How can traditional British TV survive the US streaming giants

Perceived Quality and Output of British TV

• Some commenters argue contemporary British TV has “died”: fewer risk‑taking shows, more formulaic content, and far less quantity (short seasons, long gaps).
• Others strongly counter that modern British TV is still world‑class, citing recent drama and comedy hits, and especially natural history output as “second to none.”
• Several point out survivorship bias: people compare a few canonical 70s–80s classics against the full firehose of modern output, forgetting that most old TV was forgettable too.

Comparison with US and Streamers

• One camp claims US TV’s “golden age” is over and that UK output matches or exceeds recent US work, especially pound‑for‑pound on much smaller budgets.
• Another side responds that US streaming still produces many highly rated series and attracts top British talent because that’s where the money and big scripts are.
• Some think UK broadcasters only need to “wait out” the enshittification of US streamers; others point to rising Netflix revenues as evidence the model is not collapsing.

Comedy, Risk‑Taking, and “Political Correctness”

• Many feel British comedy used to be weirder, riskier, and more class‑conscious (Red Dwarf, Brass Eye, older late‑night shows) and that today’s environment punishes “cruel” or “punching down” humor.
• Others argue similar taboos always existed (e.g., language bans in earlier decades) and that what’s changed is who gets protected from being the default butt of jokes.
• There’s debate over whether shows like Little Britain were ever genuinely “edgy” versus just lazy caricature that hasn’t aged well.

BBC’s Role, Bias, and Scandals

• Strongly critical voices describe the BBC as a long‑standing propaganda arm of the state, citing historic MI5 vetting, abuse scandals, and perceived ideological slant.
• Defenders emphasize uniquely strict editorial guidelines, global prestige, investigative work critical of UK governments, and the cultural value of a strong public broadcaster.
• Some say domestic BBC output feels parochial and propagandistic compared to the international BBC brand.

Distribution, Geo‑Blocking, and Access

• Many non‑UK viewers praise BBC shows but complain they’re fragmented across BritBox, Acorn, PBS, etc., or unavailable legally in their country.
• Long subthread on bypassing geoblocking (VPNs, “smart DNS,” Tor) and how geo‑IP actually works; some confusion over whether DNS alone can circumvent blocks.
• Concerns that partnering with global streamers (e.g., Disney on Doctor Who) risks losing creative control or distorting content toward foreign markets.

Licence Fee, Enforcement, and Funding Model

• Heavy debate over the TV licence: some see it as an unfair quasi‑tax; others defend it as a clever arm’s‑length funding mechanism that protects editorial independence.
• Presenter salaries and BBC News anchors’ pay are frequent flashpoints; critics see waste, supporters say high‑profile talent is needed to compete.
• Decriminalisation of non‑payment is a major theme: data that a large share of women’s convictions are licence‑related sparks arguments over discriminatory enforcement vs. personal responsibility.
• Alternative proposals include: shifting funding to general taxation, turning BBC into a direct subscription service, or focusing more on commercial exploitation of its back catalogue.

Future Strategy for Survival

• Suggested survival paths:
  • Go digital‑only with a global subscription, deep archive, and UK‑first windowing.
  • Double down on what commercial streamers do badly: serious documentaries, public‑service education, local journalism, and distinctively British drama/comedy.
  • Commission bolder, lower‑budget, “take a chance” shows to restore the pipeline of new talent and ideas.
• Some predict the BBC will steadily shrink to mainly news; others think a “Reithian reset” and better monetisation could keep it central in the streaming era.