Tim Long

The BBC has had thirty eight years and £3.8 billion a year to explain British farming to the British public. The job was eventually done by an American shopping website, in eight episodes, fronted by the man the BBC itself dropped over a row about a steak. Countryfile first went out on 24 July 1988, and its origin is the part nobody brings up. It replaced Farming, a programme that had spent thirty years making news for the people who actually did the work. The new show was deliberately widened to take in everybody who merely liked the countryside as well as those who lived off it. Widened meant softened. In 2009 it moved to Sunday evenings, where five to six million people still watch, and it has been settled ever since into an hour of scenery, a ramble, a calendar competition and the weather. Then in June 2021 a company best known for selling doorbells put out a series about a man failing to farm a thousand acres, and within a week the British public understood the subsidy system. Look at what an American retailer put on screen that thirty eight years of Sunday nights had not. A thousand acres, a full year of work, £144 profit. A crop drowning in the field with nobody coming to help. A farmer selling at a price he is not allowed to set. A council able to shut a restaurant standing on a man's own land. The accounts, open, with jokes over the top. James Rebanks, who keeps sheep for a living rather than for a segment, reckoned Clarkson did more for farmers in one series than Countryfile had managed in thirty years. The NFU said the same thing in nicer words. Now the funding, which is where it gets genuinely funny. Countryfile is paid for by £180 a year, rising on 1 April, taken from every household in Britain that watches live television, on pain of prosecution. Twenty three million licences. Three point eight billion pounds. Guaranteed money, a captive audience, a national mandate and a prime Sunday slot. Clarkson's Farm is paid for by people voluntarily pressing play, and it goes out in more than 240 countries. The nation's farmers had one broadcaster legally funded by them, obliged to serve them, sitting on the biggest slot in British television. It gave them a weather forecast and a photography competition, and when a bloke with a Lamborghini tractor did the actual job for free, the same building's stars went on a sofa to complain about his opening credits. The BBC had the money, the mandate, the Sunday night and thirty eight years. It used them to film the view.