"Wolf Hall" director Peter Cosminki sounded the alarm of the current situation of British high -end television. He wrote in the evidence submitted to the parliament committee that the second "Mirror and Light" of the play was hardly shot.

In a survey report on British movies and high -end television submitted to the Culture, Media and Sports Commission, Cosmingski said, "If we try to make" Mirror and Light "today, we will not succeed."

"Wolf Hall" premiered in the second BBC in 2015 and starred by Mark Riranes, adapted from the first two novels in the trilogy of Hillary Mantel, played Tomas Cromwell. It won international praise, won eight Emmy Awards nominations, and won the Golden Globe Award for Best Mini Drama or TV Movie. Nevertheless, Cosminki said that when he recommended the last chapter "Mirror and Light" to the anchor, "they all refused."

"Only when the producer, screenwriter, director and starring actor have given up a large part of the cost, it is possible to start production," Cosminguski continues. "We led the series to go through the development process for 10 years, but in the end, we need to be very
There is almost nothing to make this drama produce. "

"Mirror and Light" eventually broadcast on the BBC One last year. As BBC is a public service radio company, Cosmingsky explained that "the financial contribution that PSB can provide, coupled with sales prepaid and British tax reduction, not enough to produce high-end TV series in May 2024 The environment created here in the middle of the flutter "" "" "" "" "" "" "" ""

As Kosminki pointed out, the British film and television trade agency PACT has identified another TV series that has been approved by the British Public Broadcasting Agency but cannot continue. A letter of opinions submitted by the Broadcasting Corporation echoed this, saying that many episodes "now fall into the dilemma of funding and cannot enter the production stage." Euston Films, a British Broadcasting Corporation (BBC) quoted Fremantle, said that the production company was forced to close it. After a few days, all employees were fired.

"What are the common points in all these plans?" Cosminguski asked. "Their theme is very special
It may have special cultural significance for British audiences. But they are considered to have no 'leg' -unlikely to attract, especially for American audiences. "

He continues to say that streaming media "a few high -end TV dramas that are particularly interested in the production of British audiences have little interest. We need to ensure that when pursuing a complete and legal business model, they will not let British public service drama disappear."

"Britain is not the 51st country," he said. "We have our own culture. Charity dramas are a part of this tradition and an important manifestation of freedom of speech. We cannot lose it."

So, what is the solution? Cosminki proposes that 5% of the British streaming revenue is applied to cultural funds, "high -end TV series specially interested in British audiences are particularly interested but not necessarily attractive."

Cosminki pointed out that 17 European countries have adopted similar models. Netflix has fought in Germany and France, but failed.

"With the success of the anchor in the audience, this independent creative fund will also grow at the same time," Cosminaki wrote. "With it, we can use it to make the number of programs particularly interested in our audience (always a minority)."

The parliament will hear these evidence at the last investigation meeting on Tuesday. Complete reports will be released in spring.