Department for Digital, Culture, Media & Sport

The Secretary of State meets regularly with the BBC to discuss a wide range of issues.

The Royal Charter places obligations on the BBC to observe high standards of openness and seek to maximise transparency and accountability. It also requires the BBC to report a range of information in its annual plan and its annual report and accounts, including how it ensures provision for the United Kingdom’s nations and regions.

The government launched the BBC Charter Review last year. The Green Paper set out our ambition for the BBC to tell a unifying national story that represents all communities across the UK, and to drive growth in the nations and regions. It also set out proposals for enhancing transparency in a way that supports wider public trust in the content and services the BBC delivers. We are looking at a range of options to deliver this, which include further obligations relating to programme making and spend outside of London.

There are currently no plans for the Government to review the UK’s regulatory framework for adverts from fossil fuel companies.

The Advertising Standards Authority (ASA) is the independent regulator for advertising in the UK and enforces the ‘CAP Code’ and ‘BCAP Code’, which set the standards for non-broadcast and broadcast advertising, respectively. Section 11 of the CAP and Section 9 of the BCAP Codes contain rules on Environmental Claims, and specifically warn against the use of unqualified claims, due to their potential to mislead if significant information is omitted. The Codes also include rules intended to protect consumers from misleading marketing communications. Advertising may be considered misleading if it contains the omission, exaggeration, or ambiguous presentation of information. If an advertisement is found to be in breach of the Codes, the ASA will instruct that it be withdrawn or amended, and in some cases may escalate to the appropriate statutory backstop.

The Government recognises that the illegal streaming of content negatively impacts the revenues of UK broadcasters, which is why we have committed in our Creative Industries Sector Plan to ensure UK intellectual property rights are the best protected in the world.

The Intellectual Property Office (IPO) in conjunction with Department for Science, Innovation and Technology (DSIT), recently announced that its funding for the Police Intellectual Property Crime Unit Unit (PIPCU), hosted by the City of London Police, will continue until 2029, and strengthen their ongoing partnership in UK intellectual property enforcement. This partnership actively targets websites and platforms providing illegal access to copyrighted material, such as the illegal streaming of television content.

We want to ensure the future sustainability of the broadcasting sector so that they can continue to commission and produce high quality content in the UK. That’s why we have committed to taking action to support the sector through our implementation of the Media Act 2024. We are also considering the findings in Ofcom’s Public Service Media (PSM) Review, which includes a number of recommendations looking to support the future sustainability of public service media.

The Government is leading a project to assess the future of TV distribution beyond 2034 and is committed to maintaining access for audiences in all parts of the UK. The project is engaging with devolved governments and audience groups representing the interests of Welsh audiences such as the Voice of the Listener and Viewer, the Rural Services Network, and S4C. Before any decision is made close consideration will be given to how any changes would impact Welsh audiences, including those in rural communities.

The Advertising Standards Agency (ASA) is the independent regulator responsible for regulating all advertising in the UK, including alcohol advertising, through codes set by the Committees of Advertising Practice (CAP) and Broadcast Committee of Advertising Practice (BCAP). The Government is not involved in these codes, nor in the investigations and enforcement delivered by the ASA.

The codes state that marketing communications for alcoholic drinks should not be targeted at people under 18. Specifically, alcohol advertising is prohibited in any medium where more than 25 percent of the audience is under 18, and where advertising is permitted, it should not be likely to appeal particularly to people under 18. If an advertisement is found to be in breach of the Codes, the ASA will instruct that it be withdrawn or amended, and in some cases may escalate to the appropriate statutory authority.

Building on this backdrop, the Online Advertising Taskforce brings government and industry together to improve trust, transparency and accountability in the online advertising supply chain. A key taskforce aim is to further reduce children being served advertising for products and services illegal to sell to them. An Age Assurance working group focussed on this topic is building a more detailed understanding of the current landscape of age assurance online, and considering how it can be improved.

The Advertising Standards Agency (ASA) is the independent regulator responsible for regulating all advertising in the UK, including alcohol advertising, through codes set by the Committees of Advertising Practice (CAP) and Broadcast Committee of Advertising Practice (BCAP). The Government is not involved in these codes, nor in the investigations and enforcement delivered by the ASA.

The codes state that marketing communications for alcoholic drinks should not be targeted at people under 18. Specifically, alcohol advertising is prohibited in any medium where more than 25 percent of the audience is under 18, and where advertising is permitted, it should not be likely to appeal particularly to people under 18. If an advertisement is found to be in breach of the Codes, the ASA will instruct that it be withdrawn or amended, and in some cases may escalate to the appropriate statutory authority.

Building on this backdrop, the Online Advertising Taskforce brings government and industry together to improve trust, transparency and accountability in the online advertising supply chain. A key taskforce aim is to further reduce children being served advertising for products and services illegal to sell to them. An Age Assurance working group focussed on this topic is building a more detailed understanding of the current landscape of age assurance online, and considering how it can be improved.

The Advertising Standards Agency (ASA) is the independent regulator responsible for regulating all advertising in the UK, including alcohol advertising, through codes set by the Committees of Advertising Practice (CAP) and Broadcast Committee of Advertising Practice (BCAP). The Government is not involved in these codes, nor in the investigations and enforcement delivered by the ASA.

The codes state that marketing communications for alcoholic drinks should not be targeted at people under 18. Specifically, alcohol advertising is prohibited in any medium where more than 25 percent of the audience is under 18, and where advertising is permitted, it should not be likely to appeal particularly to people under 18. If an advertisement is found to be in breach of the Codes, the ASA will instruct that it be withdrawn or amended, and in some cases may escalate to the appropriate statutory authority.

Building on this backdrop, the Online Advertising Taskforce brings government and industry together to improve trust, transparency and accountability in the online advertising supply chain. A key taskforce aim is to further reduce children being served advertising for products and services illegal to sell to them. An Age Assurance working group focussed on this topic is building a more detailed understanding of the current landscape of age assurance online, and considering how it can be improved.

The Advertising Standards Agency (ASA) is the independent regulator responsible for regulating all advertising in the UK, including alcohol advertising, through codes set by the Committees of Advertising Practice (CAP) and Broadcast Committee of Advertising Practice (BCAP). The Government is not involved in these codes, nor in the investigations and enforcement delivered by the ASA.

The codes state that marketing communications for alcoholic drinks should not be targeted at people under 18. Specifically, alcohol advertising is prohibited in any medium where more than 25 percent of the audience is under 18, and where advertising is permitted, it should not be likely to appeal particularly to people under 18. If an advertisement is found to be in breach of the Codes, the ASA will instruct that it be withdrawn or amended, and in some cases may escalate to the appropriate statutory authority.

Building on this backdrop, the Online Advertising Taskforce brings government and industry together to improve trust, transparency and accountability in the online advertising supply chain. A key taskforce aim is to further reduce children being served advertising for products and services illegal to sell to them. An Age Assurance working group focussed on this topic is building a more detailed understanding of the current landscape of age assurance online, and considering how it can be improved.

The government welcomes the BBC’s response to the Charter Review Green paper titled ‘A BBC for All’, and will consider its contents within Charter Review policy development.

The government launched the BBC Charter Review last year. The Green Paper set out our ambition for the BBC across a range of topics. This includes considering reforms to the BBC’s governance structures, length of its Royal Charter and obligations to share information. We are also exploring ways for the BBC to engage audiences and reflect public views. On funding, the Green Paper makes clear that we will need to strike the appropriate balance between ensuring the BBC’s independence and enabling sufficient levels of oversight of public money.

We welcome the BBC’s response to the government’s Green Paper public Consultation. We will review their response, alongside other responses from the public and stakeholders to the consultation to help ensure we consider a wide range of voices and views on the future of the BBC. These will inform policy decisions for the next BBC Royal Charter, which will be set out in a White Paper, expected to be published later this year.

The government welcomes the BBC’s response to the Charter Review Green paper titled ‘A BBC for All’, and will consider its contents within Charter Review policy development.

The government launched the BBC Charter Review last year. The Green Paper set out our ambition for the BBC across a range of topics. This includes considering reforms to the BBC’s governance structures, length of its Royal Charter and obligations to share information. We are also exploring ways for the BBC to engage audiences and reflect public views. On funding, the Green Paper makes clear that we will need to strike the appropriate balance between ensuring the BBC’s independence and enabling sufficient levels of oversight of public money.

We welcome the BBC’s response to the government’s Green Paper public Consultation. We will review their response, alongside other responses from the public and stakeholders to the consultation to help ensure we consider a wide range of voices and views on the future of the BBC. These will inform policy decisions for the next BBC Royal Charter, which will be set out in a White Paper, expected to be published later this year.

The government welcomes the BBC’s response to the Charter Review Green paper titled ‘A BBC for All’, and will consider its contents within Charter Review policy development.

The government launched the BBC Charter Review last year. The Green Paper set out our ambition for the BBC across a range of topics. This includes considering reforms to the BBC’s governance structures, length of its Royal Charter and obligations to share information. We are also exploring ways for the BBC to engage audiences and reflect public views. On funding, the Green Paper makes clear that we will need to strike the appropriate balance between ensuring the BBC’s independence and enabling sufficient levels of oversight of public money.

We welcome the BBC’s response to the government’s Green Paper public Consultation. We will review their response, alongside other responses from the public and stakeholders to the consultation to help ensure we consider a wide range of voices and views on the future of the BBC. These will inform policy decisions for the next BBC Royal Charter, which will be set out in a White Paper, expected to be published later this year.

The government welcomes the BBC’s response to the Charter Review Green paper titled ‘A BBC for All’, and will consider its contents within Charter Review policy development.

The government launched the BBC Charter Review last year. The Green Paper set out our ambition for the BBC across a range of topics. This includes considering reforms to the BBC’s governance structures, length of its Royal Charter and obligations to share information. We are also exploring ways for the BBC to engage audiences and reflect public views. On funding, the Green Paper makes clear that we will need to strike the appropriate balance between ensuring the BBC’s independence and enabling sufficient levels of oversight of public money.

We welcome the BBC’s response to the government’s Green Paper public Consultation. We will review their response, alongside other responses from the public and stakeholders to the consultation to help ensure we consider a wide range of voices and views on the future of the BBC. These will inform policy decisions for the next BBC Royal Charter, which will be set out in a White Paper, expected to be published later this year.

The Department of Culture, Media and Sport recognises that the freelance workforce is crucial to the success of the UK's world-leading creative industries, including the screen sector, but we understand that many self-employed workers in the creative industries desire greater job security.

We committed in the Creative Industries Sector Plan to increase the productivity, resilience and diversity of the creative workforce, including through the appointment of a Freelance Champion, who will advocate for the creative sector’s freelancers within government and be a member of the Creative Industries Council. Building on the Sector Plan, we are developing a sector Jobs Plan which will provide a clear direction of travel for government and industry to develop the domestic workforce together. The Creative Industries Jobs Plan will be published later this year.

For film and TV specifically, the global market is evolving quickly, creating significant opportunities for the UK. We remain an open and highly attractive destination for international investment, including £5.8 billion in inward screen investment in 2025 and record film production spend, and this has helped deliver some of our most successful content. Major global studios and streamers are investing directly in UK skills and talent, including through support for the National Film and Television School (NFTS) and initiatives like the Prime Video Pathway. This investment strengthens our workforce and we want it to continue.

We are pairing global investment with strong public action to build resilience across the sector. Through the Creative Industries Sector Plan, we are delivering a £75 million Screen Growth Package to scale up domestic production, £10 million for the NFTS to create 2,000 new trainee and apprenticeship places, and £150 million through the Creative Places Growth Fund to expand film and TV activity across the regions. These measures sit alongside competitive tax reliefs, including the Independent Film Tax Credit, modernised co‑production treaties and expanded finance via the British Business Bank.

We have also strengthened terms of trade through the Media Act and have asked the Competition and Markets Authority, supported by Ofcom, to consider how market developments, including convergence, should inform future competition assessments. Through the BBC Charter Review and ongoing engagement with streamers, independents and Public Service Media (PSM) providers, we will continue to ensure that commissioning practices support a sustainable workforce and a thriving UK screen sector.

The Department of Culture, Media and Sport recognises that the freelance workforce is crucial to the success of the UK's world-leading creative industries, including the screen sector, but we understand that many self-employed workers in the creative industries desire greater job security.

We committed in the Creative Industries Sector Plan to increase the productivity, resilience and diversity of the creative workforce, including through the appointment of a Freelance Champion, who will advocate for the creative sector’s freelancers within government and be a member of the Creative Industries Council. Building on the Sector Plan, we are developing a sector Jobs Plan which will provide a clear direction of travel for government and industry to develop the domestic workforce together. The Creative Industries Jobs Plan will be published later this year.

For film and TV specifically, the global market is evolving quickly, creating significant opportunities for the UK. We remain an open and highly attractive destination for international investment, including £5.8 billion in inward screen investment in 2025 and record film production spend, and this has helped deliver some of our most successful content. Major global studios and streamers are investing directly in UK skills and talent, including through support for the National Film and Television School (NFTS) and initiatives like the Prime Video Pathway. This investment strengthens our workforce and we want it to continue.

We are pairing global investment with strong public action to build resilience across the sector. Through the Creative Industries Sector Plan, we are delivering a £75 million Screen Growth Package to scale up domestic production, £10 million for the NFTS to create 2,000 new trainee and apprenticeship places, and £150 million through the Creative Places Growth Fund to expand film and TV activity across the regions. These measures sit alongside competitive tax reliefs, including the Independent Film Tax Credit, modernised co‑production treaties and expanded finance via the British Business Bank.

We have also strengthened terms of trade through the Media Act and have asked the Competition and Markets Authority, supported by Ofcom, to consider how market developments, including convergence, should inform future competition assessments. Through the BBC Charter Review and ongoing engagement with streamers, independents and Public Service Media (PSM) providers, we will continue to ensure that commissioning practices support a sustainable workforce and a thriving UK screen sector.

The Department of Culture, Media and Sport recognises that the freelance workforce is crucial to the success of the UK's world-leading creative industries, including the screen sector, but we understand that many self-employed workers in the creative industries desire greater job security.

We committed in the Creative Industries Sector Plan to increase the productivity, resilience and diversity of the creative workforce, including through the appointment of a Freelance Champion, who will advocate for the creative sector’s freelancers within government and be a member of the Creative Industries Council. Building on the Sector Plan, we are developing a sector Jobs Plan which will provide a clear direction of travel for government and industry to develop the domestic workforce together. The Creative Industries Jobs Plan will be published later this year.

For film and TV specifically, the global market is evolving quickly, creating significant opportunities for the UK. We remain an open and highly attractive destination for international investment, including £5.8 billion in inward screen investment in 2025 and record film production spend, and this has helped deliver some of our most successful content. Major global studios and streamers are investing directly in UK skills and talent, including through support for the National Film and Television School (NFTS) and initiatives like the Prime Video Pathway. This investment strengthens our workforce and we want it to continue.

We are pairing global investment with strong public action to build resilience across the sector. Through the Creative Industries Sector Plan, we are delivering a £75 million Screen Growth Package to scale up domestic production, £10 million for the NFTS to create 2,000 new trainee and apprenticeship places, and £150 million through the Creative Places Growth Fund to expand film and TV activity across the regions. These measures sit alongside competitive tax reliefs, including the Independent Film Tax Credit, modernised co‑production treaties and expanded finance via the British Business Bank.

We have also strengthened terms of trade through the Media Act and have asked the Competition and Markets Authority, supported by Ofcom, to consider how market developments, including convergence, should inform future competition assessments. Through the BBC Charter Review and ongoing engagement with streamers, independents and Public Service Media (PSM) providers, we will continue to ensure that commissioning practices support a sustainable workforce and a thriving UK screen sector.

The Department of Culture, Media and Sport recognises that the freelance workforce is crucial to the success of the UK's world-leading creative industries, including the screen sector, but we understand that many self-employed workers in the creative industries desire greater job security.

We committed in the Creative Industries Sector Plan to increase the productivity, resilience and diversity of the creative workforce, including through the appointment of a Freelance Champion, who will advocate for the creative sector’s freelancers within government and be a member of the Creative Industries Council. Building on the Sector Plan, we are developing a sector Jobs Plan which will provide a clear direction of travel for government and industry to develop the domestic workforce together. The Creative Industries Jobs Plan will be published later this year.

For film and TV specifically, the global market is evolving quickly, creating significant opportunities for the UK. We remain an open and highly attractive destination for international investment, including £5.8 billion in inward screen investment in 2025 and record film production spend, and this has helped deliver some of our most successful content. Major global studios and streamers are investing directly in UK skills and talent, including through support for the National Film and Television School (NFTS) and initiatives like the Prime Video Pathway. This investment strengthens our workforce and we want it to continue.

We are pairing global investment with strong public action to build resilience across the sector. Through the Creative Industries Sector Plan, we are delivering a £75 million Screen Growth Package to scale up domestic production, £10 million for the NFTS to create 2,000 new trainee and apprenticeship places, and £150 million through the Creative Places Growth Fund to expand film and TV activity across the regions. These measures sit alongside competitive tax reliefs, including the Independent Film Tax Credit, modernised co‑production treaties and expanded finance via the British Business Bank.

We have also strengthened terms of trade through the Media Act and have asked the Competition and Markets Authority, supported by Ofcom, to consider how market developments, including convergence, should inform future competition assessments. Through the BBC Charter Review and ongoing engagement with streamers, independents and Public Service Media (PSM) providers, we will continue to ensure that commissioning practices support a sustainable workforce and a thriving UK screen sector.

The Department of Culture, Media and Sport recognises that the freelance workforce is crucial to the success of the UK's world-leading creative industries, including the screen sector, but we understand that many self-employed workers in the creative industries desire greater job security.

We committed in the Creative Industries Sector Plan to increase the productivity, resilience and diversity of the creative workforce, including through the appointment of a Freelance Champion, who will advocate for the creative sector’s freelancers within government and be a member of the Creative Industries Council. Building on the Sector Plan, we are developing a sector Jobs Plan which will provide a clear direction of travel for government and industry to develop the domestic workforce together. The Creative Industries Jobs Plan will be published later this year.

For film and TV specifically, the global market is evolving quickly, creating significant opportunities for the UK. We remain an open and highly attractive destination for international investment, including £5.8 billion in inward screen investment in 2025 and record film production spend, and this has helped deliver some of our most successful content. Major global studios and streamers are investing directly in UK skills and talent, including through support for the National Film and Television School (NFTS) and initiatives like the Prime Video Pathway. This investment strengthens our workforce and we want it to continue.

We are pairing global investment with strong public action to build resilience across the sector. Through the Creative Industries Sector Plan, we are delivering a £75 million Screen Growth Package to scale up domestic production, £10 million for the NFTS to create 2,000 new trainee and apprenticeship places, and £150 million through the Creative Places Growth Fund to expand film and TV activity across the regions. These measures sit alongside competitive tax reliefs, including the Independent Film Tax Credit, modernised co‑production treaties and expanded finance via the British Business Bank.

We have also strengthened terms of trade through the Media Act and have asked the Competition and Markets Authority, supported by Ofcom, to consider how market developments, including convergence, should inform future competition assessments. Through the BBC Charter Review and ongoing engagement with streamers, independents and Public Service Media (PSM) providers, we will continue to ensure that commissioning practices support a sustainable workforce and a thriving UK screen sector.

The Creative Industries Sector Plan sets out our approach to developing a high-quality and targeted skills and training offer, meeting the workforce requirements of the creative industries. This includes responding to the rapid changes in the screen sector to build a resilient skills base that can adapt and thrive as new opportunities emerge, and to retain knowledge within the domestic freelance workforce. We are supporting industry to develop skills passports, which will support the documenting and transfer of industry-recognised skills and competencies.

The Government’s £10 million investment in the National Film and Television School (NFTS) will deliver 2,000 new trainee and apprenticeship opportunities and has unlocked £11 million in private investment from partners including Disney, the Broccoli Foundation, and Sky. The investment is focused on increasing access for disabled students and providing structured career paths. This adds to the Government's investment in infrastructure to support virtual production and adoption of emerging technology as part of the government’s £75.6 million investment in the CoSTAR programme and its expansion through DCMS's £25 million Createch Futures.

As part of the BFI National Lottery Funding Plan 2026-2029, £35.55 million will also be provided for Skills and Workforce Development. This includes a refreshed BFI Film Academy with additional Government funding, continuation of the BFI National Lottery Skills Clusters Fund and the WorkWise for Screen pilot.

More broadly, this Government is transforming the apprenticeships offer into a new growth and skills offer, which will offer greater flexibility to employers and learners. As of August 2025, shorter apprenticeships are now possible for screen and audio production assistant apprentices, and from April 2026, we will introduce short course ‘apprenticeship units’ in areas such as digital and AI. Additionally, Skills Bootcamps continue to offer free, flexible courses of up to 16 weeks in areas including Film Production and Screen Crafts, giving people the chance to build sector-specific skills with an offer of a job interview on completion.

In November, Skills England also introduced the UK Standard Skills Classification, the first standardised skills framework of its kind in our country, to help everyone from individual job seekers to major employers to navigate the world of skills with confidence.

The Creative Industries Sector Plan sets out our approach to developing a high-quality and targeted skills and training offer, meeting the workforce requirements of the creative industries. This includes responding to the rapid changes in the screen sector to build a resilient skills base that can adapt and thrive as new opportunities emerge, and to retain knowledge within the domestic freelance workforce. We are supporting industry to develop skills passports, which will support the documenting and transfer of industry-recognised skills and competencies.

The Government’s £10 million investment in the National Film and Television School (NFTS) will deliver 2,000 new trainee and apprenticeship opportunities and has unlocked £11 million in private investment from partners including Disney, the Broccoli Foundation, and Sky. The investment is focused on increasing access for disabled students and providing structured career paths. This adds to the Government's investment in infrastructure to support virtual production and adoption of emerging technology as part of the government’s £75.6 million investment in the CoSTAR programme and its expansion through DCMS's £25 million Createch Futures.

As part of the BFI National Lottery Funding Plan 2026-2029, £35.55 million will also be provided for Skills and Workforce Development. This includes a refreshed BFI Film Academy with additional Government funding, continuation of the BFI National Lottery Skills Clusters Fund and the WorkWise for Screen pilot.

More broadly, this Government is transforming the apprenticeships offer into a new growth and skills offer, which will offer greater flexibility to employers and learners. As of August 2025, shorter apprenticeships are now possible for screen and audio production assistant apprentices, and from April 2026, we will introduce short course ‘apprenticeship units’ in areas such as digital and AI. Additionally, Skills Bootcamps continue to offer free, flexible courses of up to 16 weeks in areas including Film Production and Screen Crafts, giving people the chance to build sector-specific skills with an offer of a job interview on completion.

In November, Skills England also introduced the UK Standard Skills Classification, the first standardised skills framework of its kind in our country, to help everyone from individual job seekers to major employers to navigate the world of skills with confidence.

The Creative Industries Sector Plan sets out our approach to developing a high-quality and targeted skills and training offer, meeting the workforce requirements of the creative industries. This includes responding to the rapid changes in the screen sector to build a resilient skills base that can adapt and thrive as new opportunities emerge, and to retain knowledge within the domestic freelance workforce. We are supporting industry to develop skills passports, which will support the documenting and transfer of industry-recognised skills and competencies.

The Government’s £10 million investment in the National Film and Television School (NFTS) will deliver 2,000 new trainee and apprenticeship opportunities and has unlocked £11 million in private investment from partners including Disney, the Broccoli Foundation, and Sky. The investment is focused on increasing access for disabled students and providing structured career paths. This adds to the Government's investment in infrastructure to support virtual production and adoption of emerging technology as part of the government’s £75.6 million investment in the CoSTAR programme and its expansion through DCMS's £25 million Createch Futures.

As part of the BFI National Lottery Funding Plan 2026-2029, £35.55 million will also be provided for Skills and Workforce Development. This includes a refreshed BFI Film Academy with additional Government funding, continuation of the BFI National Lottery Skills Clusters Fund and the WorkWise for Screen pilot.

More broadly, this Government is transforming the apprenticeships offer into a new growth and skills offer, which will offer greater flexibility to employers and learners. As of August 2025, shorter apprenticeships are now possible for screen and audio production assistant apprentices, and from April 2026, we will introduce short course ‘apprenticeship units’ in areas such as digital and AI. Additionally, Skills Bootcamps continue to offer free, flexible courses of up to 16 weeks in areas including Film Production and Screen Crafts, giving people the chance to build sector-specific skills with an offer of a job interview on completion.

In November, Skills England also introduced the UK Standard Skills Classification, the first standardised skills framework of its kind in our country, to help everyone from individual job seekers to major employers to navigate the world of skills with confidence.

The Creative Industries Sector Plan sets out our approach to developing a high-quality and targeted skills and training offer, meeting the workforce requirements of the creative industries. This includes responding to the rapid changes in the screen sector to build a resilient skills base that can adapt and thrive as new opportunities emerge, and to retain knowledge within the domestic freelance workforce. We are supporting industry to develop skills passports, which will support the documenting and transfer of industry-recognised skills and competencies.

The Government’s £10 million investment in the National Film and Television School (NFTS) will deliver 2,000 new trainee and apprenticeship opportunities and has unlocked £11 million in private investment from partners including Disney, the Broccoli Foundation, and Sky. The investment is focused on increasing access for disabled students and providing structured career paths. This adds to the Government's investment in infrastructure to support virtual production and adoption of emerging technology as part of the government’s £75.6 million investment in the CoSTAR programme and its expansion through DCMS's £25 million Createch Futures.

As part of the BFI National Lottery Funding Plan 2026-2029, £35.55 million will also be provided for Skills and Workforce Development. This includes a refreshed BFI Film Academy with additional Government funding, continuation of the BFI National Lottery Skills Clusters Fund and the WorkWise for Screen pilot.

More broadly, this Government is transforming the apprenticeships offer into a new growth and skills offer, which will offer greater flexibility to employers and learners. As of August 2025, shorter apprenticeships are now possible for screen and audio production assistant apprentices, and from April 2026, we will introduce short course ‘apprenticeship units’ in areas such as digital and AI. Additionally, Skills Bootcamps continue to offer free, flexible courses of up to 16 weeks in areas including Film Production and Screen Crafts, giving people the chance to build sector-specific skills with an offer of a job interview on completion.

In November, Skills England also introduced the UK Standard Skills Classification, the first standardised skills framework of its kind in our country, to help everyone from individual job seekers to major employers to navigate the world of skills with confidence.

The Creative Industries Sector Plan sets out our approach to developing a high-quality and targeted skills and training offer, meeting the workforce requirements of the creative industries. This includes responding to the rapid changes in the screen sector to build a resilient skills base that can adapt and thrive as new opportunities emerge, and to retain knowledge within the domestic freelance workforce. We are supporting industry to develop skills passports, which will support the documenting and transfer of industry-recognised skills and competencies.

The Government’s £10 million investment in the National Film and Television School (NFTS) will deliver 2,000 new trainee and apprenticeship opportunities and has unlocked £11 million in private investment from partners including Disney, the Broccoli Foundation, and Sky. The investment is focused on increasing access for disabled students and providing structured career paths. This adds to the Government's investment in infrastructure to support virtual production and adoption of emerging technology as part of the government’s £75.6 million investment in the CoSTAR programme and its expansion through DCMS's £25 million Createch Futures.

As part of the BFI National Lottery Funding Plan 2026-2029, £35.55 million will also be provided for Skills and Workforce Development. This includes a refreshed BFI Film Academy with additional Government funding, continuation of the BFI National Lottery Skills Clusters Fund and the WorkWise for Screen pilot.

More broadly, this Government is transforming the apprenticeships offer into a new growth and skills offer, which will offer greater flexibility to employers and learners. As of August 2025, shorter apprenticeships are now possible for screen and audio production assistant apprentices, and from April 2026, we will introduce short course ‘apprenticeship units’ in areas such as digital and AI. Additionally, Skills Bootcamps continue to offer free, flexible courses of up to 16 weeks in areas including Film Production and Screen Crafts, giving people the chance to build sector-specific skills with an offer of a job interview on completion.

In November, Skills England also introduced the UK Standard Skills Classification, the first standardised skills framework of its kind in our country, to help everyone from individual job seekers to major employers to navigate the world of skills with confidence.

The Creative Industries Sector Plan sets out our approach to developing a high-quality and targeted skills and training offer, meeting the workforce requirements of the creative industries. This includes responding to the rapid changes in the screen sector to build a resilient skills base that can adapt and thrive as new opportunities emerge, and to retain knowledge within the domestic freelance workforce. We are supporting industry to develop skills passports, which will support the documenting and transfer of industry-recognised skills and competencies.

The Government’s £10 million investment in the National Film and Television School (NFTS) will deliver 2,000 new trainee and apprenticeship opportunities and has unlocked £11 million in private investment from partners including Disney, the Broccoli Foundation, and Sky. The investment is focused on increasing access for disabled students and providing structured career paths. This adds to the Government's investment in infrastructure to support virtual production and adoption of emerging technology as part of the government’s £75.6 million investment in the CoSTAR programme and its expansion through DCMS's £25 million Createch Futures.

As part of the BFI National Lottery Funding Plan 2026-2029, £35.55 million will also be provided for Skills and Workforce Development. This includes a refreshed BFI Film Academy with additional Government funding, continuation of the BFI National Lottery Skills Clusters Fund and the WorkWise for Screen pilot.

More broadly, this Government is transforming the apprenticeships offer into a new growth and skills offer, which will offer greater flexibility to employers and learners. As of August 2025, shorter apprenticeships are now possible for screen and audio production assistant apprentices, and from April 2026, we will introduce short course ‘apprenticeship units’ in areas such as digital and AI. Additionally, Skills Bootcamps continue to offer free, flexible courses of up to 16 weeks in areas including Film Production and Screen Crafts, giving people the chance to build sector-specific skills with an offer of a job interview on completion.

In November, Skills England also introduced the UK Standard Skills Classification, the first standardised skills framework of its kind in our country, to help everyone from individual job seekers to major employers to navigate the world of skills with confidence.

The Creative Industries Sector Plan sets out our approach to developing a high-quality and targeted skills and training offer, meeting the workforce requirements of the creative industries. This includes responding to the rapid changes in the screen sector to build a resilient skills base that can adapt and thrive as new opportunities emerge, and to retain knowledge within the domestic freelance workforce. We are supporting industry to develop skills passports, which will support the documenting and transfer of industry-recognised skills and competencies.

The Government’s £10 million investment in the National Film and Television School (NFTS) will deliver 2,000 new trainee and apprenticeship opportunities and has unlocked £11 million in private investment from partners including Disney, the Broccoli Foundation, and Sky. The investment is focused on increasing access for disabled students and providing structured career paths. This adds to the Government's investment in infrastructure to support virtual production and adoption of emerging technology as part of the government’s £75.6 million investment in the CoSTAR programme and its expansion through DCMS's £25 million Createch Futures.

As part of the BFI National Lottery Funding Plan 2026-2029, £35.55 million will also be provided for Skills and Workforce Development. This includes a refreshed BFI Film Academy with additional Government funding, continuation of the BFI National Lottery Skills Clusters Fund and the WorkWise for Screen pilot.

More broadly, this Government is transforming the apprenticeships offer into a new growth and skills offer, which will offer greater flexibility to employers and learners. As of August 2025, shorter apprenticeships are now possible for screen and audio production assistant apprentices, and from April 2026, we will introduce short course ‘apprenticeship units’ in areas such as digital and AI. Additionally, Skills Bootcamps continue to offer free, flexible courses of up to 16 weeks in areas including Film Production and Screen Crafts, giving people the chance to build sector-specific skills with an offer of a job interview on completion.

In November, Skills England also introduced the UK Standard Skills Classification, the first standardised skills framework of its kind in our country, to help everyone from individual job seekers to major employers to navigate the world of skills with confidence.

The Department of Culture, Media and Sport recognises that the freelance workforce is crucial to the success of the UK's world-leading creative industries, and we are committed to listening to the voices of the self-employed as we develop policies for the creative industries. The Creative Industries Sector Plan committed to increasing the diversity of the creative workforce, which includes ensuring that parents and carers can continue sustainable careers.

It is good to see initiatives such as Raising Films to support parents and carers in this sector, showing positive industry action. More broadly, the Government has committed to a review of the parental leave and pay system. The review will look at whether support available meets the needs of other working families who do not qualify for existing leave and pay entitlements, such as self-employed parents.

Where staff in the Film and HETV sector have employee status, they will benefit from reforms delivered through the Employment Rights Act including changes to make it more likely that flexible working requests are accepted, making paternity and unpaid parental leave a ‘day one’ right, and making it unlawful to dismiss a woman who is pregnant, including for six months after her return to work - except in specific circumstances. We are also supporting carers who want to work alongside managing their caring responsibilities is an important element of our plans to modernise the world of work. This is why we are reviewing the implementation of carer's leave and looking at where any improvements may be needed.

The Government is committed to fostering social cohesion and building stronger, more integrated communities across the UK. Culture is central to this mission, strengthening ties between people and the places they live.

The Department for Culture, Media and Sport does not however, generally run programmes specifically targeted only at the Iranian diaspora. Instead, it supports community cohesion and diaspora cultural expression through broader cultural, arts, and heritage programmes that are open to diverse communities across the UK. Iranian organisations, artists, and community groups can access these initiatives alongside other diaspora groups.

For instance, Arts Council England administers the National Lottery Project Grants, an open fund providing over £100 million annually to artists and organisations of all backgrounds.

Similarly, the National Lottery Heritage Fund provides an open funding programme which supports a broad range of projects that connect people and communities to the UK's heritage including those in diaspora in the UK. Their National Lottery Heritage grants can be used to support cultural traditions, exploring the history of different cultures through storytelling, dance, theatre, food or language for example.

In 2023-2024 to 2025-2026 period the government has directly funded Marlborough House, Chatham Historic Dock Yard and the Old Royal Naval College.

The Department for Culture Media and Sport also ran the Listed Places of Worship Grant Scheme. In the last three years of the scheme, between April 2023 and March 2026, a total of 8,218 individual Listed Places of Worship have received grant funding from the scheme.The value of funding paid to these applicants for the 3-year period was £89,504,426.

In March 2026, Government provided a £9 million grant to the National Trust to contribute to an endowment to support the acquisition and ongoing running of Ironbridge Gorge Museums Trust.

In 2025-2026 the Government also provided funding for two grant schemes, the Heritage Revival Fund and the Heritage at Risk Capital fund. However, those were administered by Historic England on our behalf so have not been included here.

As the libraries development agency for England, Arts Council England (ACE) collects and publishes data on library closures, openings and relocations in its annual English Public Libraries Location Dataset. The dataset can be found at the following link: https://www.artscouncil.org.uk/supporting-arts-museums-and-libraries/supporting-libraries

DCMS estimates the number of static libraries that have permanently closed (and not been replaced by or relocated to a new static library) in England in each of the last 5 years (for which data is available) is as follows:

This data is based upon ACE’s English Public Libraries Location Dataset 2024, which shows the number of static libraries open as at 31 December 2024 is 2,866. The 2025 basic library dataset is expected to be published later this year.

The National Lottery is regulated by the Gambling Commission, which is responsible for awarding the operating licence, managing licence conditions, enforcing compliance, and licensing individual games.

The National Lottery licence requires that full, accurate and up‑to‑date information about National Lottery games is easily accessible to all participants in a range of formats. The Regulatory Handbook, which provides further detail on complying with licence requirements, adds that this should include clear information on prize levels and the likelihood of winning, and that the operator’s approach should reflect industry Best Practice.

In practice, this is delivered through printed Player’s Guides in retail locations, and Online Game Procedures on the National Lottery website. These resources set out how each game works, the prizes available and the odds of winning.

We committed in the Creative Industries Sector Plan to appoint a Freelance Champion, who will advocate for the creative sector’s freelancers within government and be a member of the Creative Industries Council.

As this is a new role, we have spent time working closely with the sector to develop the role’s remit, identify the priorities within that and understand how the roleholder will engage with the sector once in post. We will make a direct ministerial appointment soon, and will publish a job description at that time.

The role remit will be intentionally broad, in order to allow the appointee scope to decide what issues to look into. Upon appointment, we expect the Freelance Champion to establish their priorities and develop a workplan to address them.

All Ministerial meetings are declared in the respective quarterly transparency return.

The lead commissioning bodies for research, prevention and treatment who hold responsibility for commissioning decisions have engaged with a wide range of stakeholders as part of their programme development. Both the Office for Health Improvement and Disparities (OHID) and NHS England have communicated regularly with a wide variety of charities in the voluntary, community and social enterprise (VCSE) sector to set out timings and requirements for their grant processes.

DCMS remains confident that the levy commissioning processes are being administered appropriately and that all funding decisions will be made on the basis of assessed need, value for money and the ability of applicants to deliver effective, evidence-based interventions.

The consultation on banning unlicensed gambling operators from sponsoring sports will launch in spring 2026. We will determine the best timing for any ban to come into effect through consultation.

A review of the harmonised standard for ethnicity data collection is underway by the Government Statistical Service Harmonisation team.

A public consultation between October 2025 and February 2026 sought views from a wide range of users, including Government Departments and public bodies, to understand user needs for ethnic group data. This was supplemented by a programme of engagement activity, including with representatives of all government departments.

ONS have committed to providing an initial response to the public consultation in April, and a full report on the consultation in late summer 2026 will include more detailed information on the departments that responded to the consultation.

The National Youth Strategy includes a shift from national to local. This will renew focus on the role, capability, and leadership of local authorities, with a place-based approach to funding to empower local communities and young people in designing their local youth offers. Through this approach, we are committed to ensuring funding reaches those most in need across the length and breadth of England.

The £70m Local Youth Transformation programme is improving local authorities’ capability to rebuild a high-quality youth offer and develop a network of 50 Young Futures Hubs. We are also simplifying local authority grant funding across government and consolidating local funding for young people and families where possible. This provides greater local flexibility and sustainability.

The Government is following due process and will publish further information this year.

The Charity Commission for England and Wales announced, on 9th January, that it had opened a statutory inquiry into City and Guilds of London Institute. The independent regulator is examining information about the charity’s sale of its City and Guilds awards operation to a private company in October 2025. The inquiry is looking at information provided by the charity to the Charity Commission regarding the sale, and the trustees’ decision making regarding the sale.

Anyone with relevant information about matters under investigation is encouraged to share it with the Charity Commission, and the Charity Commission has said that it may extend the scope of the inquiry if additional regulatory issues emerge. It is the Charity Commission’s policy, after it has concluded an inquiry, to publish a report detailing the issues examined, action taken, and the inquiry’s outcomes.

Under the Gambling Act 2005, there is no offence for advertising unlicensed gambling. The offence is for the advertising of unlawful gambling under section 330 of the Gambling Act. Unlicensed gambling becomes unlawful if the facilities are available to consumers in Great Britain. If an unlicensed gambling operator can demonstrate that British consumers are blocked from accessing, registering or gambling on its site, it would not be breaking the law. Nevertheless, we are aware that Internet Protocol (IP) blocking technology can be circumvented, usually where consumers use Virtual Private Networks.

It is for the Gambling Commission (GC) to decide when to investigate and what enforcement action may be required. The Commission is already taking forward action in this space. It independently verifies that effective blocking measures are in place, and has taken action where non-compliance has been identified. It may take action if a VPN was not effective or if, for example, the operator advertised routes around the VPN. The GC has had substantial engagement with football clubs on this issue, and has warned sports clubs that they could face prosecution if facilities to gamble are not blocked to consumers in Great Britain. Sports clubs are also expected to conduct ongoing monitoring of their sponsorship arrangements.

The Government believes that banning unlicensed sport sponsorship will bring clarity to this issue, and we will consult on this in spring 2026.

Under the Gambling Act 2005, there is no offence for advertising unlicensed gambling. The offence is for the advertising of unlawful gambling under section 330 of the Gambling Act. Unlicensed gambling becomes unlawful if the facilities are available to consumers in Great Britain. If an unlicensed gambling operator can demonstrate that British consumers are blocked from accessing, registering or gambling on its site, it would not be breaking the law. Nevertheless, we are aware that Internet Protocol (IP) blocking technology can be circumvented, usually where consumers use Virtual Private Networks.

It is for the Gambling Commission (GC) to decide when to investigate and what enforcement action may be required. The Commission is already taking forward action in this space. It independently verifies that effective blocking measures are in place, and has taken action where non-compliance has been identified. It may take action if a VPN was not effective or if, for example, the operator advertised routes around the VPN. The GC has had substantial engagement with football clubs on this issue, and has warned sports clubs that they could face prosecution if facilities to gamble are not blocked to consumers in Great Britain. Sports clubs are also expected to conduct ongoing monitoring of their sponsorship arrangements.

The Government believes that banning unlicensed sport sponsorship will bring clarity to this issue, and we will consult on this in spring 2026.

Under the Gambling Act 2005, there is no offence for advertising unlicensed gambling. The offence is for the advertising of unlawful gambling under section 330 of the Gambling Act. Unlicensed gambling becomes unlawful if the facilities are available to consumers in Great Britain. If an unlicensed gambling operator can demonstrate that British consumers are blocked from accessing, registering or gambling on its site, it would not be breaking the law. Nevertheless, we are aware that Internet Protocol (IP) blocking technology can be circumvented, usually where consumers use Virtual Private Networks.

It is for the Gambling Commission (GC) to decide when to investigate and what enforcement action may be required. The Commission is already taking forward action in this space. It independently verifies that effective blocking measures are in place, and has taken action where non-compliance has been identified. It may take action if a VPN was not effective or if, for example, the operator advertised routes around the VPN. The GC has had substantial engagement with football clubs on this issue, and has warned sports clubs that they could face prosecution if facilities to gamble are not blocked to consumers in Great Britain. Sports clubs are also expected to conduct ongoing monitoring of their sponsorship arrangements.

The Government believes that banning unlicensed sport sponsorship will bring clarity to this issue, and we will consult on this in spring 2026.

Wider gambling regulation is devolved in Northern Ireland and, as such, developing the most appropriate approach to tackle gambling-related harm to help residents in Northern Ireland is a matter for the Northern Ireland Executive. The Gambling Levy Regulations are subject to the jurisdiction of the Gambling Act 2005 and so profits levied in Great Britain will provide funding for projects and services in Great Britain only.

DCMS officials met with Northern Ireland officials in December 2025 to discuss a wide range of issues, including the levy.

Operators wishing to advertise remote gambling in Northern Ireland must hold a Gambling Commission licence, as per the UK’s Gambling (Licensing and Advertising) Act 2014. However, the Commission’s jurisdiction covers Great Britain: England, Scotland and Wales. It does not have powers to investigate and prosecute in Northern Ireland as gambling is a devolved matter. Nevertheless, a licensed gambling operator’s behaviour in Northern Ireland, or indeed in any jurisdiction, can inform the Commission’s consideration of whether the operator is suitable to be licensed in Great Britain.

Operators advertising remote gambling in Northern Ireland must also abide by the UK Advertising Codes, which are enforced by the Advertising Standards Authority (ASA) independently of the government. The ASA cooperates with relevant authorities to address any complaints relating to advertising of remote gambling in Northern Ireland.

As gambling is a devolved issue, gambling consumers in Northern Ireland do not fall under the protection remit of the Gambling Commission. The Northern Ireland Executive is responsible for the protection of consumers in Northern Ireland.

With regard to tax incentive recommendations in the Arts Council England Review, the government already provides the culture and creative industries with tax reliefs, which are some of the most generous in the world. They provided £2.4 billion support in 2023-24 - including £261 million for Theatres Tax Relief, £50 million for Orchestras Tax Relief, and £28 million in Museums and Galleries Exhibition Tax Relief. The Chancellor considers changes to the tax system at fiscal events in the usual way and in the context of the wider public finances.

The government is now considering the Review with relevant departments and the Arts Council, and will publish a response shortly.

Operators providing gambling facilities to customers in Great Britain must be licensed by the Gambling Commission and comply with the conditions of their operating licences. The Commission expects them to obey the laws of all other jurisdictions in which they operate, and requires them to report any regulatory investigation or finding into their activities in any other jurisdiction. They must inform the Commission if they have a substantial customer base outside of Britain and state why they consider they are legally able to offer facilities to those customers.

The Commission considers it is for operators to satisfy themselves that they are acting in a lawful manner in other jurisdictions and for authorities in those jurisdictions to investigate if they are not. Where a licensee is found to be operating illegally, the Commission may consider their suitability to hold a licence to offer gambling services in Britain.

We are not considering banning sponsorship activities conducted under a British gambling licence, which includes promotion of products and services subject to a white label arrangement with an appropriately licensed business. However, we will take note of responses relating to this issue during our consultation on banning unlicensed operators from sponsoring sport.

We are aware that there have been previous issues with white label partners acting in a manner that is not compatible with the Gambling Commission’s licensing conditions and codes of practice. A licensee is required to undertake due diligence of their white label partners and is held accountable for their actions.

We will work with the Gambling Commission to determine whether any action is required to further ensure that white label arrangements are sufficiently monitored and enforcement action taken where needed.