Why Jamie Oliver won’t completely walk away from Channel 4
As Jamie Oliver ends his ‘golden handcuffs’ deal with Channel 4, is the erstwhile Naked Chef likely to find riches in SVOD land or is a return to terrestrial inevitable?
“Our long national nightmare is over”
US president Gerald Ford during his inauguration on 9 August 1974. The country was in turmoil over the Watergate scandal and subsequent resignation of his predecessor Richard Nixon.
After two decades at Channel 4, TV cook Jamie Oliver is off in search of (presumably) richer pickings at the likes of Netflix and Amazon, as he breaks free of his previous exclusive contract with the broadcaster.
But Oliver hasn’t altogether forgotten his previous patron.
If the hoped-for big money scores don’t work out with the streamers, Oliver has said he wishes to “maintain a close relationship with Channel 4 for the future”.
A wise precaution, considering how important the broadcaster is in promoting the Oliver brand and pushing his series-related recipe books.
A warning from history is available in the fate of Richard & Judy, who, after leaving ITV and then Channel 4, found themselves presenting their New Position chat show for UKTV’s Watch channel. Audiences declined to just 1,000 viewers, compared to three million for ITV’s This Morning with Richard and Judy.
Would Channel 4 welcome Oliver back?
With the hash slinger absent from the channel, what better time to hire younger, more relevant and (to his critics) less entitled culinary talent such as Jack Monroe?
Oliver’s tin ear for optics during the pandemic and the closure of the majority of his UK restaurants has made him an increasingly divisive figure.
Recent news that he received £1.75m after the collapse of the Oliver eateries in 2018 didn’t exactly endear him to creditors, former employees and the public at large.
Oliver’s noticeably hangdog appearance, frequent recourse to self-pity and habit of lecturing people on healthy eating has not helped his tarnished image.
Appearances on the likes of Graham Norton have tended to be the cue for making a cup of tea, channel surfing or visiting the loo, as he has never been a particularly fascinating conversationalist.
And, to some, he’s actually not that great a cook.
His habit of drenching food in olive oil, excessive use of chilli and incessant pounding of meat on a board to the accompaniment of his stock chirpy banter has become a televisual cliché.
Jamie’s recipes for paella and egg-fried rice were respectively derided in Spain and mocked by comedian Nigel Ng.
The fact that Oliver often refers to his personal spins on classic dishes as ‘The Best’ could well be seen as offering multiple hostages to fortune.
He can now take advantage of his departure from Channel 4 to reinvent himself, shedding some of the mannerisms accrued through years of presenting very similar shows.
Given the failure of his restaurant chains, a public service project without a cash-in book (or all profits going to an appropriate charity) might be one way forward.
The exit of the ‘classic’ Top Gear line-up of Clarkson, May and Hammond from the BBC brought them riches at Amazon Prime, but little of the publicity the trio previously enjoyed.
That is until Clarkson’s Farm, which has catapulted the controversial host back into the headlines.
Maybe something similar could work for Jamie Oliver, but he would need a supporting cast of strong characters to back him up.
A word of warning
I would beseech Oliver not to invite the cameras in to follow the rebuilding of the moat or upgrading of the servants’ quarters at his country retreat of Spains Hall – or in fact, anything else connected with the 70-acre estate.
With the cost-of-living crisis likely to be with us for some time to come, the sight of Oliver lavishing cash on restoring the minstrel’s gallery (and hiring an inhouse troop of suitably attired jongleurs) at the Tudor mansion is a potential Marie Antoinette moment.
Stephen Arnell began his career at the BBC, moving to ITV where he launched and managed digital channels. He continues to consult for streamers and broadcasters on editorial strategy. He currently writes for a variety of publications (including The Spectator, Independent, Guardian, Broadcast etc) on film, TV and cultural issues. He is also a writer/producer (including Bob Fosse: It’s Showtime for Sky Arts) and has just completed his first novel.
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