The rows about The Lost King and Baby Reindeer should not have a “chilling effect” on factual drama (What does Steve Coogan’s Lost King case mean for future biopics?, 17 June). Both of them contained easily avoidable blunders that were bound to get them into trouble.
Netflix’s billing of Richard Gadd’s compelling drama as unequivocally “a true story” is a hostage to fortune. Thanks to the wonders of social media, viewers would have got straight on the hunt for the real characters and identified them before the first episode was over. “Martha” has a real case to bring, citing umpteen ways the characterisation is not “true”.
