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“I think we’re glass flat.” Shock rippled through the Edinburgh festival when that blunt line landed, and it arrived atop £850M in streamer cash for UK series in 2024. The remark, published this week by an industry leader, framed a growing fight over commissions, talent and who truly nurtures British shows. The concrete stakes are clear: streamers’ spending rose 24% year‑on‑year while traditional broadcasters face shrinking new-commission budgets. Which side wins access to Britain’s writers and crews as 2025 approaches – and what should UK creators do next?
What this blunt line means for UK TV funding in 2025
- Pact census found streamers invested £850M ($1.15B) in UK series in 2024, a 24% rise.
- Channel 4 chief accused Netflix of being “TV tourists” at Edinburgh; producers responded.
- Broadcasters’ non‑UK commissioning fell 36%, squeezing indie producers’ revenue streams.
Why that quoted line hit producers and broadcasters so hard this week
The verbatim line opened an argument about who deserves credit – and money – for British drama. The remark surfaced at the Pact briefing and was amplified online, forcing producers to choose sides between public-service commissioning and global streaming cash. If you care about the kinds of British stories that get made, this is the fight that decides budgets and jobs in 2025.
Channel 4 news boss Louisa Compton has accused Netflix of behaving like “TV tourists” over the streamer’s breakout hit 'Adolescence' https://t.co/I6vSjLBJhX
— Deadline (@DEADLINE) August 20, 2025
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How the comment exposed a deeper funding fault line for 2025 commissions
Responses split along clear lines: some veteran indies warned that chasing international budgets changes creative choices, while streamers and allies argued cash is creating more jobs faster. The Pact numbers – bigger spend but weaker export sales – made both claims believable and urgent for anyone hiring crews or pitching shows this year.
Channel 4 news boss Louisa Compton has accused Netflix of behaving like “TV tourists” over the streamer’s breakout hit #Adolescence.
During the opening debate at the Edinburgh TV Festival, Compton described Channel 4 as “proud parents” of 'Adolescence' because of the way in… pic.twitter.com/7qhet2yAQS
— Deadline (@DEADLINE) August 20, 2025
How the Pact census numbers show streamers changing UK TV in 2025
| KPI | Value + Unit | Change/Impact |
|---|---|---|
| Streamer investment | £850M ($1.15B) | +24% YoY surge |
| Channel 4 new commissions | 17% of spend | -4 pts vs peers |
| Producer revenues | £3.6B | +1.3% yearly gain |
Who actually spoke that line – and why the speaker’s role matters for 2025
The sentence came from the head of an industry trade body at the Pact census, framed as a blunt assessment of the market. As the outgoing leader of a body representing UK producers, his words carry weight: they aren’t just an insult, they’re a diagnosis that could reshape policy asks (tax credits, co‑prod rules) and commissioning behavior in 2025. Revealing the speaker explains why broadcasters bristled and why producers immediately dug in.
Data points that show why this debate will shape what you watch in 2025
A surge in international commissioning means more big‑budget, globally aimed series – but fewer small domestic dramas. That shift changes scripts, casting choices, and which stories get funded. If you prefer homegrown storytelling, these numbers suggest a fight for funding is coming this year.
What this clash means for creators, viewers and commissioners in 2025
Expect faster greenlights from streamers, fewer mid‑budget domestic commissions, and pressure on public broadcasters to defend cultural remit. Will policy or audience demand force a course correction – or will the market keep tilting toward global streaming? Which side will you back as a creator or viewer?
Sources
- https://deadline.com/2025/09/netflix-adolescence-row-channel-4-snarkiness-streamers-pact-census-1236513036/
- https://deadline.com/2025/08/adolescence-netflix-tv-tourists-says-louisa-compton-1236492869/
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Jessica Morrison is a seasoned entertainment writer with over a decade of experience covering television, film, and pop culture. After earning a degree in journalism from New York University, she worked as a freelance writer for various entertainment magazines before joining red94.net. Her expertise lies in analyzing television series, from groundbreaking dramas to light-hearted comedies, and she often provides in-depth reviews and industry insights. Outside of writing, Jessica is an avid film buff and enjoys discovering new indie movies at local festivals.