The Streets’ Mike Skinner on his film debut The Darker The Shadow, The Brighter The Light: ‘It’s been a nightmare – an obsession’
You’re listening to The Streets, Mike Skinner told us back in 2001. Back then he was launching Original Pirate Material, the era-defining debut album that would become a cult classic and a best-seller, despite his lyrical assertion otherwise.
Now, we will soon be watching on the big screen, too, as Skinner releases his debut film The Darker The Shadow, The Brighter The Light, billed as a “tripped out neo-noir” murder mystery. The story follows the “seemingly mundane life” of a down-on-his-luck DJ and has been entirely crafted by the musician, who wrote, directed, filmed, edited and created the score for the project, and is also its star.
From a lyricist whose nuanced lines about life’s mundanities turned the banal into the exhilarating – from video shops and texting girls to scrambled eggs and fried tomato (plenty of) – it sounds promising. Of course, there is an album, too – the first full-length record from The Streets in more than 10 years (None Of Us Are Getting Out Of This Life Alive, released in 2020, was a mix-tape of collaborations).
‘I’m a DJ in the film and that part of the film is true’
“It’s a musical but the songs are the voiceover,” Skinner told Sky News at the premiere for the film, held in London. But don’t expect “jazz hands or dancing around on lampposts – that’s the next film”, he jokes. “It’s a very simple story that started out almost like a film noir type thing, but then got carried away.”
Scenes were shot in London venues such as Visions and Hoxton Hall, as well as Manchester’s Warehouse Project and Club Liv. “All of the places in the film are nightclubs where I have been DJing, so I’m a DJ in the film and that part of the film is true. But I wasn’t trying to be overly clever. I was just trying to make a film that would be easy and cheap.”
Skinner called time on The Streets in 2011 before announcing a reunion tour in 2017. His other projects, such as The D.O.T, have been low-profile in comparison, and he has been DJing for years. “I think music is about the other people you’re around, which is what makes it so intense when you’re a teenager, right, because the music represents these emotional times that you’re having. In a weird way, I actually think DJing is a bit like that, really. Because, you’re forced to be in rooms with people listening to music very loud.”
So the premise for the film sounds like it could be based in truth, apart from, presumably, the murder-mystery part. “It’s not autobiographical at all, apart from the people and the places, if that makes sense,” he says. “There’s elements of it that are really happening – when I’m DJing, that’s just someone filming me when I’m DJing. But it’s… I’ve just crafted a very silly story on to the top of what is very banal, and nocturnal.”
Concept similar to A Grand Don’t Come For Free
The film was planned “as being a bit like my second album”, Skinner says. A Grand Don’t Come For Free, the album that saw his fame skyrocket, was a concept album telling the story of a guy who loses £1,000, featuring hits including Fit But You Know It, Dry Your Eyes, and Blinded By The Lights.
“This is the same, really,” he says. “It’s kind of what I’ve been doing lately, but turned into a musical.”
The music has been ready for years – “this project’s seven years old, or 10 years, depending on how you define it… I’ve been sitting on the music”.
Bringing back The Streets, starting with a reunion tour, has been “great”, Skinner says. In fact, that’s been the easy bit. The film was harder to get off the ground. He was determined, financing the project himself when he struggled to get backing.
“Knowing that I’m working on this film and then working on this film has been a nightmare. It’s been an obsession… I kind of did everything myself so it just didn’t stop, really. The tunnel was very long, very dark, and there was no light – apart from a train, maybe.”
‘I didn’t sleep for a week’
Skinner is a perfectionist. “You have to be. But it was more… we did try to get funding. No one wanted to give us any money. That was 2019. I mean, established directors can’t make films, you know, so I’ve not got a chance in hell, really. I kind of knew that. End of 2019 I just thought, I’ve just got to do this myself or it’s not going to get done. And it’s really hard.”
Now, with the film about to launch, he admits he feels “completely overwhelmed”, having struggled the most with the finishing touches in the days leading up to the premiere. “I’ve kind of gone from literally sitting in my pants, just tearing my hair out, to like three days later, having make-up put on me and talking to you.”
He adds: “It was completely bonkers. I didn’t sleep literally for a week. I could have gone on, to be honest, I could have gone on for another six weeks. But, you know, you don’t finish a work of art. You just abandon it.”
Skinner is touring The Darker The Shadow, The Brighter The Light with Q&A sessions at Everyman cinemas, starting in Plymouth on 19 September and ending in London on 6 October
Hollywood writers reach ‘tentative’ deal to end strike over AI and compensation
A “tentative” deal has been reached to end a long-running strike by writers in Hollywood.
The Writers Guild of America (WGA) announced the deal with the Alliance of Motion Picture and Television Producers (AMPTP), the group which represents studios, streaming services and producers in negotiations.
A statement from the WGA said: “We have reached a tentative agreement on a new 2023 MBA, which is to say an agreement in principle on all deal points, subject to drafting final contract language.
“We can say, with great pride, that this deal is exceptional – with meaningful gains and protections for writers in every sector of the membership.”
Most of the writers’ demands have been met
After 146 days on the picket line, Hollywood’s writers are finally ready to put pen to paper and sign an agreement with the studio bosses who pay their wages.
My understanding from speaking to sources on both sides of the standoff, is that most of the writers’ demands have been met with this deal, including greater royalty payments and assurances about the role of Artificial Intelligence in future TV and filmmaking.
If approved by the Writers Guild of America members, which seems all but guaranteed, it will bring an end to the second longest strike in the union’s history. It is also the broadest industry strike in decades, with more than 100,000 actors joining them on the picket.
Hollywood will not fully bounce back. Until actors return to work, filming on shows like the Last Of Us and Stranger Things, which have been on hold for months now, cannot resume. But talk shows like Jimmy Kimmel Live! and Saturday Night Live, which don’t rely on actors, could resume filming as soon as this week.
Speaking to people on the picket line, they framed this strike action as about more than just Hollywood. Some said AI was not just “anti-creative” but that it presented an existential threat not just to their craft but to humankind.
This deal will be seen as a major victory in securing protections over their TV and film credits and payments in the wake of AI.
The three-year contract agreement – settled on after five days of renewed talks by negotiators from the WGA and the AMPTP – must be approved by the guild’s board and members before the strike officially ends.
Read more on Hollywood strikes:
How much of a threat is AI?
The terms of the deal were not immediately announced.
The statement added: “To be clear, no one is to return to work until specifically authorised to by the Guild.
“We are still on strike until then. But we are, as of today, suspending WGA picketing. Instead, if you are able, we encourage you to join the SAG-AFTRA picket lines this week.”
The agreement comes just five days before the strike would have become the longest in the guild’s history, and the longest Hollywood strike in decades.
About 11,500 members of the Writers Guild of America walked off the job on 2 May over issues of pay, the size of writing staffs on shows and the use of artificial intelligence (AI) in the creation of scripts.
In July, the SAG-AFTRA actors’ union started its own walkout which is yet to be resolved.
It said in a statement: “SAG-AFTRA congratulates the WGA on reaching a tentative agreement with the AMPTP after 146 days of incredible strength, resiliency and solidarity on the picket lines.
“While we look forward to reviewing the WGA and AMPTP’s tentative agreement, we remain committed to achieving the necessary terms for our members.
“We remain on strike in our TV/Theatrical contract and continue to urge the studio and streamer CEOs and the AMPTP to return to the table and make the fair deal that our members deserve and demand.”
David Tennant and Catherine Tate appear in surprise Doctor Who trailer alongside a star studded cast
Doctor Who fans were given a surprise on Saturday – with a new trailer showing the return of two beloved characters.
Just as viewers were about to be transported in the ballroom for the first Strictly Come Dancing live show of 2023, they took a quick detour via the TARDIS.
Tennant was one of the most popular Doctors after the show was revived, with his exit – alongside companion Catherine Tate – leaving many fans heartbroken.
But in a surprise twist at the end of the last series, Jodie Whittaker’s character regenerated into David Tennant’s iteration of the Doctor – who played the iconic Time Lord between 2005 and 2010.
Fans had been expecting to see Ncuti Gatwa, who was announced as the new Doctor earlier this year.
Both Tennant and Tate are returning this November for three episodes as part of a 60th anniversary special of the show.
Sex Education star Gatwa will then take over the role, with his first appearance as the 15th Doctor Who set to take place over the festive season. Gatwa is seen at the end of trailer, smiling and opening his eyes.
The new trailer saw Tennant and Tate reunited, with the latter regaining her memory and the pair fighting against a host of new villains.
At one point, Tennant says: “I don’t believe in destiny but if destiny exists then it is heading for Donna Noble. If she ever remembers she will die.”
The brand new trailer features Neil Patrick-Harris – he will play the Toymaker, an all-powerful enemy last seen in 1966.
Elsewhere, Jemma Redgrave reprises her iconic role as Kate Lethbridge-Stewart.
Show runner Russell T Davies said: “This is just the start, as the fever starts to burn. We’re heading for a November full of Doctor Who surprises, for fans and new viewers alike. Stay alert!”
The show will premiere exclusively on the BBC for the UK and Ireland. Disney+ will be the exclusive home for new seasons of Doctor Who outside of the UK and Ireland.
Kids’ TV is dying but it is evolving – and could create a new golden age
CITV – the channel that gave us Fraggle Rock, Danger Mouse and Rainbow – has left our terrestrial screens. CBBC – home of Blue Peter and Newsround – plans to follow.
Meanwhile real-term investment in children’s TV by public service broadcasters has dropped by 30% in the last 10 years.
And while Sky has bucked the trend by launching an ad free kids channel, overall, the future of kids TV is looking bleak.
But figures show young people are still watching TV – albeit in a different way. Recent BARB viewing data shows that while the average amount of broadcast TV minutes of children’s TV channels watched by four-year-olds per week has declined by 62% since 2019, viewing has risen by 30% in the same period, demonstrating the “streaming first” trend in children’s viewing habits.
So, if kids are ditching linear viewing in favour of streaming, some might say that public service broadcasters moving their content online makes sense. Others would rightly argue that not all children have access to the internet.
And then there’s the question of what kids are actually watching online. It’s an “explosion” of choice the longest-serving female presenter of Blue Peter, Konnie Huq, doesn’t think it’s necessarily a good thing.
Huq tells Sky News: “Kids will always go for the biggest, fastest dopamine hit… We live in a world of instant gratification culture and actually delayed gratification is much better for happiness and mental wellbeing in the long term.
“And kids, obviously they’re not old enough to always make the right judgement calls.”
Huq – who is a mother-of-two herself and now works as a children’s author and screenwriter – recognises the needs for government legislation to hold streaming companies to account for the content they’re putting out. But she also recognises the limitations of people trying to control a seemingly infinite web.
She says: “It’s hard for laws, legislation, parents, schools, and the control culture to keep up with the changes that are going on.
“So, it’s important to make sure that you know what your kid is seeing, because on YouTube, for instance, your child could be watching one thing, but then different suggestions pop up unselected, unbeknownst to you. So, a few programmes hop away could be something that you might not be comfy with your child watching.”
The Online Safety Bill – a new set of laws to protect children and adults online – is due to come into law later this year.
And at the Royal Television Society Convention earlier this week, the Culture Secretary Lucy Frazer announced new plans to bring unregulated online channels under Ofcom content rules on traditional TV to ensure children and vulnerable viewers are protected from inappropriate or harmful material.
The Department for Culture, Media and Sport told Sky News: “The shows we watch as children shape the way we see the world, staying with us forever.
“From Thomas The Tank Engine to Shaun The Sheep and Horrible Histories, the UK is home to some of the world’s best children’s shows. Over 845 kids programmes have benefitted from the government’s generous animation and children’s tax reliefs, increased in this year’s budget, leading to more than a billion pounds of investment.
“The upcoming Media Bill will require mainstream on-demand streaming services to follow a new video-on-demand code protecting children from harmful or inappropriate content and we’re consulting on bringing unregulated online TV channels under Ofcom’s rules to deliver consistent protections.”
However, with investment in kids TV at its lowest level since 2012 (Ofcom’s Media Nations Report found that real-terms investment in children’s TV by public service broadcasters fell from £114m in 2013, to £80m last year) many would argue that investment just isn’t enough.
Spending on original kid’s content in the UK has been slashed following the 2006 ban on advertising junk food to children.
And the Young Audiences Content Fund – a £44m fund designed to help support children’s programming on channels including ITV and Channel 5 – was scrapped by the government last year.
Former CBeebies series producer Jon Hancock, who is now managing director of kids and family production company Three Arrows Media, calls the ditching of the fund “a difficult pill to swallow”, particularly because it was such “a monumental success”.
Set up by the government, and administered by the BFI, the fund was created to help stimulate more commissioning of UK-specific content in public service broadcasters outside of the BBC (which is funded by the licence fee).
The BAFTA-winning producer says the fund “helped the likes of Channel Five commission some fantastic award-winning content and to have that scrapped as it was 18 months ago was a devastating blow to the children’s industry”.
Huq too also says the loss of original, sometimes boundary pushing content, is a blow to British children’s viewing.
“Kids programming has often been ahead of the curve, before grown up programming has even caught up with it. And you know, that comes to so much diversity, when you’re looking at stuff like gay rights, things you wouldn’t necessarily assume kids TV even touched with a barge pole or had a hand in, kids TV was always at the forefront.”
As for BBC‘s plans to stop terrestrial broadcasting of its children’s channel CBBC – home to shows including Blue Peter and Newsround – in the future, Huq feels the broadcaster could be missing a trick.
“There’s less and less of these shared viewing experiences, which is why I think some of these Pixar films do so well these days, in that teatime viewing isn’t really a thing and everyone seems to just be watching their own thing on their own device. There is no family viewing as such.”
The BBC told Sky News: “We have said we won’t close any of our children’s channels before 2025 at the earliest, and we will maintain them for as long as they deliver value, and our audience needs them.
“Children’s content is a priority for the BBC and we are the major investor of original, culturally relevant British content for ages 0-12 – more than any other streamer or broadcaster in the UK and we still have the two leading linear channels for them.”
So, while Bob The Builder and Horrid Henry have been forcibly evicted from their CITV terrestrial home, and plonked into ITVX Kids, Blue Peter at least has a temporary reprieve, and won’t weighing anchor quite yet.
Time will tell if the evolution of kids TV to online will crush its creative spark or whether the challenge of standing out in a crowded marketplace will inspire innovative new shows and approaches – a new golden age of children’s TV.
But as kids become the curators of their own content – the good, bad and ugly – might we do well to consider whether we’re handing over too much responsibility to our youngest – and arguably most important – viewers to consume whatever, wherever and whenever they want?
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