Netflix is no ‘TV tourist’ the platform’s UK exec Anna Mallett tells RTS Cambridge
Netflix disputed claims it was a ‘TV tourist’ at this week’s RTS convention in Cambridge
Netflix has defended itself against accusations that it acts as a “TV Tourist”, claiming that the streamer is very much part of the UK content ecosystem having invested billions of dollars into the sector.
At Edinburgh TV Festival last month, an opening debate panel session saw Louisa Compton, head of news, current affairs, specialist factual and sport at Channel 4, criticise Netflix for cherry-picking the best of the UK business while not contributing to its ecosystem.
Compton told delegates in Scotland: “Adolescence, obviously it’s absolutely brilliant that Netflix did that, but at Channel 4 we like to think we’re proud parents of Adolescence. That programme would not have happened without Channel 4 and other PSBs backing Jack Thorne and Stephen Graham. They did five dramas on Channel 4 prior to Adolescence; we’ve developed and nurtured the talent that then allowed Netflix to come in as TV tourists and commission it.”
The US-based streamer took the opportunity to defend itself against the accusations when Anna Mallett, VP, production, EMEA/UK, Netflix appeared at this week’s Royal Television Society (RTS) Cambridge Convention.
In a panel titled ‘Disruptors or Destroyers?’, journalist John Gapper asked the executive whether Netflix was a TV tourist.
“We’re not a tourist,” she said. “Adolescence is a great example of our strategy, which is to make local UK content for local UK audiences. It’s fantastic that it has resonated globally, but we’re absolutely focused on the audience here.
“So, if [Adolescence writer] Jack Thorne, [actor] Owen Cooper and [prodco] Warp Films, which are based in Sheffield, have success, I think that’s great for everyone in our industry. We should all be proud of that.
“Ncuti Gatwa obviously started on Sex Education and went on to be Doctor Who, so I see this as growing the creative pie.”
Asked whether she thought that Adolescence is the kind of series that the BBC should have commissioned, Mallett said: “The counterfactual would be that only the PSBs could create this type of content and I don’t think that’s good for competition, innovation or creativity.
“Having different companies in different parts of this ecosystem, all invested in telling stories, can only be good for everyone.”
Aside from the success of individual shows like Adolescence and Sex Education, Mallett believes Netflix’s continued investment into producing content in the UK is proof that its commitment to the local sector is much more than a one-way, self-serving relationship.
“Netflix has been operating in the UK for 15 years,” she told RTS delegates. “Over the last four years we’ve invested £6 billion (US$8bn), worked with 200 production companies and thousands and thousands of crew.
“We see it as a creative virtuous circle. Netflix is committed to the UK for the long-term and I hope that’s reassuring for the local production sector.”
