‘Wolf Hall’ Director Says ‘Mirror and the Light’ Was Turned Down by Every Streamer: ‘We Need to Ensure’ They ‘Don’t Drive U.K.-Skewed Drama Out of Existence’

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Peter Kosminsky, director of ‘Wolf Hall’, is raising concerns about the current status of premium U.K. TV productions. In his written testimony to a parliamentary panel, he reveals that the sequel to the series, titled ‘The Mirror and the Light’, almost didn’t materialize.

In his presentation to the culture, media, and sports committee’s investigation on British film and premium TV, Kosminsky voiced a concern that if they attempted to produce “The Mirror and the Light” now, they wouldn’t be able to do it.

Back in 2015, I was utterly captivated by “Wolf Hall” that graced our screens on BBC Two. This mesmerizing series starred none other than Mark Rylance as Thomas Cromwell, bringing to life the first two novels of Hilary Mantel’s trilogy with such grace. The show garnered worldwide admiration, landing eight Emmy nominations and triumphantly winning the title for best miniseries or TV film at the Golden Globes. Yet, when Peter Kosminsky pitched the final chapter “The Mirror and the Light” to streaming platforms, they all seemed uninterested.

The production could only start once everyone involved, including the producer, writer, director, and main actor, agreed to take a large cut in their payments,” Kosminsky explained. “We had been working on this series for ten years, but in order to finally bring it to life, we had to work for minimal compensation.

As a devoted film enthusiast, I eagerly waited for “The Mirror and the Light” to premiere on BBC One last year. Given that the BBC operates as a public service broadcaster, Kosminsky shared his insight that the financial assistance a PSB can provide, along with an upfront payment and U.K.’s tax incentive, are no longer enough to produce top-tier TV drama in 2024/25. This is due to the highly inflated production costs we’re facing here in the era of streaming giants.

In my humble opinion, as a film critic, I find it disheartening to report that fifteen promising TV dramas, greenlit by U.K. Public Service Broadcasters (PSBs), are currently in a production standstill. This predicament was acknowledged by the BBC in a recent submission to a committee, expressing concern over several series being stuck in funding limbo.

The consequence of this stalemate has been the closure of production companies. A prime example is Fremantle’s Euston Films, which recently let go of its entire staff shortly after the successful premiere of their series “Nightsleeper” on the BBC. This grim reality underscores the urgent need for solutions to ensure the continuation of captivating storytelling in British television.

Kosminsky wondered, what’s the shared characteristic among these shows? While they resonate strongly with a British audience due to their unique and culturally significant themes, they are less likely to captivate an American audience.

I acknowledge that streamers generally prioritize content that appeals to a broader global audience rather than focusing on niche, high-end dramas that resonate with the UK audience. It’s crucial for us to safeguard the existence of U.K.-leaning, public service dramas, as we navigate their profitable business strategies to avoid their extinction.

He stated, “The U.K. isn’t a 51st U.S. state. Our unique culture encompasses elements like public service drama, which is deeply rooted in our history and serves as a significant demonstration of free speech. It’s crucial for us not to let it slip away.

In other words, Kosminsky suggested that 5% of the earnings from streamer subscriptions in the U.K. should be allocated to a cultural fund, specifically earmarked for high-quality dramas that are particularly appealing to British audiences but may not have a wide international audience.

Kosminsky noted that 17 European nations have adopted a comparable system, which Netflix previously opposed in Germany and France. However, they were unsuccessful in their resistance on both occasions.

With increasing popularity of our streamers among our viewers, our independent creative fund is set to expand concurrently,” Kosminsky penned down. “This growth will also increase the quantity (though still a minority) of shows tailored to our audience’s preferences that we can produce using this fund.

On Tuesday, during its last meeting for the investigation, Parliament will listen to the evidence. A comprehensive summary of the findings is scheduled to be made public in the spring.

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2025-01-24 15:46