This week, as SXSW London illuminates the path forward for creative industries, Nordic writer-producer Torfinnur Jákupsson is contributing to the evolving discourse in the UK media sector. He advocates for an Independent Premium Tier within the existing High-End Television (HETV) tax relief framework. This tier would support culturally significant, internationally co-produced scripted dramas that operate under the current £1 million per hour budget limit. Emphasizing the importance of backing those who create impactful work despite limited resources, Jákupsson highlights the need for a system that aligns with modern television production realities.
A Proposal for Smarter Support in Scripted Drama
In the vibrant and innovative atmosphere of early summer, amidst discussions on the future of the UK's entertainment industry, attention turns to a proposal from Torfinnur Jákupsson, creator of the acclaimed series Trom. The suggestion involves introducing an Independent Premium Tier into the HETV tax relief structure. This tier would focus on supporting projects with budgets ranging between £750K and £950K per broadcast hour, provided they meet stringent editorial, cultural, and sustainability benchmarks.
Jákupsson, who established Red Herring Story, the UK branch of GRÓ Studios, earlier this year, argues that defining high-end drama solely by expenditure overlooks the true essence of quality programming. His vision includes nurturing independent voices, promoting regional productions, and encouraging environmentally responsible practices. By refining the current model, the new tier aims to redefine success not merely by financial metrics but also by artistic merit and cultural resonance.
The proposal seeks to address concerns over misuse or inflated costs by incorporating strict criteria, ensuring integrity while providing smarter access to funding opportunities. With experiences shaping the Faroese industry's tax rebate system, Jákupsson underscores the significance of adapting support systems to contemporary needs without excluding emerging talents.
He emphasizes the potential benefits: fostering diverse storytelling, expanding accessibility for regional and independent creators, rewarding eco-conscious productions, enhancing global competitiveness, and championing shows beloved by audiences—all achieved without mandating increased budgets merely to qualify as high-end.
Through this initiative, Jákupsson envisions a fairer, forward-thinking framework that evolves alongside the dynamic landscape of television production, prioritizing both quality and sustainability.
As we reflect on Jákupsson's proposal, it becomes evident that redefining how we measure and support excellence in television can significantly impact the industry’s future. Encouraging creativity, diversity, and efficiency could lead to richer narratives and broader representation, ultimately benefiting both creators and viewers alike. Such an approach might inspire other sectors to rethink their evaluation standards, focusing more on qualitative aspects rather than purely quantitative measures, paving the way for a more inclusive and sustainable creative ecosystem.