The director of the popular series *Wolf Hall*, Peter Kosminsky, shared some startling news about its second season. Just weeks before filming started, there were plans to cancel everything due to tight budgets. He described British television as facing a serious funding crisis, saying it’s an “existential crisis” for public service broadcasting.
To manage costs, Kosminsky had to make tough decisions. He cut several expensive exterior scenes, meaning that most of the drama turned into “conversations in rooms.” The show, based on Hilary Mantel’s novels, originally intended to showcase a vibrant Tudor society, but the cuts limited that vision.
Kosminsky is not alone in voicing concerns about the future of high-quality British drama. Statistics reveal that spending on UK domestic programs dropped 22% in 2024, despite the overall budget for high-end production reaching £5.6 billion. The director believes that public broadcasters like the BBC and ITV can no longer invest in shows like *Wolf Hall* without support.
In Kosminsky’s view, a 5% levy on subscription streaming revenues could help fund British culture, similar to models used in France and Denmark. However, there are worries about how this would play out considering many streaming services are based in the U.S. In February, a White House memorandum criticized such levies as unfair to American businesses.
Moreover, the difficulties faced by British dramas extend beyond funding. Factors like the Covid pandemic and recent strikes by actors and writers have driven up production costs across the board. As Kosminsky notes, many impactful stories may soon vanish from screens if budget cuts continue. Former subpostmaster Sir Alan Bates echoed this sentiment, saying it would be a significant loss if dramas shedding light on important social issues could no longer be made.
Content creators today, like Jack Thorne, the writer of the hit show *Adolescence*, recognize the changing landscape. He mentioned how scenes requiring many extras would strain public broadcasting budgets. The challenge lies not just in what gets produced but also in preserving the storytelling that resonates with audiences.
Recently, figures showed that only £598 million went into domestic programming in the UK, down markedly from previous years. This drop illustrates the pressing need for a strategic approach to sustain the storytelling traditions that define British entertainment. With key industry figures calling for reforms and innovative funding strategies, the future of British drama remains uncertain but crucial to address.
The ongoing discussions highlight a pivotal moment for BBC and ITV, grappling with how to deliver compelling content in a drastically changing landscape. It’s a reminder of the delicate balance between creativity and funding—a narrative that’s unfolding in real time.
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