Selling C4 would betray underrepresented voices

The privatisation of Channel 4 is a threat to us all.

BlackLight Television, of which we are joint managing directors, is a small independent drama producer that was founded in 2017 and has flourished with the unique support of C4.

Every year we make a drama anthology series for the channel called On The Edge, which each year features three thematically linked films, tackling subjects such as young people’s experience of the criminal justice system and living with parents with mental health issues.

It’s brilliant to work on and been a great success for us, but what makes On The Edge unique is that it is entirely written and directed by new diverse talent via the C4 4Stories initiative.

Every year 4Stories holds an open submission for any emerging writers and directors seeking their first broadcast credit. The idea is to encourage original voices that are rarely seen on British television. Thousands apply.

First, we select three exciting writers to work with experienced drama producers at BlackLight for six months, penning three original dramas. Next, we select three brilliant directors. Like the writers, they work with BlackLight drama producers and a professional production team to help them realise the films.

Key to the success of the initiative is C4’s support. It is true that there are many fantastic new talent and diversity training schemes out there, but 4Stories/On The Edge is unique in that it is a fully funded high-end drama, shown at primetime on the main channel, giving the new talent that work with us that crucial first credit that is so key to progressing in this industry.

Symbiotic relationship

This matters. It matters because the make-up of our industry is still under-representative of wider society. It matters because the films we make reach audiences that are still underserved by the mainstream. But we believe it also matters for the overall health and growth of the industry.

The arts have always relied on a symbiotic relationship between the mainstream and the independent sector. Mainstream culture will always rely on an independent sector for the freshest, most original ideas. But you need a platform for breakthrough voices to flourish. Otherwise, the culture stagnates.

The idea that if C4 were privatised then shows and initiatives like 4Stories could still exist is, in our opinion, naïve and not borne out by the evidence. Although I think a lot of us like to think of ourselves as risk takers, the pressures of a commercial imperative tend to often favour the tried and tested. It’s hard to give new talent a chance when the stakes are high.

The 4Stories initiative isn’t trying to produce a long-running series that can sell around the world or be re-formatted. It isn’t made by a big-name writer who can bank viewers or sales, it isn’t a show that is chasing audience figures – much loved though it is whenever it is discovered. And it doesn’t do those things precisely because there is no commercial imperative to 4Stories.

The imperative is rather to give underrepresented voices the platform they need to launch their careers. Without this, and many of the other unique things that C4 do, we would all be poorer.

New voices enrich us all. To see communities and stories that are less often represented is important for everyone. They help us understand each other and help us all to feel included. C4 is leading the way on this and are a vital part of our eco-system. We think this has become more important than ever.

By putting equal opportunities, new talent and diversity at the core of 4Stories, C4 is changing people’s lives and giving us stories that wouldn’t otherwise be told.

Ben Bickerton (left) and Philip Trethowan are joint managing directors of BlackLight Television, part of Banijay UK