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~ rants & reflections of Martin Jameson, writer, director & grizzled media gunslinger.

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Category Archives: Emmerdale

The Marmoset Picks The Nits Out Of Taxation

08 Friday Apr 2016

Posted by Martin Jameson in Economics, Emmerdale, Politics, Taxation, Writing

≈ 2 Comments

Tags

David Cameron, Ian Cameron, Moral Self-Righteousness, Starbucks, Tax Avoidance

WARNING!  SOME OF THE FOLLOWING IS ABOUT TAX LAW!!!
PS THERE AREN’T MANY JOKES

Some years ago, when I was pulling in a more than decent six figure whack from my travails in the TV writing industry, my lovely accountant (you know who you are!) lobbied me pretty intensively with regard to ‘incorporating’ myself. For those unfamiliar with this concept – essentially it meant turning myself into a company – Martin Jameson Ltd – subject to beneficial rates of corporation tax – and then paying myself from the dividends, thereby reducing my tax liability by thousands of pounds every year.

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All this from just a few episodes of Emmerdale Farm!!

This was a completely legal form of tax avoidance – although I think the tax benefits have shifted a bit these days – and a commonplace amongst many media professionals. It went on all the time and no one thought much about it.

Well I thought about it – very seriously – but on balance I decided that a) it sounded like an awful lot of hassle (which would have been one reason my lovely accountant was keen as he would ‘take care of it’… for a very competitive fee of course) and b) as a democratic socialist earning a decent fist, I actually wanted to pay my fair share of tax from which my health care, kids’ education, state infrastructure etc was paid. So far, so virtuous.

the-saint-halo

This is what I looked like when I decided not to incorporate

Many of my contemporaries – including several who would regularly tout their working class lefty credentials – chose to exploit this completely legal method of reducing their personal tax liability.

Of course all self employed media hobbits exploit a well established system of tax avoidance.  We run our own businesses, work from home, provide all our own working materials, pay for all our own research, buy our own heel balm and hairy foot coiffure etc etc… and so quite reasonably the costs of these items are not subject to tax at whatever is our highest rate. The list of things we can legitimately claim for is decided upon and constantly reviewed by the bods at HMRC.

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Hobbits can legitimately claim for foot care products

But tax avoidance it most definitely is – as opposed to tax evasion, which is illegal – and until a couple of years ago no one batted an eyelid. But now multi-nationals are keeping their patents off shore and their UK franchises pay royalties to those ‘parent’ companies equal to any taxable profits here where they make their cash – and hospitals are starved of it. And Prime Ministers’ fathers set up – completely legal – offshore funds, and offer their kids a chunk, who profit from the tax free status, and everyone goes MEME crazy on Facebook.

Starbucks-tax-avoidance

So is one form of tax avoidance ‘better’ than another – more, or less, morally acceptable?

Going back to the arcane tediosity of being a self employed scribbler, did I, having made my goody-two-shoes decision to pay self employed income tax as per normal, stand sanctimoniously in judgement of my colleagues who chose a less taxing route?

No. Absolutely not. It was completely legal and a matter of personal choice. Pay unto Caesar what is Caesar’s, and if Caesar says incorporating is ok, then clearly Caesar has factored that in. Caesar can make that illegal if he wants to. However, interestingly, in recent years, anyone openly declaring their left wing credentials is a lot more wary about going down the incorporation path. It’s starting to be seen as a bit iffy.

So what about the other more aggressive forms of tax avoidance? Are they ‘worse’?

Well, the argument runs that the problem with the ‘Starbucks’ strategy, or the offshore tax haven strategy is that, although they are legal, they are essentially inequitable. You can only do these things if you have shed loads of dosh in the first place – so therefore the law is structured so that the very wealthy have opportunities to reduce their tax liability that aren’t available to the rest of us on more meagre incomes – even the hobbits.

So is it right to lambast those wealthy types for their moral vacuity, hypocrisy, greed etc for exploiting these tax loopholes? Should David Cameron be drummed out of office for some shares in his Dad’s company he owned ten years ago?

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‘Thanks for the money, Dad’ – ‘Keep it under your Panama hat, son’

Of course, everyone’s entitled to an opinion, and it’s certainly emblematic of the way that inequality is written into the statutes of our society at a very deep level, but I can’t help thinking that the individuals aren’t really the issue.

This is about law in a democratic society.

I’ve attempted, here, to find some kind of dividing line to delineate where I think tax avoidance moves from the sensible to the poisonously inequitable – but I’ve certainly met people who are astonished, even outraged that I can set a percentage of my telephone costs off against tax, or travel for work purposes, or paper, or books and DVDs I use in my research, theatre and cinema trips, many other things…  Depending on your starting point, everybody’s bottom line in the tax-sand is different.

Which is why we have a democracy, and we vote in a government, and we accept that the majority wins, whether we agree with them or not, and they get to make the laws for the time they are in office. Democracy isn’t about taking EVERYONE’s opinions into account. That’s chaos. We do the voting thing precisely to avoid that chaos.

So if we don’t like the way Starbucks behaves, or the Ian Camerons of this world, then, sure, have a pop, but the only practical, useful, meaningful thing is to lobby – in order actually DO something about what happens next – to change the law itself.

The problem with throwing mud at someone for exploiting the law as it stands, or stood in the past, is that then we are asking individuals, or companies, to make a subjective decision about what tax they should pay, as if there’s a sort of instinctive right and wrong about this stuff. It’s predicated on the idea that there is some kind of natural ‘common sense’, a moral law, that everyone’s agreed upon.

There isn’t, and they aren’t. We aren’t!

And then it all gets mixed up with the background radiation that is social media’s distaste for anyone who has any cash at all – ! – unless, of course, it’s someone they like, such as a footballer or an artistic creative. But that’s a whole other blog…

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The German cartoonist George Grosz would have flourished in the age of social media!

It’s so very easy to be morally self-righteous, but moral self-righteousness is fundamentally subjective, so in the end we just have to decide as a country what we want to do and legislate for it – and not be surprised when individuals or companies work within the laws our democracy provides for them.

Although, of course some of us do make that subjective choice…

Excuse me while I go and polish my halo.

the-saint-halo

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My Confession: ‘I Have Killed – And I Will Doubtless Kill Again’.

06 Sunday Apr 2014

Posted by Martin Jameson in Emmerdale, Holby City, Writing

≈ 4 Comments

Tags

Bonnie Wallis, Butch Dingle, cancer, Continuing Drama, Death, Emmerdale, Holby City, Jac Naylor, Jonny Maconie, Soap

I realise that I have broken the first rule of blogging by posting once and then leaving it for ages.  I could pathetically blame the radiotherapy which has laid me out (it’s that or the medication) or take this opportunity to tell the world about my crimes, and my guilty conscience.  I could try to lay low, pull my hat down low and my collar up, but seeing as 4.4million people tuned in last Tuesday 1st April 2014 and collectively gasped (it trended on Twitter for about the length of a gasp) as a regular character was brutally mown down in her nuptial prime, I think the best thing I can do is confess that not only was I the author of the narrative that drove that truck (and not jealous love rival Jac Naylor as some Twitter wags have suggested) but feeling rotten as I was, it cheered me up no end.  Which possibly makes me some kind of psychopath – and a serial psychopath at that (Serial?  See what I did there?).  And like all serial killers I seem to be developing an MO.

Holby’s Bonnie Wallis about to meet her doom…

I first got the taste for blood back in 2000 when I was asked by Kieran Roberts, the then producer of the itv Yorkshire village soap Emmerdale, to deal Butch Dingle a lethal blow, courtesy of a seventeen ton truck which would conveniently land on top of a minibus full of much loved characters – and Malandra Burrows (NO!!  I take that back!  Malandra is lovely, just couldn’t resist a cheap gag). Admittedly it was left to my brilliant writer friend Karin Young to dispatch the (very good) actor Paul Loughran unto the great post-soap panto-contract in the sky, but I was the one to give him the deliciously terminal injury.  I can’t even argue that it was a crime of passion.  No, this character assassination required meticulous planning.

The seventeen ton truck on top of a minibus thing was a given.   I was never quite sure why… perhaps there was a job lot of heavy duty stunts available that year.  However, having handed me a seventeen ton murder weapon, the production team then revealed that the most obvious bit of road through the exterior Emmerdale lot at Harewood House was unavailable to us because it had been built above a primary water main and because the road was only a pretend road and did not conform to public highway building specs, dropping said truck upon it would most likely fracture the pipes and deprive the north of Leeds of its water supply.  And so, a convoluted chain of events, a bit like a plot line out of Final Destination, had to be constructed in order to get the truck and the minibus to interface fatally somewhere vaguely recognisable as our primary location.

The minibus was another problem.  Why were all our characters in the minibus in the first place?  The story office obliged with a plot line about Alan Turner running a minibus service into the local town (can’t for the life of me remember why) which would have done the trick, apart from it being well established that all the characters had their own cars and rarely used public transport.  So, the first half of the episode consisted of a lot of scenes of people complaining about their cars needing to go into the garage.

Back to the truck, whose brakes had failed (What??  It happens!!), which needed to leave the main road and drive around a tight corner at speed (in order not to linger over the water main) in order to leap into the air and then fall upon the unsuspecting Emmerdalians. So a few strategically placed children were all that was needed to encourage the driver – Kirk Smith – to choose the path of destruction rather than the safer one of the main road to Hotten straight ahead though empty fields where he could crash with impunity. ‘Leap into the air…?’ I hear you repeat uncertainly.  We all know that trucks do this quite naturally, especially when the load hasn’t been secured properly inside and sways about a bit.  Should this happen then the truck will fly over as if a compressed air concrete pile driver has been ejected through a specially pre-fabricated hole in the bottom of the chassis in order to ensure the vehicle tips exactly on cue.

There was only one opportunity to film this, and so five cameras were rolling as the stunt was executed meticulously, and the truck landed as planned on a minibus occupied with suitably attired dummies (insert your own joke there about ‘why didn’t they use a stunt bus?’ – I’m not going to do it!).

It was actually a genuinely exciting stunt to watch, and when the dust had settled a burly technician commented that it was a good job that the bus was full of mannikins because clearly all the characters inside would have been killed instantly.  You can see here for yourself:

Later the same year, Kieran met me under a canal bridge at dusk to give me the details of my next hit, Emmerdale farmer’s wife, Sarah Sugden, who was to be having an affair with her toyboy, Richie, in the barn, just as her adopted son, Andy, decided that it would be a good idea to burn the place to the ground in order to collect on the insurance and sort out his adoptive dad’s financial problems.  Given this fatal confluence, you would have thought it unwise to leave a LARGE CYLINDER OF ACETYLENE by the door, which, should it explode, would send yet another soap actor hurtling towards panto land…. You can imagine my glee when I heard that the explosion had to be re-shot to make it more explodey!!   You can see the final result if you join at about 16 minutes into the episode:

http://www.youtube.com/watch?v=jXD-oSSrKJI

I now had the smell of pink diesel on my hands… and it’s easy to forget that there are real consequences to these joyfully cathartic screen murders.  For a start – panto jokes aside – it usually means that someone has lost a steady income stream, which can be a scary thing for an actor, especially if they’ve been on a soap for a long time.  Hopefully though it’s a natural end to a contract and they’re happy to go out with a bang.  And if they’re iconic enough there’s always the chance that they will return from the dead, like Kim Tate in Emmerdale and Dirty Den in EastEnders.  Conversely, they can make the mistake, as one well known (but unnamed) soap actor did, of getting drunk at a party and insulting both me and the series producer, after which he and I looked at each other and said, simultaneously, and without prompting: ‘Over a cliff.’

Fast forward 13 years – and having written regularly for Casualty and Holby City – I’ve seen off countless guest characters who I dispatch with the callous disregard of a drive by shootist – even if I feign sadness for them at the time.

If you stop to think about it, this is majorly dysfunctional behaviour.

But just when you think you’ve killed so much that it has become no more than an itch to scratch (my daughter says that you can always tell when a Holby patient is going to die, because they have the holiday of a lifetime planned, or they’ve just planted something in their garden that’s due to bear fruit next year), someone offers you a contract that truly stirs the blood again.  Last year I was commissioned to write Episode 25, Series 16 of Holby City in which love torn senior Nurse, Jonny Maconie would finally prise himself free of icy, damaged cardiothoracic consultant, Jac Naylor, and marry Bonnie Wallis, the nurse who has held a torch for him ever since they met at Nursing College.  Just as everyone starts to think that he has jilted her at the register office, Jonny turns up in a taxi, short of a fiver.  As Bonnie crosses the road to give him some change, wondering if this is what it’s going to be like for the next forty years…. BAM!

So here’s the interesting thing.

Conventional writing wisdom has it, that to kill a character randomly at the end of a story is a cheat – a deus ex machinae – that will leave the audience frustrated and annoyed.  If you’re going to kill them randomly it has to be at the beginning of the story, as an inciting incident, or else their death needs to be earned through a suitable confluence of plot so as to be narratively satisfying.  However, in this instance, the good burghers of Holby City editorial team had decided that Bonnie’s demise needed to be a cruel and ironic twist – and most importantly, embargoed to scare the willies out of the audience.

This created a genuine challenge. How to seed the event enough to earn it, but still to have it seemingly come out of a clear blue side road?

The solution seemed to be to suffuse the whole episode with a sense of impending doom… from calling it ‘The Cruellest Month’ (it was transmitted on April Fools Day – irony and a literary reference all in one, folks) to peppering the script with casual references to car crashes and collisions – to building up the expectation that Jonny and Bonnie’s wedding was ill fated from the start.  Except that right at the last minute, we solve the problem that has been dogging Jonny throughout and hit the couple with a truck instead.  Yes it IS a narrative cheat, but it doesn’t feel like one because the audience have been building up to something for 55 minutes, and so it’s actually both satisfying and surprising when it happens, but not in the way they expect.

The other trick is to make sure that the ‘surprise’ death fulfils the story imperatives of the narrative – e.g. Jonny has been saving up saying ‘I Love You’ to his bride to be until after the wedding, so it’s satisfying that when he finally gets to say it, it is to her dead body – and it becomes an inciting incident for more story.

So in many ways, counter to all my normal instincts, this has to be the most satisfying, least contrived and genuinely shocking death of a TV character I’ve had the privilege to write.  I hope the lovely actress who played her, Carlyss Peer, can forgive me.

And much as I resist such cheesy notions, it’s hard to avoid the fact that I wrote the script while going through scans and biopsies for life threatening health condition, so perhaps the idea if being hit from left-field felt more real for me than it ever had done before.  Which does go to show, that although, as writers, we play with the lives and deaths of our characters like careless puppeteers, life can play with us just as carelessly.

If you haven’t seen it – Holby City – The Cruellest Month – might possibly still be lurking round on YouTube…

Until next time….  take care crossing the road.

 

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Recommended Links

  • Deadlines & Diamonds Excellent blog, mainly about the trials and tribulations of TV writing by my good friend and successful UK TV scribe, Lisa Holdsworth
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