Netflix Accused of ‘TV Tourism’ as Industry Debates Streamer Influence
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Edinburgh, Scotland – A sharp critique of Netflix’s commissioning practices emerged at the Edinburgh TV Festival, with Channel 4’s Head of News, Current Affairs and Sport, Louisa Compton, accusing the streaming giant of acting as “TV tourists.” The dispute centers on the success of the drama series Adolescence, a co-production that has become a major hit for Netflix.
Channel 4 Claims Role in Nurturing ‘Adolescence’ Talent
Compton asserted that Channel 4 played a crucial role in developing the talent behind Adolescence, specifically co-creators Jack Thorne and Stephen Graham. She emphasized the network’s long-standing commitment to thes creatives,citing Thorne’s previous work on Channel 4 shows like This is England ’86 and Help,both featuring Graham. “We’ve developed and nurtured the talent that has allowed Netflix to come in as TV tourists and effectively commission[[[[Adolescence],” Compton stated. “Without us that wouldn’t have happened.”
This sentiment reflects a broader concern within the British broadcasting industry regarding the increasing influence of global streamers and their impact on locally-produced content.
Did You Know?
Co-productions, where multiple broadcasters or platforms contribute funding and creative input, are becoming increasingly common as a way to finance ambitious television projects.
The Divide Between Streamers and Public Service Broadcasters
Compton further distinguished Channel 4’s commitment to current affairs programming from Netflix’s approach, arguing that streamers primarily focus on retrospective content.”We nurture where the streamers don’t,” she explained. “Where are the investigations on the streamers into Gaza or Trump? There’s no current affairs on the streamers. Everything is retrospective. [Current affairs] is a unique thing PSBs offer.” This highlights the core mission of public service broadcasters (psbs) like Channel 4 to provide informative and investigative journalism.
Adolescence currently ranks as Netflix’s second most-watched English-language show. Industry executives have acknowledged that the production’s budget would have been prohibitive for traditional broadcasters without co-financing arrangements.
Concerns Over International Funding and Creative Control
Simon Heath, Executive Producer of line of duty and head of World Productions, echoed Compton’s concerns, warning that an overreliance on international funding could compromise the types of stories British producers are able to tell. “What happens is you change the nature of the show you are trying to make with more than half an eye on the international market,” Heath explained. “The risk is that the chase for international funding fundamentally alters the kinds of stories we can tell.”
Heath noted that while co-productions, such as the BBC-Netflix drama the Bombing of Pan Am 103, can be beneficial, they are becoming less frequent as streamers increasingly prioritize fully-owned content. World Productions, founded on a principle of ”low cost drama that gave us creative control,” is now considering a return to its roots, despite the rising expectations for cinematic production values driven by streaming services.
Pro Tip:
Understanding the different funding models in television – from traditional broadcasting to streaming and co-productions – is crucial for navigating the evolving media landscape.
Channel 4’s In-House Unit Sparks Debate
The debate also extended to channel 4’s newly established in-house productions unit. John McVay, outgoing CEO of producer trade body pact, labeled the unit “wrong” and a “waste of time and executive attention,” questioning its potential impact. Compton defended the unit, clarifying that it was mandated by the government and designed to support the independent production sector. “Everything we do is for the indie sector, and a robust and healthy channel 4 is good for the indie sector,” she asserted.
| Key Figure | Role | Affiliation |
|---|---|---|
| louisa Compton | Head of News, Current Affairs and Sport | Channel 4 |
| Jack Thorne | Co-Creator | Adolescence |
| Stephen Graham | Actor & Co-Creator | Adolescence |
| Simon Heath | Executive Producer | World Productions |
| john McVay | Outgoing CEO | Pact |
The discussion took place at the opening debate of the Edinburgh TV Festival, attended by prominent industry figures including Shonda Rhimes, Tina Fey, and Graham Norton.
The Evolving Landscape of Television Production
The tension between traditional broadcasters and streaming services represents a important shift in the television industry.The rise of streaming has disrupted established funding models and creative processes,leading to both opportunities and challenges for producers and content creators. The debate over “TV tourism” highlights the importance of nurturing local talent and maintaining a diverse range of programming, including current affairs and investigative journalism. As the industry continues to evolve, finding a enduring balance between commercial interests and public service obligations will be crucial.
frequently Asked Questions About Netflix and UK television
- What is “TV tourism” in the context of streaming services? It refers to streamers commissioning shows in countries without significant long-term investment in local talent or infrastructure.
- How does Netflix’s commissioning process differ from traditional broadcasters like Channel 4? Netflix typically focuses on acquiring or producing content for a global audience, while Channel 4 has a public service remit to provide programming for a UK audience.
- What are co-productions and why are they becoming more common? Co-productions involve collaboration between multiple broadcasters or platforms to share the financial burden and creative input of a project.
- What is the role of public service broadcasters (PSBs) in the UK? PSBs like Channel 4 are required to provide a range of programming, including news, current affairs, and educational content, that serves the public interest.
- How is international funding impacting the types of stories being told on British television? the pursuit of international funding can lead to a focus on stories with broader appeal, possibly at the expense of more localized or niche narratives.
What are your thoughts on the role of streaming services in the UK television industry? Share your opinions in the comments below!
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