Mirror and the light rejected by every streamer
“Wolf Hall” director Peter Kosminsky sounds an alarm about the state of the high -quality television of the UK and writes as proof that a parliamentary committee has been submitted that the second part of the “The Mirror and the Light” series was almost not made.
In an entry We would not succeed in the research of the Culture, Media and Sports Committee into British film and high-end TV, Kosminsky that “we would try to make” the Mirror and the Light “today, we would not succeed.”
‘Wolf Hall’, who debuted on BBC Two in 2015, stars Mark Rylance like Thomas Cromwell in an adjustment of the first two novels of Hilary Mantel in the trilogy with the same name. The deserved international appliance, received eight Emmy nominations and winning best mini series or TV film at the Golden Globes. Nevertheless, Kosminsky said that when he threw the last chapter “The Mirror and the Light” to Streamers, “they all rejected it.”
“It was only possible to start production when the producer, the writer, the director and the leading actor all gave up a considerable part of their costs,” Kosminsky continued. “We had reached the series through a 10-year development process, but in the end it was necessary for us to work for a lot
Little to have the show made. ”
“The Mirror and the Light” was eventually broadcast on BBC last year. Since the BBC is a public broadcaster, Kosminsky explained that “the financial contribution that a PSB can offer, together with a sales advance and the British tax benefits, are insufficient to make high-end TV drama in 2024/5-in the blown up Costs environment created here by the streamers. “
As Kosminsky has noticed, the British Screenhandel Body Pact has still identified 15 TV dramas that have been green by British PSBs, but cannot continue. A Submission of the BBC The committee repeated this and stated that many of his series “are now stuck in the financing of Limbo and do not continue to production.” As a result, the BBC said that production companies were forced to close, referring to Fremantle’s Euston films, who had resigned his entire staff only a few days after the premiere of the very successful “Nightsleeper” on the BBC.
“What do all these programs have in common?” Asked Kosminsky. “Their subject is of special
Interest, perhaps of special cultural significance, for a British audience. But they are not seen that they have ‘legs’ – probably not appeal against an American audience. ”
He continued that streamers “have little or no interest in making the minority of high -quality dramas that are of specific interest to a British audience. And we have to ensure that when they pursue their fully legitimate business model, they do not expel the VK-switched, public service drama from existence. “
“The UK is not the 51st state,” he said. “We have our own culture and the drama of public service is part of that heritage, and are an important manifestation of freedom of expression. We can’t afford to lose it. “
So what is the solution? Kosminsky suggested that 5% of British subscription income should go from streamers to a cultural fund, “are used exclusively for high-end drama of specific importance for the British public, but who does not necessarily have cross-border attraction.”
Kosminsky pointed out that 17 European countries already employ a similar model. Netflix had fought in Germany and France, but lost on both points.
“As the success of the streamers grows with our audience, this independent creative fund will grow at the same time,” wrote Kosminsky. “And with that the song (always a minority), of special interest programs for our audience that we can make it.”
The evidence will be heard by the parliament on Tuesday in his last session of the investigation. A full report will be released in the spring.
