In a stunning revelation before Parliament, director Peter Kosminsky exposed the harsh realities plaguing the British television industry. Despite the resounding success of the original Wolf Hall series, which garnered prestigious accolades including BAFTAs, Emmys, and a Golden Globe, the sequel The Mirror and the Light faced an uphill battle to reach audiences.
Kosminsky, in his submission to the Culture, Media and Sport Committee’s inquiry into UK film and television quality, divulged that every major streaming platform rejected the highly-anticipated continuation of Hilary Mantel’s epic Tudor trilogy. In a shocking turn of events, it took the selfless acts of the production’s key figures to bring the project to fruition.
Mark Rylance’s Noble Sacrifice
Leading the charge was none other than Mark Rylance, the brilliant actor who breathed life into the enigmatic Thomas Cromwell. Rylance, along with Kosminsky, writer Peter Straughan, and producer Colin Callender, agreed to significant pay cuts to make The Mirror and the Light a reality. This came after a decade-long development process, highlighting their unwavering commitment to the project.
“It was only possible to begin production when the producer, the writer, the director, and the leading actor all gave up a significant proportion of their fees. We had shepherded the series through a 10-year development process but, in the end, it was necessary for us to work for very little to get the show made.”
Peter Kosminsky, Director of Wolf Hall
A Systemic Issue in British Television
Kosminsky’s revelation sheds light on a pervasive problem in the UK television landscape. Public service broadcasters (PSBs), including the BBC, ITV, Channel 4, and Channel 5, are grappling with insufficient funds to produce high-quality dramas in the face of escalating costs driven by streaming giants. This financial strain has left numerous projects in limbo, unable to move forward despite receiving the green light from PSBs.
The Producers Alliance for Cinema and Television (Pact) reports that a staggering 15 TV dramas are currently stalled due to budgetary constraints. These projects share a common thread: they tackle subject matter that resonates deeply with UK audiences but may lack the global appeal sought by American streaming platforms.
A Call for Cultural Funding
To address this critical issue, Kosminsky proposes a bold solution: allocating 5% of streaming income to a UK “cultural fund” dedicated to financing high-end dramas that cater specifically to British viewers. This self-sustaining entity would prioritize excellence over profit, ensuring that culturally significant stories continue to grace our screens.
“A British TV [body], with its self-financing cultural fund, would be brought into existence entirely to address this market failure. Its criterion wouldn’t be profit, it would be excellence.”
Peter Kosminsky, Director of Wolf Hall
The Importance of Preserving British Storytelling
The plight of Wolf Hall: The Mirror and the Light serves as a potent reminder of the challenges faced by British television in an increasingly globalized industry. It is imperative that we champion and protect the unique voices and stories that define our cultural identity. Without adequate support and funding, we risk losing the very essence of what makes British television extraordinary.
Mark Rylance’s selfless act, along with the sacrifices made by the Wolf Hall team, exemplifies the passion and dedication that drives the UK’s creative community. It is now up to us, as a society, to ensure that their efforts are not in vain. By investing in our cultural heritage and empowering storytellers to create works that resonate with British audiences, we can safeguard the future of our television industry and preserve the rich tapestry of our national narrative.
