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Mazda invited us out for a drive of its upcoming MX-30 electric compact SUV, and some conversations with Mazda’s Irvine R&D folks. We have a lot of thoughts to share about the car and the future of Mazda’s EV programs.

To start with a few headline specs, the Mazda MX-30 starts at an MSRP of $33,470 for the base model or $36,480 with the “Premium Plus” package (plus $1,175 destination fees). Federal, state and local incentives bring that price down significantly, into the mid-20s.

It has a 35.5kWh battery good for about 100 miles of range with a 143hp (107kW) motor capable of 200lb-ft (271Nm) of torque and a 0-60 time of about 9 seconds. It’s also capable of 50kW DC quick charging with a CCS combo plug. It will be available in California dealerships imminently.

This is technically not Electrek’s “first” article about the MX-30, as our British counterparts at Fully Charged have posted about the European version of the car before. This is, however, our first drive of a US car from a US perspective.

Our drive took us through mixed Southern California driving on highways, in traffic, in canyons, and along the coast. It was your typical “hey, let’s go for a drive” kind of day in and around Orange County in typical perfect sunny weather.

Performance

While the Mazda MX-30 isn’t a sports car, the inherent benefits of electric motors make it possible for any EV to offer a fun and peppy driving experience.

Mazda emphasized that they were “surprised” by the possible improvements in vehicle dynamics by switching to an electric powertrain, despite the MX-30’s ~300lb weight penalty over the gas CX-30. These benefits include a 2 inch lower center of gravity, harder motor mounts, higher chassis rigidity, and tires with more lateral stiffness for better steering response. The more responsive electric motor enables better “g-vectoring control,” a Mazda technology that modifies the engine’s torque to help weight-shifting during corners. Also, unlike a lot of front-wheel-drive EVs, the MX-30 did not display noticeable torque steer.

On our trip through the canyons, the car handled quite nicely. It felt smooth and responsive through the corners, in the way a lot of SUVs wouldn’t. We didn’t push it particularly hard, but the car felt lively and capable nonetheless.

The roughly nine-second 0-60 time, though, is where it all falls apart. The MX-30’s throttle response is quick enough it doesn’t feel laggy, but it isn’t very powerful. When you really slam the throttle down, the car does accelerate immediately, but the acceleration just isn’t very…convincing. Part of the reason we didn’t push the car too hard in the canyons is that, well, we couldn’t. It just doesn’t have that same feeling of instant torque that more powerful EVs (read: virtually all of them) have.

We reported before that Mazda made the MX-30 slower “to feel more like a gas car.” Throughout the drive, we did not find acceleration and power delivery to be particularly inspiring. Mazda told us that its reason is that EVs with instant torque can be too “herky-jerky,” which can ruin the passenger experience. So Mazda muted the “jerkiness” of acceleration to follow the same curve as an ICE car.

Mazda reiterated a common refrain we’ve heard from many automakers, that part of its reasoning here was to keep the car familiar to its gas customers. As I’ve stated before, EVs are generally better the further they get from this mentality. This allows automakers to focus on the advantages of EVs to make a better vehicle, rather than keeping the old ways for familiarity’s sake. Rather than the oft-repeated goal of making “a great car that happens to be electric,” one could make “a better car because it’s electric.”

A major reason for this lack of throw-you-back-in-the-seat acceleration is the car’s relatively small battery. Every battery technology has to make some compromises between energy density, weight, charging time, and more. In general, the way to get more power out of an EV battery is to make it bigger. This is why the upcoming Next-Gen Tesla Roadster is slated to have a 200kWh battery and why Rivian‘s truck and SUV can go 0-60 in about three seconds with their huge 135kWh+ battery powering four wheel motors.

So the MX-30’s 35.5kWh battery, which is comparatively small versus other cars on the road these days, isn’t going to match the field in acceleration. It’s even slower than the 32.6kWh Mini Cooper SE and its 6.9 second 0-60 time, or the 40kWh base Nissan Leaf‘s 7.4 second time.

The weight distribution is odd, too. The MX-30 is a front-wheel drive, but the battery is low and more towards the rear of the vehicle. As a result, it has a 40/60 front-rear weight distribution – the opposite of the gas CX-30’s 60/40 distribution. This means that the drive wheels don’t have as much weight over them, which means that traction, especially under initial acceleration, will be reduced as the vehicle’s weight shifts even more to the rear.

Perhaps this odd weight distribution is another reason Mazda intentionally added a gradual ramp to the car’s torque delivery under acceleration. If Mazda didn’t, it would be very easy to spin the front wheels. I’ve driven another EV with this issue – the original Mini E, which had a wonky back-heavy weight distribution because it was a retrofit that replaced the rear seats with 600lbs of batteries. This was fun (and enabled me to chirp tires easily when I felt like being silly) but is not ideal for driving dynamics. So good on Mazda for solving that problem, but it would have been better to solve it with better battery or motor placement, both of which would have been possible if the MX-30 had its own platform instead of sharing it with the CX-30 and an upcoming PHEV.

To be fair, this is not meant to be a sportscar. The amount of acceleration it offers will be fine for normal day-to-day tasks. It’s just not super inspiring, is all.

This seems to run counter to Mazda’s “zoom-zoom” ethos (which they have updated to “sustainable zoom-zoom”). While Mazda has never been known for having particularly powerful vehicles, they have always made sporty, fun, “tossable” cars. The MX-30 feels pretty good in corners, but when the throttle pedal doesn’t give you as much as you’d like, that puts a damper on the whole thing.

Range and efficiency

The Mazda MX-30 is a relatively low-range vehicle. Its 35.5kWh battery is worth about 100 miles of range, and in our testing, that seemed accurate. After a morning of mixed driving in perfect Southern California weather, we managed 61 miles while using 59% of the battery, with 43 miles left until empty on the indicator. In worse weather (or if you’re a more spirited driver), you’ll probably get worse mileage. If you hypermile, you can probably do a bit better than that.

Mazda maintains that there is room in the ecosystem for low-range vehicles, underlining that most people drive 30 miles a day, which means a 100-mile battery is more than enough.

We at Electrek agree that there is room for low-range vehicles in the EV ecosystem. There are many people who can get away with much less range than they think they need, and in doing so, will get a vehicle that is cheaper, more efficient, more nimble, and less wasteful of limited battery resources (which could be used to build another EV, and displace another gas car off of the road, resulting in better net overall emissions reductions across the fleet).

I am actually happy to have the MX-30 on this end of the range spectrum. There are plenty of use cases for which a small SUV with a commute and around-town range makes sense. The MX-30 could work as the main car in a two-car household, for grocery trips, taking the kids and dogs to a local hike or park, as an everyday commuter, and so on. I promise you that a car with a 100-mile range will fit a lot into a lot of people’s lives better than you think – probably even yours, reader.

For the times that it doesn’t, Mazda gives MX-30 owners 10 days of free rentals (of anything else in Mazda’s fleet) for the first 3 years of ownership and includes a $500 ChargePoint credit with the purchase of the vehicle. The ChargePoint credit can be used for purchase of a level 2 charging box for your home or can be used at any public ChargePoint station. The MX-30 has DC charge capability, but it’s only 50kW, which is looking anemic by today’s standards, even with a 35.5kWh battery (the 28kWh Ioniq EV was capable of up to 70kW back in 2017). We didn’t get to test DC charge speeds on our drive.

One aspect of the MX-30’s efficiency that leaves a lot to be desired is the regenerative braking system. While Mazda did well to include paddle shifters on the steering wheel to allow easy modification of regen strength, the car does not remember this setting between drives. Each time you turn the car on and off, you’ll have to flip the paddles to get to your preferred regen strength – an unnecessary annoyance.

Further, when starting a drive, the regenerative braking system didn’t even allow me to select “maximum regen” (two clicks of the left paddle) because when the battery is full, there’s no empty space to regenerate energy into. Many EVs restrict regen strength on a full battery, but when I began the drive, I attempted to set the regen as strong as possible (my preferred setting) and then went on my way. Perhaps this was a user error, but the car seemed not to accept my setting, and it turns out I did almost all of the drive on the normal, average regen setting, which I found to be not nearly strong enough. Even when eventually switching to maximum regen, I still felt like it could have been stronger and that the dream of one-pedal driving (which so many EV drivers love) feels like it is just a little bit out of reach.

While this is something that drivers will eventually get used to and learn to use, the system is not as simple as it should be. It should remember settings between drive sessions, perhaps attached to a driver profile (as Tesla does). In practice, drivers don’t modify regen settings all that often. Drivers usually find one setting they like the most, get used to it, and drive with that setting on all the time.

Finally, different regen levels also change the car’s throttle mapping. Mazda did this to maintain a linear feel of the pedal between different regen settings, but in practice, it just feels weird.

The MX-30 uses brake-by-wire, which means braking is done electronically. When you press the brake pedal, the car will decide how much regen and how much friction braking to apply. This can occasionally lead to weird situations where a car’s brake pedal doesn’t feel very linear as the car transitions from regen to friction braking, but in the short amount of driving we had in the car, we didn’t experience any of this weirdness in the MX-30. In general, I much prefer keeping the friction brakes on the brake pedal and having strong off-throttle regen, as this gives the driver more control over the vehicle, but Mazda’s implementation here was among the better-blended brake systems I’ve driven.

Style and tech gizmos

I’m a big fan of the look of this vehicle, both interior and exterior. There are two interior options, “modern confidence” and “industrial vintage,” which are the “light” and “dark” styles respectively. I drove the dark “industrial vintage” trim, which has a stylish, mature feel to it. The interior uses recycled materials and the center console makes use of cork, paying homage to Mazda’s origins as a cork producer in the 1920s.

The most unique part of the vehicle’s exterior is the car’s “freestyle doors,” with the rear passenger doors opening on a rear hinge. Doors like this are a bit funky and take some getting used to, but I like them. Different is fun, so why not? Your mileage, of course, may vary.

The car comes with your standard slate of infotainment features, including Apple CarPlay and Android Auto. But there’s no good place to put your phone, so mine ended up plugged into a stray lightning cable in the space underneath the center console.

Infotainment is controlled by a wheel in the center console, which is about as intuitive as you’d expect (not very), or by steering wheel controls or whatever voice commands your phone supports.

The climate control display on the center console offers a nice combination of physical and digital controls, giving you a choice to use whichever one you prefer. This makes for a good compromise without feeling like a compromise – it’s more like the best of both worlds.

A heads-up display comes standard, and this display is configurable to show various information that a driver might want to have readily available while driving. Which is all great, unless you’re wearing polarized sunglasses (oops).

Like several other cars these days, both gas and electric, the Mazda MX-30 pipes fake motor noise into the cabin through the speakers. This is meant to enhance the “emotional feeling” of driving according to Mazda. The MX-30’s particular motor noise is not particularly loud and not particularly unpleasant – it doesn’t feel quite as much like a weird alien spacecraft as some other fake motor noises do. Regardless, these noises are inherently silly and artificial, so it would be nice to be able to turn this off (like in the upcoming Genesis GV60).

Mazda does offer connectivity to the vehicle through the MyMazda app, which allows for remote control of charging and HVAC settings. It can search for charging points and send map locations to the car’s infotainment system.

The MX-30 does not have any Autopilot-like driver-assist features but does include many of the safety features that are becoming standard these days, like blind-spot monitors and lane-keep assist. The lane-keep assist worked very well, and the blind spot monitor worked perhaps too well – it triggered multiple times during normal “two left-turn lanes” situations. The Premium Plus package adds more safety features like front cross-traffic alert, blind spot assist, parking sensors, and a 360º view monitor.

Comfort, Practicality and Value

The Mazda MX-30’s interior is both attractive and comfortable, though the ride is a little stiff. It’s not offensively so, but it’s hard to square the car’s lack of performance with its so-so ride comfort level. On a sports car, you expect a bit of a stiff ride for a more connected handling experience, but this is not a sports car, so it really should be a little softer.

On the other hand, the feel of the car under acceleration is smooth and comfortable. As we noted above, Mazda wanted acceleration not to feel “jerky” for passengers. It is true that EVs can result in an unsettling experience for drivers and passengers due to their irresistible instant torque response, and for better or worse, you’re not going to get that in the MX-30.

The car has as much space as you expect out of a small SUV – plenty of headroom, reasonable legroom, and a large tall trunk. As a slim, 6-foot-tall reviewer, I had space to sit comfortably behind the driver’s seat when it was adjusted to my own liking, though if I were any larger it might have started to feel cramped.

There’s room under the floor of the trunk for tools, but unfortunately, there is not enough room for the portable charging cable. Mazda includes a bag that can be strapped to the side of the trunk area, as pictured, but this is less elegant than if it had a cubby or storage space that it could fit into. For many EVs, these charging cables are just left at home, where the car charges every night – but with the MX-30’s lower range, drivers will probably want to bring their cable around more often than in longer-range or faster-charging cars.

As for value, this is where comparison to the rest of the market comes in, and that comparison doesn’t look great.

Mazda states that the MX-30’s competitive position puts it in the same price and feature category as the Nissan Leaf and Hyundai Ioniq, and better-priced than the base Tesla Model 3 and Kia Niro EV – but all of those vehicles are both older and have much larger batteries than the MX-30. Plus, two of them are sedans anyway.

But the comparison to the Leaf is particularly interesting. The current iteration of the Leaf will have already been out for four years and is simply better than the MX-30. The MX-30 is more stylish, and the interior looks cooler. It also has a CCS port instead of the Leaf’s CHAdeMO port, which is more compatible, though both are limited to 50kW charging.

Other than that, the Leaf is just a better car. It’s got 50% more range and costs $6k less than the MX-30 after this year’s price drop (a memo which Mazda seems not to have gotten – they listed the Leaf’s base price as $31,670 in our press materials, rather than the actual $27.4k – again, before incentives). It’s more comfortable, faster, and is a “second-generation” EV that incorporates some lessons that Nissan learned from their first-gen Leaf, which Mazda will inevitably need to learn with their first-gen MX-30.

You can’t even say “well, it’s an SUV and I want a bigger car,” because the two cars are virtually identical in dimensions – with the Leaf being three inches longer, but the same width and height as the MX-30.

Again, this is not just a question of range – a lower-range car could still be a good value and can still meet the needs of more drivers than you’d think, and we’re glad to see some lower-range offerings available. The problem is that the MX-30 just doesn’t offer the right value proposition as a full package.

There may be a few features here and there that the MX-30 does better, or that certain drivers will like more, and there’s always the matter of personal taste and brand loyalty. But is this enough to justify the $6k higher price tag than the Leaf? I would say not. The MX-30 is just not a great value compared to other electric offerings. But…does it matter?

Conclusion (it’s ranting time, sorry)

Our title posted the question: “does it matter?” The answer, at least for the 2022 model year, is a resounding “no.”

Despite all the specs discussed herein, the 2022 Mazda MX-30 will only be available in California, so for almost 90% of the US (and ~50% of the US EV market), this review is meaningless.

But beyond that, even in California, the review is meaningless. Mazda’s first-year production will consist of exactly 560 units. No, that is not a typo.

According to the California New Car Dealers Association, 11% of California’s new vehicle sales in the first half of this year were electric (BEV + PHEV), which represents 114,315 vehicles with a plug. The best-selling electric car in California this year, so far, has been the Tesla Model 3 at 19,746 units, out of a total of 49,875 vehicles sold by Tesla in California in the first half of 2021. That number is up 50% from the same time period last year and can be expected to increase next year as well. And all of these numbers are only for the first half of the year, so expect them to double by year-end.

Mazda’s 560 vehicles will represent a rounding error in these statistics. Compared to Mazda’s total sales in the state, which should run somewhere just above 50,000 units by the end of the year, the MX-30 will make up 1% of Mazda’s total sales in the hottest EV market in the nation, where 11% of vehicles are sold with plugs.

So Mazda doesn’t even have any cars to sell. The 560 cars they’re making will sell (or lease) easily enough, Mazda will get their ZEV credits so the state doesn’t fine them, and customers will be happy with their cars because an EV is better than whatever gas car they replaced anyway. Anything we’ve written here will make absolutely no difference in terms of sales. Apparently, I drove the car for my own edification and nothing else.

Worse yet, what really betrays Mazda’s lackluster sales plans for this model is the slated future availability of various hybrid models. Mazda says that they want to offer different powertrain options based on local conditions (charger availability, etc.), but did not specify what regions they see as having “good enough” conditions for BEV sales. Clearly, the EU is one of these regions as the MX-30 is already available there (and selling pretty well), and California has passed the threshold to get a handful of cars for 2022. In Japan, Mazda offers the MX-30 as a “mild hybrid” – a car that gets all of its energy from gasoline and does not have a plug. Beyond all that, Mazda would give us no specifics about planned future volumes between BEV and PHEV in the US/California.

In service of this future goal for the model line, Mazda has helpfully provided a gigantic void of wasted space under the hood which will be later filled by a dino-burning cancer machine. It’s not a frunk, because of course they wouldn’t want to make the EV better than the hybrids in any particular way, or put any additional engineering effort into it. But the space is big enough that I really thought I could climb in there and shut the hood behind me and fit, with enough contortion, and if I were able to ignore a few pokes and prods from stray components.

I’ve seen an engine compartment like this before, from another Japanese manufacturer, on the Honda Clarity EV. The BEV flavor of that 3-powertrain model had a giant space under the hood which was unutilized, because it was clear that Honda put its effort into the PHEV (and its favorite FCEV rainbow chase), with the BEV as an afterthought. Despite Honda’s worst efforts, the car didn’t sell very well and the whole model has now been axed, leaving them without an EV in the US.

If that isn’t enough to show you the electric model’s apparent planned status as the black sheep of the Mazda lineup, have a close look at the badging:

Yep, that’s right. It’s a sticker. On the window. Not even a badge, just a sticker. How could they possibly justify such extravagance?!

There is also an “e-skyactiv” badge on the rear, but this designation is shared with hybrid and PHEV models.

This is why you have seen such a current of snark and disappointment throughout this article. Mazda is far behind. The MX-30’s spec sheet looks like that of a limited production shared-platform compliance car from 2013. If the MX-30 had come out then and the only competition was the Tesla Model S, the original 24kWh Leaf, and the BMW i3 (a 100-ish mile range car with disappointing DC charge speeds, weird doors, and a high price… sounds familiar), it would be fine. But it’s coming now, as a California-only compliance car in 2022. What Mazda has given us is just not good enough – but it doesn’t even matter because Mazda’s not even trying to build and sell any of them! 560 cars! Come on!

“Falling behind” seems to be a common trend, especially with Japanese manufacturers. Japanese business culture is quite conservative in general, and their auto industry is a rogue gallery of companies that have been at the forefront of anti-electrification efforts. Toyota is the worst of them, but the others have made their fair share of boneheaded statements and strategy calls. Only Nissan took EVs seriously from the start, but even with its head start with the Leaf way back in 2011, Nissan has been slow to get its second electric vehicle, the Ariya, to market.

Mazda is finally toying with electrification, with the MX-30 finally hitting (*some) roads and plans for future BEVs on its own dedicated architecture starting around 2025. The company plans to only sell electrified models (including hybrids) by 2030. But it still feels like they aren’t moving fast enough.

Mazda explained to us that, as a small company, it’s harder to invest a lot into new EV programs, and Mazda has spent so long “perfecting” the internal combustion engine (with the rotary albatross around their neck), and it needs the revenue from those gas cars to survive, and all the same excuses we’ve heard and expected to hear.

Mazda’s excuse is that they’re too small, but with a change in mentality, Mazda could see its small size as a strength. One reason the incumbent manufacturers have taken so long to come around is because they are so large and it takes a lot of effort to change large, staid organizations. Mazda’s smaller size could make it more nimble than the competition if it really threw all its effort into electrification.

In hearing from Mazda employees, each seemed reasonable, willing to embrace change, eager to drive the company into the future, and ready to accept criticism and suggestions. Surely, working at Mazda’s North American headquarters in Irvine, it must be apparent the direction things are going. EVs are enormously popular around here, more so than anywhere else in the country except the San Francisco Bay Area. Mazda’s Irvine employees must look out the window at various Irvine parking lots filled with Model 3s and recognize that the tide is coming in, but the message seems to be taking its time to get through to Japan.

The employees we talked to were proud of the vehicle they’ve released. And there are things to be proud of, it’s no small feat to get any car on the road, especially when it represents such a departure from your company’s and industry’s history. It’s not a bad car, it’s just not competitive with the other electric cars that are out today. It has fallen behind the rapid pace of innovation in the EV space and it’s going to take a lot of effort for Mazda to catch up.

And we sure hope they can, because we still really want an electric Miata (seriously, every time anyone says “Mazda” in Electrek’s Slack channel, everyone chimes in to beg for one. The latest: “Electrify the Miata you cowards!”).


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Springsteen: Deliver Me from Nowhere – a raw portrayal of the young rock star on the cusp of huge success

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Springsteen: Deliver Me from Nowhere - a raw portrayal of the young rock star on the cusp of huge success

“It’s a cliché,” says Bruce Springsteen, “but he is a rock star – and you can’t fake that.”

The Boss is talking about Jeremy Allen White, star of The Bear, who is now playing him in the upcoming film Deliver Me From Nowhere.

It comes after a flurry of biopics on musical greats in recent years, from Bohemian Rhapsody and Elvis to A Complete Unknown and Back To Black, but rather than an all-encompassing look at his epic career, this one focuses on a very specific period of its subject’s life; a raw portrayal of the young Springsteen, on the cusp of even greater success following the release of The River album, but struggling with inner demons and childhood trauma while writing the stark follow-up Nebraska, released in 1982.

Bruce Springsteen on stage in LA in 1985. Pic: AP/ Lennox McLendon
Image:
Bruce Springsteen on stage in LA in 1985. Pic: AP/ Lennox McLendon

Speaking at a Q&A held at Spotify’s London headquarters ahead of the film’s release, Springsteen, 76, said he had watched The Bear and “knew that was the kind of actor” needed – someone who could convey his inner turmoil, as well as play a convincing rock star.

“You either got that or you don’t have it, and he just had the swagger.”

Directed and co-written by Scott Cooper, the film is based on the book of the same name by Warren Zanes, and is the first time Springsteen’s life has been depicted on the big screen.

The star was on board straight away. “I figured, I’m 76 years old, I don’t really care what the f*** I do anymore. As you get older, certainly at my age, you take more risks in your work and in life in general.”

Jeremy Allen White stars as Bruce Springsteen in Deliver Me From Nowhere. Pic: Disney/ 20th Century Studios
Image:
Jeremy Allen White stars as Bruce Springsteen in Deliver Me From Nowhere. Pic: Disney/ 20th Century Studios

He and White first met at one of his gigs at Wembley Stadium, where Springsteen prepared himself for lots of questions. “I figured this guy is going to be tremendously interested in me.” But White had done his homework, arriving “so prepared that he really asked me very few questions”.

Springsteen was on set regularly, “which I always apologise to [White] for because… it’s gotta be really weird playing the guy with the guy’s stupid ass sitting there.”

Learning five Bruce songs

And White also had to take on the music. When told he would need to sing and play guitar, his jokey response was: “I don’t do those things. Are you sure?” He had about six months and learned on a 1955 Gibson J-200, sent to him by Springsteen, as the closest model to his Nebraska guitar.

“I was getting together with [teacher JD Simo] on Zoom, four or five, six times a week to prepare. And the first time we hopped on, I said, ‘hey, I’m so excited to learn how to play guitar with you’. And he said, ‘we don’t have time to learn how to play the guitar, we have time to learn these five Bruce songs’. So I learned the guitar in a very strange way.”

Springsteen says it “took me a moment” to get used to seeing his story being dramatised, to White playing him. But he was happy.

“I always go, damn, when did I get that good looking?” he jokes. But he says White’s performance was impressive, that he was able to sing songs “that are hard for me to sing, some of them”.

Keeping the sweat going

Mastering the big hits, Born To Run, Born In The USA, was tough, says White. Thinking he would need to keep his heart rate high for his performance scenes, White says he took a weighted rope on set, to skip and “keep my sweat going”. Turns out, it wasn’t necessary. “When you perform Born To Run or Born In The USA, that sweat comes naturally… I did not need to use that rope.”

Part of the film goes back to Springsteen’s childhood, to the house he grew up in. “They did a very, very good job of putting that house back together,” he says. It is the home he visits “in my dreams to this day, at least a couple of times year… so being able to physically walk into what felt like that living space, my grandmother’s house, my grandfather’s house with my parents, we all lived there together. It was quite a miracle and quite wonderful”.

Springsteen with White and Stephen Graham at the Deliver Me From Nowhere London Film Festival premiere. Pic: Scott A Garfitt/Invision/AP
Image:
Springsteen with White and Stephen Graham at the Deliver Me From Nowhere London Film Festival premiere. Pic: Scott A Garfitt/Invision/AP

British actor and recent Emmy winner Stephen Graham plays Springsteen’s late father, and the drama delves into their difficult relationship.

Remembering the family struggles

Reliving those experiences was “powerful”, the star says. He watched an early screening with his younger sister, who held his hand throughout. “And at the end she says, isn’t it wonderful that we have this… it honours our family, it honours the memory of the struggles that we went through… To have it on film in the way that it was portrayed, meant a great deal to my sister and myself.”

Springsteen says he hopes people will connect with the film, with this part of his story, the same as the crowds in front of him do every time he walks on stage.

“The E Street Band will be good every night because that’s what we do,” he says. “But how great we’re going to be is up to you… Hopefully there’s an element of transcendence… and hopefully it stays with [the audience] for as long as they need.”

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Are Donald Trump’s film tariff threats making investors ‘dither’ in UK?

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Are Donald Trump's film tariff threats making investors 'dither' in UK?

At West London Film Studios – where major productions from Bridget Jones’s Baby to Killing Eve have all filmed – while Apple TV+’s Ted Lasso is currently being shot in one of their 10 sound stages (across two sites), it pains owner Frank Khalid that one of his biggest stages is empty.

But he has a theory as to why – Donald Trump’s social media posts threatening tariffs on films made outside the US.

“Prior to [Trump] posting that we had quite some big major features come to us looking for space,” he says, “and it’s just gone very quiet since he posted… maybe it’s a coincidence, I don’t know, but I believe it has affected us.”

Frank Khalid, owner of West London Film Studios
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Frank Khalid, owner of West London Film Studios

In September, on his social media platform Truth Social, Trump wrote that America’s “movie making business has been stolen….by other countries…like…’candy from a baby’.”

Repeating a threat he’d first made last May, he claimed he’d authorised his government departments to put a “100% tariff on any and all movies that are made outside of the United States”.

For bigger studios, like Pinewood and Elstree, block-booked years in advance by the major movie producers, his words haven’t had any immediate effect.

But, at smaller studios, like Khalid’s, he certainly feels like there’s been a ripple effect.

More on Donald Trump

“We had a letter from one major big American production saying [the tariff] is not possible, [Trump] legally can’t do it… but at the end of the day, he doesn’t have to do it, the damage is done, isn’t it? By him just posting that… the confidence in the market goes down.”

As Jon Wardle, director of the National Film and Television School, explains, the industry has “always been a bit feast or famine, and we’re in a slight lull… it’s not quite the boom of what it was in 2022 after COVID, but probably at that point we were making a few too many projects.”

Jon Wardle says the UK 'needs to be more committed to homegrown talent'
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Jon Wardle says the UK ‘needs to be more committed to homegrown talent’

Wardle says, Trump’s threatened tariffs are certainly likely to make film companies “slightly more nervous” and “dither a bit more” when it comes to signing off on projects a few years down the line.

But he says it’s important to remember that US studios have “invested hugely” in the UK.

“Disney has a 10-year lease at Pinewood, Amazon has a 10-year lease at Shepperton, the investment for those companies is massive. And the other part of this is that it’s not going to be cheaper to make those films in America. In fact, it’ll be more expensive.”

West London Studios has 194,000 square feet of production space and is one of the UK’s leading independent studios
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West London Studios has 194,000 square feet of production space and is one of the UK’s leading independent studios

While the UK industry appears to be finding its feet after the knock-on effects of COVID shutdowns and the US writer’s strike, some smaller studios say Trump’s tariff threats are certainly on their radar.

Farnborough International Studios told us that while it has “recently hosted major TV series for companies such as Paramount and Amazon”, it has “seen film bookings and enquiries slowing down since the first sign of imposed tariffs”.

While West Yorkshire’s Production Park said they’d “not seen any slowdown”, a spokesperson for their studios said they are “tracking wider policy changes that could affect us”.

Mr Wardle says: “I think is it’s a good warning to the UK industry. I think the UK needs to take more seriously the commitment to its own homegrown talent. How do you make projects that aren’t funded and paid for by Americans or another nation?”

This year's London Film Festival
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This year’s London Film Festival


With little detail for now, few working within the industry can fathom how a tariff would deliver the happy ending of shoots returning to Hollywood that Donald Trump might desire without driving up costs and stifling investment.

“There’s a huge number of questions about how you actually make tariffs work,” Mr Wardle explains. “It seems like a silly example, but production accountants: we train production accountants and nowhere else in the world does… we planted those seeds 20 years ago and we’re now reaping the rewards.

“It’s not going to be cheaper to make those films in America… so they’ll just make less.”

While Number 10 awaits full details of the latest US tariffs and their potential impact on the UK, a government spokesperson said: “Our film industry employs millions of people, generates billions for our economy and showcases British culture globally. We are absolutely committed to ensuring it continues to thrive and create good jobs right across the country.”

Listen below to Trump100 from May where we discuss Trump’s tariff threat:

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The madness of trying to second-guess what the president might mean becomes all too apparent at an event like this year’s London Film Festival.

Mr Wardle explains: “There are films in this festival that were made in Britain and in the US, made physically in terms of the shoot in London, post-produced in Canada, with VFX done in India…. how do you apply tariffs? At what point do you do that?”

Read more:
Hollywood is dying – but insiders fear Trump’s tariff threat may hasten demise
Trump plan for tariff on non-US movies could deal knock-out blow, union says

On the red carpet, actor Charles Dance – who stars in Guillermo del Toro’s Frankenstein – questioned Trump’s knowledge of filmmaking.

“I don’t think he is generally known for his own understanding of culture,” he said, “this is a man who wants to concrete over the Rose Garden.”

Rian Johnson, director of the Knives Out franchise, said it was “dark times right now in the States, for a lot of reasons”.

“All we can do is keep making movies we believe in, that matter, that say things to audiences… I think we need more of that so we’ll keep forging ahead as long as we’re able,” he said.

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BBC Gaza documentary breached broadcasting code, Ofcom finds

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BBC Gaza documentary breached broadcasting code, Ofcom finds

A BBC Gaza documentary breached the broadcasting code, an Ofcom investigation has found.

The regulator said the failure to disclose that the 13-year-old boy narrating the programme was the son of a deputy minister in the Hamas-run government broke the rules and that it was “materially misleading” not to mention it.

In July, the BBC said it breached its own editorial guidelines by failing to disclose the full identity of the child narrator’s father in the Gaza: How To Survive A Warzone documentary.

The documentary was made by independent production company Hoyo Films, and features 13-year-old Abdullah Alyazouri, who speaks about life in Gaza during the war between Israel and Hamas.

It was pulled from BBC iPlayer in February after it emerged that the boy was the son of Ayman Alyazouri, who has worked as Hamas’s deputy minister of agriculture.

A report into the controversial programme said three members of the independent production company knew about the role of the boy’s father – but no one within the BBC was aware.

Ofcom’s investigation into the documentary, which followed 20 complaints, found that the audience was deprived of “critical information” which could have been “highly relevant” to their assessment of the narrator and the information he provided.

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The report said the failed to disclose a narrator’s links to Hamas “had the potential to erode the significantly high levels of trust that audiences would have placed in a BBC factual programme about the Israel-Gaza war”.

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Crises within the BBC

Following an internal review into the programme, followed by a full fact-finding review the BBC’s director of Editorial Complaints and Reviews, Peter Johnston, the corporation’s director general, Tim Davie, and Hoyo Films apologised.

Hoyo films said it was “working closely with the BBC” to see if it could find a way to bring back parts of the documentary to iPlayer, adding: “Our team in Gaza risked their lives to document the devastating impact of war on children.

“Gaza: How To Survive A Warzone remains a vital account, and our contributors – who have no say in the conflict – deserve to have their voices heard.”

Israel does not allow international news organisations into Gaza to report independently.

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Describing it as “a serious breach of our rules,” Ofcom said they were directing the BBC to broadcast a statement of their findings against it on BBC2 at 9pm, with a date yet to be confirmed.

Responding to the findings of Ofcom’s investigation, a BBC spokesperson said: “The Ofcom ruling is in line with the findings of Peter Johnston’s review, that there was a significant failing in the documentary in relation to the BBC’s editorial guidelines on accuracy, which reflects Rule 2.2 of Ofcom’s Broadcasting Code.

“We have apologised for this and we accept Ofcom’s decision in full.

“We will comply with the sanction as soon as the date and wording are finalised.”

The BBC has faced numerous controversies in recent months, and just last week, former MasterChef presenter Gregg Wallace filed a High Court claim, suing the broadcaster and its subsidiary BBC Studios Distribution Limited for “distress and harassment” after he was sacked from the cooking show in July.

The 61-year-old ex-greengrocer was dismissed after an investigation into historical allegations of misconduct upheld multiple accusations against him.

The BBC has said Wallace is not “entitled to any damages,” and denies he “suffered any distress or harassment as a result of the responses of the BBC”.

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