British Drama Doomed? Producer Ditches Iconic Mr Bates Series

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It can be reasonably assumed that we’re experiencing an adolescent phase, as the Netflix series, breaking new ground, has been the most watched TV program in the UK, garnering 96 million views since its release a month back, in a single take across four episodes.

The Prime Minister has been enjoying the television show along with his kids, sparking intense discussions among many regarding whether it’s suitable for school-aged children to watch. The program has ignited a nationwide dialogue; in essence, it has become this year’s equivalent of the Post Office controversy.

Following the nomination of Mr. Bates vs the Post Office in six BAFTA categories for May, the creators behind this project, as well as its predecessor Adolescence, express concern about potentially not having the opportunity to produce more substantial work in the future.

Jack Thorne, an adolescent writer, expresses regret over the deteriorating narrative tradition, which he refers to as “a crumbling culture of storytelling.” In contrast, Patrick Spence, producer of Mr Bates, indicates that he won’t replicate such an endeavor in the future, stating it as “too heartbreaking.” Peter Kosminsky, creator of the acclaimed period piece Wolf Hall, shares his view that productions like it wouldn’t be greenlit today, suggesting a predicament exists. However, the specific issue they are referring to remains unclear.

According to Spence, the issue at hand has a two-part explanation:

Firstly, the cost of production is on the rise. This inflation is driven by big streaming platforms such as Netflix, Apple, and Amazon who are prepared to pay high prices for talent. As a result, traditional British broadcasters feel compelled to match these rates.

Approximately a decade ago, Spence mentioned that the typical cost for UK dramas was around £1.3 million, with the initial million funded by licenses from BBC, ITV, or Channel 4. The remaining funds came from tax breaks and distributors’ advances. Nowadays, this average price ranges between £1.6 million and £2.5 million, leaving a significant gap of approximately £800,000 to £1 million per hour for high-end dramas like Line of Duty. Spence underlines that British broadcasters continue to be interested in producing home-grown dramas that make the country proud; however, they struggle with the financial shortfall.

Earlier plans relied on foreign purchasers, but currently, the U.S. market has emerged as a hurdle, showing strong interest in crime dramas that return, with minimal interest in extensive four-part series examining the intricacies of British society and its flaws.

Kosminsky disclosed recently that the second season of Wolf Hall was produced on a smaller budget for costumes, outdoor scenes were eliminated, and stars like Mark Rylance agreed to lower pay. On the other hand, two years ago, a drama about subpostmasters and a malfunctioning computer system struggled to secure enough funding because it wasn’t considered alluring enough, and the cast of Mr. Bates also took less than their standard compensation. Meanwhile, Spence and other producers worked without pay.

Even with his impressive background in shows like Peaky Blinders and Marvelous, the expenses involved are simply unaffordable for him. He expresses: “I won’t be producing short projects anymore, similar to Mr. Bates. It’s too much of an uphill battle. I’ve made my decision – ‘No more.’

One idea being discussed involves offering greater tax breaks for UK productions and imposing a fee on streaming services to support homegrown content. Additionally, one might ponder if Netflix can convey British tales as vividly as they do in shows like Adolescence, Toxic Town, or even Baby Reindeer, then why should we be compelled to divert our attention from the BBC and others to appreciate it?

According to Spence, “They’re the exceptions that confirm the rule” as he notes the general decline in shows like the four-part TV drama, such as 2023’s The Sixth Commandment. This particular British format for storytelling is significant in conveying important narratives. Spence adds that he wouldn’t create a character like Mr. Bates today, implying that such characters wouldn’t have the impact they currently do.

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2025-04-08 02:41