Netflix Accused of ‘TV Tourism’ as Industry Debates โคStreamer Influence
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Edinburgh, Scotland – A sharp critique of Netflix’s commissioning practices emerged atโ theโ Edinburgh TV Festival, with Channel 4’s Head of News, Current โฃAffairs and Sport, โLouisa Compton,โค accusing the streaming giant of acting as “TV โคtourists.” 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 โฃcrucial role in developing theโฃ 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 โข4 shows โฃlike This is England ’86 and Help,both featuring Graham. “We’ve developed and nurtured the talent that has allowed Netflix to come inโข asโ TV tourists and effectively commission[[[[Adolescence],” โคComptonโ stated. “Without us that wouldn’t have happened.”
This sentimentโค reflects a broader concern within the Britishโฃ broadcasting industry regarding โขthe increasing influenceโ of global streamers and their impact on locally-produced content.
Didโ You Know?
Co-productions, where multiple broadcasters or โplatforms contribute funding and creative input, are โbecoming increasingly common โคas a way to finance ambitious television projects.
The Divide Between Streamers and Public Service Broadcasters
Compton further distinguished Channel 4’s commitment to current affairsโ programming from Netflix’s approach, arguing that streamers primarily focus on retrospective content.”We nurture where the streamers don’t,” โshe explained. “Where are the investigations on the streamers into Gaza โor Trump? There’s no current affairs on the streamers. Everything is retrospective. [Current affairs] is a uniqueโ thing PSBs offer.” This highlights the core mission of public โserviceโฃ broadcasters (psbs) like Channel 4 to provide informative and investigative journalism.
Adolescence currently ranks as Netflix’s second most-watched English-language show.โ 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 โคProducer of line of duty and head of World Productions, echoed Compton’s concerns, warningโ that an overreliance on international funding could โcompromise the types of stories British producers are โฃable to tell. “Whatโ happens is you change the nature of theโ show you are trying to make with moreโ than half an eye on theโ international market,” Heath explained. “The risk is that the chase for international funding fundamentally alters the kinds โขof 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. Worldโ Productions, founded on a principle of โข”lowโ cost drama thatโ gave โขus creative control,” is now considering a return to its roots, despite the โคrising expectations for cinematic production values drivenโฃ by โฃstreaming services.
Pro Tip:
Understanding the different funding models in televisionโ – โfrom traditional broadcasting to streaming and co-productions – is crucial for navigating the evolving media landscape.
Channel 4’sโ In-House Unit Sparksโ Debate
The debate also extended to channel 4’s newly established in-house productions unit. John McVay, outgoing CEO of producer trade body pact, โขlabeled the unit “wrong” and a “waste of โtime and executive attention,” questioning its potential impact. Compton defended the unit, clarifying โthat it was mandated โขby the government and designed to support the independent production sector. “Everything we do is for the indie sector, and โa robustโฃ and healthy channel 4โ is good for the indie sector,” she asserted.
| Key Figure | Role | Affiliation |
|---|---|---|
| louisa Compton | Head of News, โคCurrent 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 Edinburghโ TV Festival, attended by prominent โคindustry figures including โShonda Rhimes, Tina Fey, and Graham Norton.
The Evolving Landscape of Television Production
The tension between โtraditional broadcasters and streaming services represents a important shift in the television industry.The rise of streamingโ hasโฃ disrupted established funding models andโฃ creative processes,leading toโ both opportunities and challenges for producers and content โcreators. The โdebate over “TV tourism” highlights the importance of โฃnurturing local โtalent and maintaining a โขdiverse range of programming, including currentโ affairs and investigative journalism. As the industry continues to evolve, finding a enduring โbalanceโฃ between commercial interests and public service obligations will be crucial.
frequently Asked Questions About Netflix and UK television
- What is “TV tourism”โ in the context of streaming services? It refers to streamers commissioning shows inโข countries without significant long-term investment in local talent or infrastructure.
- Howโ 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.
- Whatโ are co-productions and why are they becoming more common? Co-productions involve collaboration between multiple broadcastersโข or platforms to share the financial burden and creative โinput of a project.
- What is the โคrole 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 โฃcontent, that serves the public interest.
- How is international funding โimpactingโ the types of stories being told on British television? โthe 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 yourโฃ opinions in the comments below!
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