Channel 4 Accuses Netflix of ‘TV Tourism‘ as UK Broadcasters Face Funding Challenges
Netflix is being accused of acting as “TV tourists” by a leading figure at Channel 4, highlighting growing tensions over the funding and development of British television content. The criticism comes amid concerns that the pursuit of international funding is altering the kinds of stories UK producers can tell.
Talent Development at the Core of the Dispute
During the opening debate at the edinburgh TV Festival, Channel 4’s chief content officer, Charlie Brooker, and director of drama, Caroline Compton, voiced their concerns about the role of streaming services in the UK television landscape. Compton argued that Channel 4 has been instrumental in nurturing their talent over years through projects like This is England ’86 and Help.
“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.”
The debate underscores a broader concern within the UK broadcasting industry: that streamers are benefiting from groundwork laid by public service broadcasters (PSBs) without adequately reinvesting in the development of homegrown talent.
A Divide in Content Focus
Compton further distinguished Channel 4 from streaming services by pointing to a critical difference in content priorities. “We nurture where the streamers don’t,” she asserted.She challenged Netflix and other platforms to match the commitment of PSBs to current affairs programming, questioning the lack of investigative journalism focused on global events like the situation in Gaza or the Trump presidency. “There’s no current affairs on the streamers. Everything is retrospective. [Current affairs] is a unique thing PSBs offer.”
Adolescence currently ranks as Netflix’s second most-watched English-language show of all time, a fact that highlights the commercial appeal of content originating from UK-developed talent. However, industry executives have acknowledged that the show’s production would have been financially unfeasible without co-production funding.
The Risk of losing Authentic Storytelling
Simon Heath, an executive producer from World Productions – the company behind Line of Duty – warned that an overreliance on international funding could jeopardize the creation of shows like Adolescence.He cautioned that chasing international appeal can fundamentally alter the stories being told.
“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.”
World Productions recently completed the BBC-Netflix co-production The Bombing of Pan Am 103, but Heath noted that such collaborations are becoming increasingly rare as streamers prioritize fully-owned content. The company is now considering a return to its roots of producing “low cost drama that gave us creative control,” while acknowledging the challenge of competing with the high production values offered by streaming giants.
Channel 4’s In-House Unit Sparks Controversy
The debate also touched on the contentious issue of Channel 4’s new in-house productions unit.John McVay, the outgoing CEO of producer trade body Pact, labeled the unit “wrong” and a “waste of time and executive attention,” expressing doubt about its effectiveness.
Compton defended the unit, clarifying that it was not a decision made by Channel 4 but rather “gifted” to them by the government.She emphasized that Channel 4’s actions are always geared towards supporting the independent sector,stating,”everything we do is for the indie sector,and a robust and healthy Channel 4 is good for the indie sector.”
The discussions at the Edinburgh TV festival, which also featured prominent figures like Shonda Rhimes, Tina Fey, and Graham Norton, underscore the complex challenges facing the UK television industry as it navigates a rapidly evolving media landscape.
