1998 saw a flutter of unease among BBC officials upon my presentation of my drama “Shooting the Past”. The tale of a photograph archive on the brink of closure, and the archivists’ struggle to preserve the collection, was considered too lengthy and unique, even for late-night programming on BBC2. I found myself in a situation similar to the characters (portrayed by Lindsay Duncan, Timothy Spall, and Liam Cunningham), needing to persist in maintaining the story’s original form.
When the show unexpectedly became a success, I was given the opportunity to continue it with Perfect Strangers. In this series, Daniel, a young surveyor played by Matthew Macfadyen from the suburbs, finds himself amidst an extravagant family reunion filled with relatives he has never met before. As the event unfolds, secrets surface, shocking stories emerge, and deep-seated family resentments are revealed.
Michael Gambon received a BAFTA for portraying Daniel’s estranged father in the family, often referred to as the prodigal son. These shows are being re-aired on BBC4 and iPlayer as part of BBC’s initiative to revisit its historical archives, providing a platform for actors and creators to share their memories about the creation process of these dramas.
Revealing excursions into history often conceal an unsettling reality about the current state: The production of British dramas has noticeably dwindled in recent times, leaving them almost entirely reliant on joint productions with other countries. Consequently, narratives reflecting our lives and culture may gradually become scarce.
Notable figures in the industry, such as writer and director Peter Kosminsky, along with a parliamentary committee, have raised concerns about potential risks. These issues are not exclusive to the BBC – ITV admitted that they might struggle to produce one of their most impactful drama-documentaries on British television, Mr Bates vs the Post Office, if it were being produced today. Opponents critical of public service broadcasting are also growing more vocal about these challenges.
The cause of the crisis is straightforward: it’s all about financial matters. As streaming platforms started vying for talent (actors, creators, crews, and locations), production costs skyrocketed dramatically. At the same time, chances for collaboration between traditional broadcasters and co-production significantly decreased since the streamers often showed reluctance in funding projects specifically aimed at British audiences.
Could the archive of old dramas potentially save the day? Interestingly, these archives, which broadcasters have typically been shy about showcasing their past successes with, might just turn out to be a powerful defense against criticism. If BBC had consistently shared its past achievements, it may have faced less backlash over time.
I often recall Rupert Murdoch’s controversial speech at the Edinburgh Festival in 1989, where he criticized the BBC drama as being dominated by the costume department and producing only monotonous voices. However, it’s important to remember that the previous years had seen groundbreaking contemporary dramas from talented individuals such as Alan Bleasdale, Mike Leigh, Alan Bennett, and Dennis Potter. If these works had been acknowledged and celebrated more by the BBC, his criticism might not have held water.
In a similar fashion, Channel 4 played a significant role in revitalizing the British film industry during the early ’80s by launching Film4. This move led to the production of numerous movies and the launch of many successful careers. Interestingly, despite having a dedicated channel, Channel 4 rarely airs these films now.
Couldn’t the past be utilized as an effective tool to counteract the almost complete elimination of domestic plays? I think it can be. There are numerous untapped gems waiting to be discovered in our archives, which will serve as a constant reminder for viewers and policymakers alike of the importance of British drama and the profound sorrow that would arise if it were to gradually disappear.
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2025-08-12 03:27