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Yesterday the whole of The Bill production team was called into a meeting in the canteen to receive the news from the Executive Producer Johnathan Young that, after 26 years, ITV would not be renewing their contract for a new series, and that transmission would stop after the current episodes have been screened.
This is the end of a massive era in British TV, leaves hundreds of dedicated people without work, puts an end to one of THE proving grounds for British drama – and drives a massive hole in ITV’s schedule of c.50 hours a year.
However will they fill it?
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It’s probably been a couple of years, since we all learnt that ITV was rescheduling The Bill to a post-watershed slot. The decision seemed strange as the show was churning out some of its best episodes in its long history. Storylines could be concluded in a single show or span several episodes.
The word from the broadcaster was that it was not for financial reasons. Then why move it? The show was attracting good rating figures and boasted a healthy fan base.
Ironically, on the day it’s revealed the show has enjoyed its best audience in its new time slot, we learn it is to be cancelled. Maybe the audience weren’t as high as ITV wanted, but what did they expect? In its history, the show has been tampered with on several occasions. Each time steering from its creator’s (Geoff McQueen’s)original vision, and each time, failing for that reason. It’s no surprise the latest incarnation failed, though ‘failed’ is being a little tough. For whatever reason, ITV clearly have wanted to jettison this show for some time. Moving it post-watershed has helped pave the way. It’s a bad decision. Everything about the show, from its writing to acting is commendable. What the BBC would have done for a show like this: they’ve looked for a rival (unsuccessfully) for years, which gives me some hope. What a coup if the Beeb stepped in and took it over. This is my hope, or a worthy, well-made show which has entertained us for many years, will really come to an end.
That’s an interesting point – you’re right – what wouldn’t either channel give for a show like this in theory: a precinct that generates a regular stream of interesting stories, clear moral stakes there if you want them, or shades of grey if you want to be clever, a through flow of characters that can represent most of British society, a loyal audience, a heritage that makes it a national treasure, and a resilience that allowed it to survive the extremes of tone.
When you look back the format has survived so many changes – the gritty and uneven single dramas under Michael Chapman and Richard Handforth, the Paul Marquess story inflation “everyone’s challenging their own sexuality, or a paedophile” soap period, through these last slightly more authentic and (possibly slightly dreary?) Johnathan Young years, right through to the last glossy, yet content light, post watershed incarnation.
The show has lived and breathed and could no doubt run for another 20 years given the right new broom. Problem is, even ten years ago when I worked as a script editor on it, it wasn’t seen as a sexy show for most of the people in tellywellyland. Nowadays I believe most of the people in the corridors of power see it as grey, dull, slightly embarrassing – which, of course, shows how far removed they are from their audience.
But then we know that.
Anyone else remember a similar decision about Taggart just a while ago? Another aged show with a massive heritage and a rock solid audience that died as far, as I can see, simply because it was deemed too old and drab by those in power.
My only hope is that they don’t sling filler into this massive hole in the schedule but use it to to commission a broad palette of new drama.
The last ep ever will be shot at the end of April and screened over the summer, so we don’t have to wait too long to find out.
Will we hear similar news about Casualty from the Beeb before long? The Bill has given hundreds of actors, writers, directors and – doubtless – many other creatives and technicians their start in TV drama. Where will the next generation get a start? Are we doomed to a future of ‘reality’ shows, cheap imports and fillers?