How does the British audiovisual industry change after Brexit? A special event that reveals how the main British TV producers reacted to the June 2016 referendum. In fact, if the deadline of March 2019 were complied, this sector would see a large part of the investments coming from the EU disappear. A further difficulty is that companies like Netflix invest 7 billion a year for the original programming, while for national broadcasters such a budget is inconceivable. As Kate Crowe pointed out, National TVs need to focus on quality rather than quantity of products and economic commitment in order to compete with these giants. A new channel to be exploited could be the European OTT channel to allow broadcasters to compete with these strong international operators. David O’Donoghue was optimistic about this despite Brexit, pointing out that creativity does not respect borders because we live in a global era, and right now in Europe there is an explosion of creativity. Finally, Daisy Goodwin recalled that the engine of everything remains the producers, who have the task of finding new writers and financing new interesting projects. In any case, the United Kingdom remains a leading force for quality television productions, even if national broadcasters are threatened by US streamers and the danger of Brexit creates a lot of uncertainty. British television is at a political, economic and existential crossroads and is going through a tumultuous period, but it is a country famous for having designed and produced some of the best television series in the world.
Focus on UK TV
