

One stage at a timeYou decide at each gate

Delivered

Pilot, one episode, made at full quality

Stage 1 · Approved

Filming

Episode 1, with the team at the season opener

Stage 2 · Shoot day 4 of 6

Agreed

Backing and release, funded by the rights-holder, digital first

Release plan · Set before filming

Decision

Episodes 2–6, greenlit on the pilot, not on a promise

Stage 3 · Your call

An example of a staged plan. One production, taken a stage at a time, nothing starts until you've seen the stage before.

From a staged production plan

01Your story potential

We meet, we listen, and we work out where the entertainment is: the people worth following, what's at stake for them, and the access that could open up. Then we tell you honestly what we'd make, and why an audience would watch.

02A format to tell it

A series, a one-off film, a vertical mini-series, or a combination of them. We design the format around three things: your story, how it's unfolding, and the audience we want to reach.

03A release and funding plan

Digital first on your own channels, international broadcast, a platform: we work out where your audience already watches. We're straight about money too: a production needs a backer, usually you or a commissioner, and we shape the proposal for those conversations. We don't shop ideas around the market.

04Execution

The whole production in one go, or in stages: a pilot first, episode one next, the rest of the series to follow. Either way, you see the work early, and every stage earns the next.

Start with a short, non-confidential introduction to your organisation and the access you have. We’ll help you work out what comes next.

Let's talk

Who we work with

There is storytelling potential
in every industry

For companies

As long as there’s something real at stake, there’s a story people will watch. We embed with the people living those stakes and film what outsiders never see, while the ending is still in doubt.

Let’s talk →

Sports teams
Sports leagues & rights‑holders
Brands
Finance
Companies building the future
Foundations & philanthropies

For broadcasters
& platforms

We don’t wait for a brief. We develop our own slate of access-led documentaries and returning series, access in place, format designed, and bring each one to the broadcasters and platforms it’s right for.

Ask what we’re developing →

From sport to every industry

A team under pressure is a team under pressure, on a race boat, a trading floor or a launch pad. Sport, through Racing On The Edge for SailGP and Rolex, is where we sharpened the craft of filming it. What we do there works anywhere the stakes are real. Yours included.

See the proof →

RACING ON THE EDGE · 2026 SEASON

PODCAST · PROF G+ DEEP DIVE

Why Storytelling Is Now the Most Valuable Skill in Tech

“Companies are now paying a premium for perspective.”

SCOTT GALLOWAY · APRIL 2026

Listen to the episode →

Viewer comments

The reviews are in the comments

We don't write our own reviews. These are the top comments under Racing on the Edge, every episode in the Season 3–6 playlists on SailGP's YouTube channel, read on 2 November 2026.

52 episodes scanned 4 seasons 220 likes on the top comment like counts as displayed that day

SEASON 5 · EPISODE 11

Borja Cantera deserves applause and huge recognition for consistently creating such compellingly emotional displays of the inner mechanics of a sport unfamiliar to many. The crafting of these episodes seems to be meticulously planned… and painstakingly assembled with much forethought.

▲ 117 @reuvenmouallem9507 S5 E11 · “A NEW SAILGP TEAM REVEALED”

SEASON 5 · EPISODE 7

I cried through the whole episode. This one was incredible.

@kates6876 S5 E7

Good job Lisa and crew. Great music, wonderful takes. It was great to hear Coutts' commentary and encouragement for Martine.

▲ 220 · most liked @radarriau S5 E7

Best series ever. Almost better than the SailGP racing itself. Well done team.

▲ 18@nzguardrollS4 E9

I like that this series cycles through all of the teams, telling their individual stories, not just the teams on top, but lower-ranked teams as well.

▲ 73@zoepaulastrassfield2664S5 E6

This beats the hell out of whatever ‘Drive to Survive’ is.

▲ 10@samanthafrancis2169S4 E9

Other than the actual racing, this is the best SailGP film… For the spectators we learn far more from this and in turn will be far more into the racing and thus bigger fans.

▲ 40@YOBOYBEAR123S5 E4

I really enjoyed this episode of Racing On The Edge. I think it has given the audience a much needed deeper look at who Dylan Fletcher really is.

▲ 157@MoggAndrewS5 E8

Netflix level sports documentary stuff, and I mean that in the best possible way. Chapeau bas.

▲ 11@KpiotrS3 E6

Letting us know their stories makes us appreciate them even more. Well done. Bravi!

▲ 81@Corrado_MilanoS5 E5

SailGP showing F1 how it's done with this epic series!

▲ 44@SportsFanatic701S5 E3

This is by far the best series ever made.

▲ 37@Turtle-grandpaS6 E3

What comes up, season after season

Storytelling

“Story”, “back story” and “insight” appear under nearly every episode. Viewers single out the deep dives into personalities and lower-ranked teams, and say the series makes them bigger fans of the racing.

Craft

Music, mast and drone shots, editing, thumbnails and cliffhanger endings all get named. Two viewers credit the crew by name.

The comparison

Drive to Survive comes up unprompted in at least four seasons, always in the series' favour, including episodes landing days after the event, not months.

Conversion

“You made me cry.” “Gave us goosebumps.” A first-time viewer calls it “surprisingly emotional”. One S6 viewer says an episode inspired him to start sailing again.

Our storytelling

Why is P1 Entertainment's storytelling highly entertaining?

Diagram: an uncertain outcome, someone to care about and access when it matters braid into one suspense line, which splits towards picking a side, coming back and discovering a new world.

Because everything we film runs on the oldest engine in storytelling: nobody knows how it ends, not even the people living it.

We embed with teams, companies and athletes while the outcome is still in doubt, so viewers get real suspense rather than a reconstruction. They live through the setbacks, the comebacks and the decisions made under pressure, by people with something genuine on the line.

In the press

The headlines agree

The comments aren't the only reviews. This is how the press and SailGP's own releases describe Racing on the Edge and the lines from inside the series they keep quoting. No YouTube comments here; those have a section of their own.

32.3 million viewers on Season 5 and Season 6 (so far) 40+ episodes 200,000 hours watched in 2025 that's 24.7 years of viewing in a single year · figures from SailGP, 2026

Racing on the Edge · Seasons 1–6

News Corp's sailing writer framed the series as Drive to Survive gone to sea: foiling speed machines, adrenaline racing, even a whale wandering into shot, and credited it with bringing in “a whole new generation of sailing fans.”

News Corp Australia, Amanda Lulham, sailing correspondent

An Australian sports outlet put it in one line: Racing on the Edge is to SailGP what Drive to Survive is to F1, an exhilarating series where “tensions run high and personalities clash.”

, OnlySports, Australia

The trade press calls it SailGP's acclaimed behind-the-scenes docuseries. The 2026 relaunch was billed as the “most character-driven season” yet made, stars chasing greatness at speeds past 100 km/h.

SailGP season release, via Pressmare, Season 6 premiere · “Most Revealing Season Yet”, May 2026

Dylan Fletcher · Season 5 · “Fletcher's Return”

Reflecting on the weeks when his seat was on the line, in Season 5's “Fletcher's Return”:
“I may never drive an F50 again.”

“Fletcher's Return”, Season 5 · All At Sea, 2025, Dylan Fletcher, driver, Emirates GBR

The generational gauntlet, thrown down on camera in Season 4: none of the younger drivers, Slingsby said, had shown him they were the next Ainslie, Outteridge, Burling, Slingsby or Spithill. Then he doubled down: “I don't think we'll see 45 year old drivers in SailGP.”

“Slingsby lays down the gauntlet”, Pressmare, 2024, Tom Slingsby, Season 4

Jimmy Spithill's exit episode, closing Season 4, produced a classic. He'd sub in for Slingsby, on one condition: “you have to agree to naming your son Jimmy.”

“Biggest shake-up in SailGP history”, Yachts & Yachting, Jimmy Spithill, driver

Episodes the press singled out

SEASON 5 · SASSNITZ

Breaking Point: The Sassnitz Miracle

Described in coverage as capturing SailGP's most extreme test yet.

SEASON 4 · USA TEAM SALE

The series' biggest story

Called the liveliest and most significant episode in the docuseries' history, Spithill's axing, and the Canada–Spain feud.

AND THE SWEAR JAR

Candour, on the record

Slingsby on his habit, as reported from the series: “I've probably given a few hundred dollars to the swear jar.”

Read all the coverage →

Press and official releases only, read 2 November 2026, no viewer comments (those live in their own section). Quotes are the speakers' words as reported; press descriptions are paraphrased with short attributed phrases.

FAQs

Frequently asked
questions

What we make, how a production gets funded, and who owns what at the end. If your question isn't here, ask us directly.

Let's talk

What do you make?

Documentary films and series, behind-the-scenes series and documentary shorts. We work for broadcast, streaming and online, and some of our productions are commissioned or backed by brands and rights-holders.

Do you only work in sport?

No. Sport is a big part of what we've done, but we're just as interested in culture, business, and the people behind big achievements or big changes. What matters is strong characters, good access and a subject that can hold an audience.

Can we come to you with an idea or access?

Yes. Start with a short, non-confidential enquiry. Please wait for an invitation and agreed handling arrangements before sending scripts, footage or confidential material. We’ll discuss where the story might be and which format could suit it.

Do you make productions for brands and sponsors?

Yes. We make films and series that brands and sponsors commission or support. We'll help work out how the story, the audience and the partner fit together, and shape the proposal for funding conversations.

How much does a production cost?

It depends on the format, the access, how long we're filming, where, and what needs delivering. Tell us what you're hoping for and any budget you have in mind, and we'll talk through a scope that makes sense.

Can you help with distribution?

We can help plan how the film reaches an audience and look at broadcast and online options. We work that out alongside the format, the funding and the rights on each project.

Can you make shorter, vertical or international versions?

Yes. We can plan shorts, trailers, social cuts, vertical versions and versions for different territories as part of the production. Languages, formats and delivery specs get agreed when we set the scope.

Do you film internationally?

Yes. We're based in Bristol, but we film wherever the story is, and we build the team around the locations and access each project needs.

Can you join a production that’s already underway?

Yes. As well as making full productions, we can come in as executive producers, series directors or editorial leads on an existing project. We'll agree who does what around the team you've already got.

Who owns the finished production?

That depends on how the project is commissioned and funded. Ownership, licences and usage are agreed project by project, and we talk them through while we're putting the proposal together.

From the cutting room

Notes from the director

All episodes ➤

P1Note

Empathy

Season 6 · 2026

The mistake only hurts if you know the person

Borja Cantera

Series Director

S6 · E05

We'd spent time with Nicole long before Portsmouth. She took on responsibility young, when her mother fell seriously ill, and failing others still hurts her most. So when her mistake nearly costs Spain the final, and they come back from fourth to win, you already know exactly what it means to her. We cut the episode around the person, not the result.

P1Note

Fletcher's Return

Season 5

One line carried the whole episode

Borja Cantera

Series Director

Dylan said it quietly, almost to himself: “I may never drive an F50 again.” You don't get that line in a press conference. You get it because you were already in the room, and had been for long enough that the camera stopped mattering. Everything else in the edit was built to earn that moment.

P1Note

Breaking Point: The Sassnitz Miracle

Season 5

When the event breaks the plan, follow the event

Borja Cantera

Series Director

S5 · Germany

Sassnitz was the most extreme test the fleet had faced, and none of it was in our outline. That's the job: you plan the filming around the story, and when events change direction you stay with them. The episodes people remember are usually the ones where the plan didn't survive the weekend.

P1Note

Spithill's Exit

Season 4 · Finale

Endings deserve a laugh as well as a goodbye

Borja Cantera

Series Director

S4 · Final EP

Closing a season on a legend leaving the sport, the easy cut is all violins. Jimmy gave us the better one: “you have to agree to naming your son Jimmy.” An exit episode should sound like the person leaving. His was fierce, funny and generous, so the episode is too.

P1Note

The USA Team Sale

Season 4

A business story is still a people story

Borja Cantera

Series Director

A team changing hands could be a dry episode: lawyers, valuations, a press release. We filmed it as what it was for the people inside it, with livelihoods and loyalties on the line. The press called it the liveliest and most significant episode in the series' history. The deal was the setting. The people were the story.

P1Note

The one people cried through

Season 5 · From the comments

We read every comment. This episode's say the most

Borja Cantera

Series Director

S5 · E07

When we scanned every episode from four seasons on SailGP's channel, the most-liked comment in the whole series sat under this one, and next to it, “I cried through the whole episode.” That's the audience telling you the empathy landed. We take those comments as seriously as any commissioner's notes.

We turn accessinto storytelling.

Our documentaries air on50+ broadcasters worldwide.

How do we tell storiesand should you tell yours.

−How we tell them01

How we tell them

+Should you tell yours?02

Should you tell yours?

+Why now03

Why now

Would your storymatter?

As old as the fire

Closer to the people

Real beats generated

Same old story

Tell yourstory.

Documentary films & series

Behind-the-scenes series

Vertical shorts series

How is P1 different?

Empathyat the heart

Empathy.

Known byour work

The private half

Two answers,one pressure

Before the result

Liked it?

Our Mission: to make people care about worlds they might otherwise pass by.

How do we startworking together?

There is storytelling potentialin every industry

For companies

For broadcasters& platforms

From sport to every industry

The Art of Risk

This Is Us

The Power of Opportunity

Letting Go

Why Storytelling Is Now the Most Valuable Skill in Tech

The reviews are in the comments

Why is P1 Entertainment's storytelling highly entertaining?

Now you need to knowwhat happens next.

Entertainment is made in the edit.

The headlines agree

Breaking Point: The Sassnitz Miracle

The series' biggest story

Candour, on the record

Frequently askedquestions

Empathy

The mistake only hurts if you know the person

Fletcher's Return

One line carried the whole episode

Breaking Point: The Sassnitz Miracle

When the event breaks the plan, follow the event

Spithill's Exit

Endings deserve a laugh as well as a goodbye

The USA Team Sale

A business story is still a people story

The one people cried through

We read every comment. This episode's say the most

We turn access
into storytelling.

How do we tell stories
and should you tell yours.

Would your story
matter?

As old as
the fire

Closer to
the people

Real beats
generated

Tell your
story.

Empathy
at the heart

Known by
our work

Two answers,
one pressure

How do we start
working together?

There is storytelling potential
in every industry

For broadcasters
& platforms

Now you need to know
what happens next.

Frequently asked
questions