The Emmy awards ceremony had a detail of enormous foresight. He organized a parallel assembly to the one that was taking place in Los Angeles in a charming room in London. The fact that the North American television awards recognize the immense capacity of their British brothers confirms that there is nothing more nurturing than having a creative tradition. The British have been the kings of television almost since their invention, it is something that is not often recognized. His passion was based on an infallible equation made up of three factors: freedom, recognition of talent and the structuring of private impulse and public support. There is no country in the world that has been able to put the three ingredients in the broth with the grace that the British have done. Freedom has presided over the work in the media. Criticism has long coexisted with power and institutions, including the most solid and formal monarchy in the world, unable to impose its boot on journalism and creativity in the frustrating way of other places. The friction of this respectful coexistence continues to provide them with very succulent returns. It is enough to see the tremendous reception that a series like The Crown has had all over the world. On the one hand, it consolidates the country’s monarchical image, but it does so from an acid criticism, sometimes devastating.
The BBC chain continues to represent an example of how a public channel is managed today. Even when an opportunistic politician like Boris Johnson tried to cast the fury of the citizens on reporters, the margin of destruction has been limited. It is enough to see the case of Telemadrid, so recent, to experience once again the envy of others and own shame. The BBC takes risks when it plays, without fear of including new versions of the avant-garde alongside already assimilated products. Since we were children, we have known that the BBC can offer us modern television alongside classic. At these Emmy Awards, recognition of the series I could destroy you paid for by the public channel although distributed to the world by HBO, it exemplifies the commitment to new voices of risk, controversial, but also representative of the changing world in which we now find ourselves. This is impossible to see where the public bet is adored by the attempt to like everyone, something that usually leads to not liking anyone.
Because the only route to success goes through the recognition of talent and in that the British have been wise to exalt their actors, but also theater, film and television writers. This does not happen with the North American platforms that have come to gloat in their navel when they advertise a nonsense of such caliber as affirming that a series is the result of their commercial brand. Nothing is further from reality, the brand is an issuer, never a creative entity. That’s why the string of thanks that the director and producer of the winning series sounded so stupid, Lady’s Gambitthey released as they collected their awards. Much to refer to loved family members and brand executives, but they forgot, with hurtful ingratitude, the author of the original novel on which the series is based, Walter Tevis. Here the British make a difference.