Creative Industries (Communications and Digital Committee Report)
Baroness Bonham-Carter of Yarnbury Excerpts(2 years, 4 months ago)
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Baroness Bonham-Carter of Yarnbury (LD)
My Lords, I also welcome this report. We are an island with a wealth of creative talents, which have shaped and illuminated our history and national identity, and our modern and wonderfully diverse United Kingdom, and we must remain a brilliantly creative nation. However, we cannot be complacent, because the sector is fragile; it needs attention and nurturing to continue to flourish.
This is an excellent report from the Communications and Digital Committee—sadly, I no longer sit on the committee—and I congratulate the noble Baroness, Lady Stowell, the chair, and whoever came up with the title. Plaudits there, as it is very apt. The report addresses that complacency and points out that, despite annual, biannual and more red carpet back-slapping, our creative industries continue to be undervalued and undercapitalised. Further congratulations are due because, as the noble Baroness, Lady Stowell, mentioned, the Government’s Creative Industries Sector Vision document was published last month and has taken on a lot of what the report says. Since the publication of the committee’s report, as the noble Baroness, Lady Stowell, said, the Chancellor has identified the creative industries as one of the five key growth sectors.
I shall become a little repetitive, I am afraid, but it is important that people from across the House mention what I know the Minister knows I am going to talk about—the problem that we have with our education system and skills. Why do the Government not understand the importance of creative and cultural education, which supports and feeds into the skills pipeline of this incredible sector?
This Government say that arts subjects are not strategic priorities. Do they not understand that arts and culture education is integral to what they recognise as a priority sector? No—they persist with a STEM-obsessed EBacc. As Grayson Perry said many years ago—and he was so correct:
“If arts subjects aren’t included in the Ebacc, schools won’t stop doing them overnight. But there will be a corrosive process, they will be gradually eroded … By default, resources won’t go into them”.
That is what has happened. Compared to 2022, entries at GCSE have fallen dramatically in art and design, drama, music and performing, and expressive arts—I shall not give figures—and it is the same at A-level.
It is suggested that it is up to individual schools to choose what is in their syllabus, but in the state system there is no incentive to offer creative subjects. There are 119 accountability measures that a state secondary must consider and, as I understand it, not one of them pertains to the arts. Just look at the stark difference with the private sector, which recognises the benefits, because it is a fact that schools providing high-quality cultural education get better academic results. It is a fact that private schools entice parents with access to culture. As Mark Rylance has said:
“If, in modern day England, an institution like Eton deems drama important enough to have two theatres, why are we allowing the government to cut arts education from the life of the rest of our young people?”
As Lib Dems, we have always argued for STEAM, not STEM. There should not be a choice between arts and science—they are symbiotic. As the committee report says:
“Employers are increasingly calling for a blend of creative and digital skills. This interdisciplinary approach needs to be encouraged at school”.
The noble Baroness, Lady Rebuck, mentioned the Jony Ive case. Sir Peter Bazalgette, co-chair of the Creative Industries Council and co-author of the sector vision, has said:
“Our global competitiveness will increasingly depend on the fusion of creative and technological innovation”.
He also asked:
“Wasn’t the last industrial revolution powered by steam? There’s a lesson there for us”.
Indeed, the Victorians understood that it was this very fusion that fuelled the first Industrial Revolution. They had a department of science and arts, and invested in what was to become the V&A to develop the skills needed to feed British industry of that time. To ensure that the generation of the fourth industrial revolution is a generation of creators, schools need to be empowered to promote not just science or arts but the arts-science crossover. Sadly, this is an area in which the Government are not in listening mode, and there will be no move on the EBacc.
This report recommends that Ofsted’s outstanding ratings should be given only to schools that can demonstrate excellence in creative and technical teaching—something the Lib Dems have long called for. Does the Minister agree, and, more importantly, will he convince his colleagues in the education department?
The disparity between access to creative subjects for children in state schools and those in fee-paying schools leads to a pipeline of talent that has become ever more dependent on the affluence of parents. Research by the Creative Industries Policy and Evidence Centre has found that people from more privileged backgrounds are twice as likely to be employed in the cultural sector. This means less diversity in every sense.
There are T-levels, which should be able to provide a vocational route into creative occupations and help alleviate this problem, but in their present incarnation they are not user-friendly for the creative industries. The requirements for workplace placements are hard for SMEs to follow, and the sector is full of SMEs. Training pathways are confusing for students and employers; clearer routes into the industry are needed. I am sure my noble friend Lord Foster will speak more on this, but the present apprenticeship system is also not flexible enough.
Then there is HE, as the noble Baroness, Lady Rebuck, mentioned. Lately, there has been an unhelpful rhetoric about the low value of creative courses, emanating from the Department for Education. This is both a case of misunderstanding and short-sighted. Many of those starting out in the creative industries work flexibly in freelance roles, so will take time to generate higher salaries—their jobs are not only very worthwhile but they contribute to one of the highest growth sectors of the UK’s economy. I am not sure that Minister Lopez, in her reply to the committee’s report, understands that. She refers to
“stringent minimum numerical thresholds for student outcomes”.
Does the Minister not accept that reducing outcomes to salary alone is both unhelpful and simplistic?
Finally, I come to the issue of careers advice or lack of it, again mentioned by the noble Baroness, Lady Rebuck. We need institutions and businesses from the creative industries collaborating properly with schools. My noble friend Lord Willis chaired the Youth Unemployment Committee, which recommended that careers guidance should be a compulsory element of the primary and secondary curriculum. This committee’s report recommends the same: expanding programmes that provide guidance for routes into the creative sector. I hope the Minister agrees with that. On which point, would it also be a good idea, as recommended by the report, for the Secretary of State for Education to sit on the Creative Industries Council alongside the DCMS Secretary? This would surely help co-ordination between creative business needs and skills.
However, not all is gloom. There is money promised for cultural education in the sector vision, and this provides the opportunity to plan and fund new activities taking place within and outside schools. It is essential that creative subjects are not shoe-horned into the corner of a crammed school timetable.
Another big positive is the noble Baroness, Lady Bull, who everyone holds in high esteem and who we will hear from in a minute. She is chairing a group coming up with a national cultural education plan. I am glad to say that, in this instance, it appears that the DfE is working alongside DCMS. Let us hope that when the noble Baroness and her team deliver a solution to righting the wrongs I have been discussing—which I am sure they will—the Government will listen and will provide adequate funding support.
To go back to the gloom, this Government’s record is not very good. Where is the arts premium, a manifesto commitment lost? Music hubs have been reduced from 116 to 43. But what a good report. I hope the Government understand that to continue to flourish in this area—in which we excel—we need to invest in our future and our future talent. I end with the words of the noble Lord, Lord Bragg:
“Athens managed to become world-renowned through its arts. Two and a half thousand years later, we still gaze at the results with awe”.
Channel 4
Baroness Bonham-Carter of Yarnbury Excerpts(2 years, 10 months ago)
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The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Lord Parkinson of Whitley Bay) (Con)
I welcome the noble Lord back to his position on the Opposition Front Bench and wish noble Lords a happy new year. My right honourable friend set out in another place the rationale for her decision: as she said, she looked at the business case and the evidence for doing so. She was very clear, however, that, while not pursuing at this time the opportunity of a sale of Channel 4, doing nothing was not an option either. As the noble Lord rightly said, it operates in a rapidly changing media landscape and, as part of our in-depth analysis, we have established that its long-term sustainability must be addressed. Channel 4 itself has acknowledged that in its own strategy document The Next Episode. The package that my right honourable friend set out addresses that, including through some legislative change which we will be taking forward in the media Bill.
On the publisher broadcaster restriction, the Government will make changes via the Bill to give Channel 4 the freedom to make and own some of its own content—a freedom it does not currently have. That will open up a range of options for it to grow its income, which is important for its sustainability. As we have seen, Channel 4 has done a fantastic job over the last four decades in doing what it was set up to do by the Conservative Government in the 1980s: to stimulate independent production. The cost of that is going up because of a number of competitors, and I am sure we are all interested in ensuring that it has the resources it needs to do that.
Baroness Bonham-Carter of Yarnbury (LD)
My Lords, I too welcome the return of the noble Lord, Lord Stevenson. He is like the noble Lord, Lord Parkinson: he goes and he comes back, and it is excellent that we have both of them back on the Front Bench. Given that the Government’s approach has supposedly been driven by their concern for the sustainability of Channel 4, can the Minister tell us what plans the Government have to act urgently on bringing forward legislation on prominence, which Ofcom recommended two years ago, which the Government have been promising for months and which will make a huge contribution not just to Channel 4’s sustainability but to other PSBs? Can he confirm that there will be a media Bill imminently?
Lord Parkinson of Whitley Bay (Con)
I look forward to more questions on other aspects of the media Bill’s work than perhaps we have had in recent months. Yes, it is our intention to bring forward the media Bill when parliamentary time allows, so that we can carry forward important reforms that will benefit the whole of our public service broadcasting system.
Public Service Broadcasting: BBC Centenary
Baroness Bonham-Carter of Yarnbury Excerpts(3 years ago)
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Baroness Bonham-Carter of Yarnbury (LD)
I thank my noble friend Lord Foster for his characteristically excellent opening speech to this debate and welcome the noble Lord, Lord Parkinson, back. Keeping up the “Doctor Who” theme, I see him as the David Tennant of the House of Lords Benches.
The origin of the word “broadcast” was “to sow seed widely”, and that is what our PSBs have done, beginning with the BBC and its mission to inform, educate and entertain. They have made culture, news and other people’s experiences and lives available to all. Before the BBC started universally beaming into homes via the radio, the vast majority of the population did not have access to plays, stories and music. I heard Harold Pinter recollecting, in a recent programme, how, as a working-class teenager, listening to the Third Programme opened up a new world and set him on his creative path. He was not alone: it led to the formation of a whole new generations of artists.
Factual programmes such as “Woman’s Hour”, established in 1964, linked women with each other in a ground-breaking way, allowing isolated individuals to understand that their experience was not unique. Then there are the programmes for children. Just go for a stroll with my noble friend Lady Benjamin anywhere and her “Play School” babies flock, united in shared memories.
It was the BBC that came up with the idea of television. There was radio and there were the movies. The BBC put the two together, movies and radio, and it has continued to lead as an innovator—not something that has been much mentioned in this debate—working in the public interest with the likes of iPlayer and BBC Sounds, not just establishing new technologies but setting standards for the whole media industry. It led on rolling out the digital switchover and created two new consumer platforms, YouView and Freeview Play, which made online TV available to all UK audiences.
Every £1 of BBC R&D spend contributes up to £9 in value to the UK creative industries and beyond. As the noble Lord, Lord Gilbert, and my noble friend Lord Foster said, the streamers love the UK partly because of this trail-blazing R&D, as well as the skills and infrastructure that the BBC and other PSBs provide. Companies such as Netflix, Amazon and Disney have flocked to these shores, making the UK their production base because, as my noble friend Lord Clement-Jones has already said, they get what our PSBs contribute and they understand the value of investing in them. Netflix alone is involved in more than 40 co-productions in the UK, worth tens of millions of pounds.
“A big benefit of a co-production model is we have partnerships with PSBs that have great creative instincts. We defer to them creatively.”
Those were the words of a Netflix executive.
However, the Government do not seem very grateful. They do not seem to understand what the streamers do. As my noble friend Lord Foster said of the BBC, they have consistently undermined an institution that is the backbone of these creative industries, doubling its money, as the noble Lord, Lord Bilimoria, said, so far as investment in the creative economy goes. It is a rare sector of the economy that still, despite all the efforts of Brexit, thrives.
The effect of initial BBC spending multiplies as it ripples through the economy, from region to region and sector to sector. It is pivotal in supporting our creative industries through the innovations I mentioned, but through skills and training as well. It feeds directly into levelling up. We have a Secretary of State for levelling up, so I presume it is still a government commitment. The BBC makes programmes across the country, boosting local economies and utilising local skills. It costs 44p a day and offers exceptional value, supplying British content via television, radio and the internet, universally available to everybody, in all parts of the UK.
As the noble Viscount, Lord Stansgate, said, it supplied a lifeline through the pandemic, providing news that the public trusted and essential support through Bitesize. The noble Lord, Lord Addington, mentioned how women’s football found its audience through pioneering coverage on the BBC, and now Harry Kane invokes the Lionesses as the World Cup team’s inspiration. It supplied superb coverage of Her Majesty Queen Elizabeth’s lying in state and funeral and, as my noble friend Lord Razzall mentioned, the BBC and our other PSBs supply top-quality journalism in covering the war in Ukraine—not something the streaming services will ever provide.
Yet, as the noble Baroness, Lady D’Souza, pointed out, this Government’s 100th birthday present to the BBC is to freeze the licence fee, effectively depriving it of £3 billion over the next five years. We think the Government are putting their determination to weaken the BBC before the national interest. Most recently, we have seen the consequences for the World Service, mentioned by so many across the House, such as the loss of 382 jobs and changes to delivery that mean nearly half of all 41 language services will become digital only. Of course we have to move with the times, but these cuts involve BBC Arabic radio and BBC Persian radio, both of which will cease. Digital is accessed via the internet, and the internet can be shut down by tyrannical Governments, as we are witnessing at the moment in Iran.
Does the Minister not agree with a former Foreign Secretary—a certain Boris Johnson—who described the BBC as the
“single greatest and most effective ambassador for our culture and our values”
and a crucial contributor to Britain’s role as a “soft-power superpower”? In which case, can the Minister answer the question from these Benches and from the noble Lord, Lord Bilimoria, about why there is not more funding?
As my noble friend Lord McNally brought to our notice, the cuts to local radio are equally alarming. In the words of NUJ officer Paul Siegert:
“This is the biggest threat facing local radio since it launched in 1967. The key to its success over the past 50 years has been its localness.”
Does the Minister not agree, and how can local radio be local when it comes off air at 2 pm? Just last month, local radio stations took turns to interview the then Prime Minister, Liz Truss. The quality and depth of BBC local journalism was on display, and it was a triumph for local accountability and the power of local media. Does the Minister not agree that these cuts in radio, both across the World Service and domestically, provide an incredibly convincing argument as to why we should protect and finance the BBC properly?
I am afraid that the Government’s gloomy attitude extends beyond the BBC to public service broadcasting in general, with the threat to Channel 4 through privatisation. As so many people have talked about this, I am going to cut my speech on this point. However, contrary to what the April White Paper claims, and due to the expansion of its digital channels, Channel 4’s viewing demographic is young and diverse, and advertising revenue has increased over the last two years. The fact is that Channel 4 is in rude financial health and does not need privatisation to prosper. The Secretary of State has said that she will re-examine the business case. I hope the Minister accepts that the figures in the government paper need re-examining, too—as the noble Viscount, Lord Colville, said—as many are plain wrong. The other pressing need is for a media Bill, as many noble Lords have said, both to ensure prominence and to reform listed events.
In the words of Sir Peter Bazalgette:
“One of the justifications for the intervention in the marketplace that is the BBC is the value of the creative industries democratically, culturally, socially and economically.”
That is the point. Our public service broadcasters are much more than what we see on their screens, and the BBC’s original mission has never been more important. The first episode of a recent programme “How the BBC Began” was titled “Accident and Opportunity”—how true. As the noble Lord, Lord Inglewood, said, the BBC is a unique and glorious aberration. Once gone, it is never coming back, and with it go our other public service broadcasters. The BBC is 100, ITV is 67, Channel 4 was 40 yesterday—long may they last.
Arts: Energy Cost Support
Baroness Bonham-Carter of Yarnbury Excerpts(3 years ago)
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Lord Kamall (Con)
My department is in conversations with museums and others and is fully aware. I am sure that many noble Lords will recognise that my department does not just wait until it is contacted by the sector; we are in constant dialogue with different parts of the sector. One of the things we have been discussing is how we protect vulnerable collections and what sort of extra protection might be needed.
Baroness Bonham-Carter of Yarnbury (LD)
The cultural sector needs support. Alongside the effects of the pandemic and now the rising cost of energy there is also the knock-on effect of inflation, which inevitably means that fewer people are able to afford to visit art venues which involve paying. Does the Minister, whom I welcome to his role, not agree that part of the solution is a reduction in VAT on tickets? This would help venues to absorb some of their increased running costs. A temporary VAT reduction was introduced during the pandemic. The sector is facing another crisis. Does the Minister agree that the same remedy should be applied?
Lord Kamall (Con)
Officials in my department are constantly talking to the sector to understand the best way to support it, and we want to listen to it rather than assume that the Government have the best answer. One thing that is quite clear—I am sure that the noble Baroness will recognise it—is that during Covid we had a Cultural Recovery Fund. We continue to talk to all areas of the sector to make sure that people still have access, up and down the country, whatever their background and wherever they live, to the rich culture of this country. It is very important, especially during difficult times.
Broadcasting Sector White Paper
Baroness Bonham-Carter of Yarnbury Excerpts(3 years, 4 months ago)
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Baroness Bonham-Carter of Yarnbury
To ask Her Majesty’s Government how their white paper Up Next—the government’s vision for the broadcasting sector, published on 29 April, will support (1) original British content, and (2) the creative industries in the United Kingdom.
The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Lord Parkinson of Whitley Bay) (Con)
My Lords, as set out in the White Paper, the Government are taking action to support British broadcasters and our creative industries more widely. Among other things, we are supporting original British content by including it in a new and more focused public service remit for television. We will continue to support our highly skilled and innovative creative industries through world-leading creative sector tax reliefs and by protecting the UK’s hugely successful terms of trade regime.
Baroness Bonham-Carter of Yarnbury (LD)
I thank the Minister for his reply. Our PSBs are the backbone of our creative industries; they support original British content, talent, skills and exceptional journalism. Does the Minister agree that this will become increasingly difficult as BBC funding continues to be depleted, coupled with the commitment to sell Channel 4 off? This is something that the independent film, TV production and advertising sectors are against. Will the Minister accept that pursuing this is completely inappropriate, considering that it is deeply unpopular among the industry and the public—92% of those responding to the Government’s own consultation were against it—it is not a manifesto commitment, and the noble Lord is now a Minister in a caretaker Government? I see no mandate there.
Lord Parkinson of Whitley Bay (Con)
My Lords, it remains the policy of Her Majesty’s Government to ensure that our public service broadcasters are equipped for the decades ahead. As we have discussed, although we may disagree on this issue, I hope all noble Lords agree that Channel 4 needs the investment to be able to compete with the American streaming giants. I look forward to debating this more with noble Lords.
The BBC will continue to receive around £3.7 billion in annual public funding, which allows it to deliver its mission and public purposes.
Broadcasting White Paper
Baroness Bonham-Carter of Yarnbury Excerpts(3 years, 8 months ago)
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Baroness Bonham-Carter of Yarnbury
To ask Her Majesty’s Government whether the forthcoming broadcasting White Paper will make proposals about prominence in relation to (1) online radio services, and (2) smart speakers.
The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Lord Parkinson of Whitley Bay) (Con)
My Lords, the Government have committed to ensuring that listeners continue to have free-to-air access to UK radio services when listening via connected audio devices and that radio services are not discriminated against by large tech platforms which carry audio over internet protocols. The digital radio and audio review considered these issues in its report of last October. The Government’s response to that report will be published shortly and will set out our position in this area in more detail.
Baroness Bonham-Carter of Yarnbury (LD)
I thank the Minister for his positive reply. Prominence rules were put in place over 15 years ago for TV broadcasters and are set to be updated, I believe, but there are none at all for radio. The pandemic and now events in Ukraine have reinforced the importance of PSB radio, but as audiences increasingly access radio and audio services on demand, online and through new devices, this valuable service is at risk and at the mercy of the global tech companies which control distribution of content on these platforms. Reform is urgently required. I am glad that the Minister agrees—I think—that there is a pressing need to address this issue in the broadcasting White Paper and the media Bill. Can he tell us when that is likely to come?
Lord Parkinson of Whitley Bay (Con)
The noble Baroness is right that there has been rapid change in the last five years. Smart speakers have become widely available and are now owned or accessed by a third of all adults, so the Government recognise the urgency of the issue. We are very conscious that connected audio devices are starting to represent a significant and growing share of radio listening. They have opened new routes for listeners and new avenues for content creators, but they also carry a risk of listener access to radio services being disrupted or limited. We fully recognise those concerns and are committed to taking the necessary steps to ensure continued free-to-air and unintermediated access to UK radio. As for future legislation, that will be set out in the normal way.
BBC Funding
Baroness Bonham-Carter of Yarnbury Excerpts(3 years, 9 months ago)
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Lord Bassam of Brighton (Lab)
My Lords, in truth, we know that this Statement was about distraction—a vindictive distraction at that—away from the Prime Minister’s behaviour during lockdown, the Government’s unlawful VIP lane for Covid contracts and their continued refusal to deal with our country’s cost of living crisis.
The Secretary of State pleads that she is interested in the cost of living crisis; if she were, she would be telling the Prime Minister to reverse the cuts to universal credit, put a stop to the national insurance and tax hikes this April, back Labour’s VAT cut on fuel bills and follow the lead of the noble Lord, Lord Agnew, and raise the alarm about the £4 billion-worth of Covid-related fraud. Freezing the licence fee increase pales into insignificance when put alongside those issues.
Given the BBC’s stated desire to become a leaner outfit, and with the new ability of the corporation’s commercial arm to access more private finance, I can see why the Secretary of State believes there is a rationale for a freeze, but we do not necessarily agree, as it will have a significant impact on the BBC’s output. Surely, the Government’s discussions with the BBC should have been concluded before any decision or announcement was made. Secretary of State after Secretary of State has looked at alternatives to the licence fee and not managed to find a feasible solution. If there is one, we are, of course, happy to look at the detail, but why does this Secretary of State believe she will succeed where others have failed?
The Secretary of State has expressed unease that pensioners face punishment if they do not pay the licence fee, so she must be appalled to find out that it was her own Government who stopped subsidising free licences for the over-75s. She cited concerns about impartiality and groupthink, an area in which, in my view, the BBC is very self-aware—perhaps even more so than the Government. Both sides of our political divide often accuse the BBC of bias, which probably means that, on balance, it is getting things about right. During the current government crisis, it has seemed to us that ITV, Sky and Channel 4 have, if anything, been even more questioning of the Government’s credibility.
In general, the BBC is rightly viewed by most as a national treasure and an international icon, so perhaps the Minister can say why the Government are so determined to undermine it. You can almost set your watch by the Government’s constant threats to public service broadcasting. The knock-on impact of the freeze—a real-terms cut of some £285 million by the end of the settlement period—is likely to have a larger economic cost than what the BBC loses by way of income. As we saw at the height of the pandemic, reduced commissions put enormous strain on the production and creative ecosystem, which has been left far more fragile than it was pre-pandemic.
The fact is that the BBC acts to underpin our creative sector. It the Government start chipping away at its foundations, they will undermine the structure and fabric of our cultural institutions and a big part of what makes the cultural industries so profitable and popular internationally. At present, production costs are spiralling due to inflation and increased competition from other broadcasters. The BBC has already trimmed quite a lot of the fat behind the scenes, so the impact of further cuts is likely to be more obvious to viewers. Will the Minister speculate and tell us today where he thinks the cuts needed for the BBC to balance its books should come from?
To give the Minister credit, in recent debates he has defended the work of the BBC and the way it is funded. I appreciate that decisions on funding statements are taken at a higher pay grade by his superiors, but did the Minister know that they had been taken and that this announcement was due? Perhaps he can share with us today his feelings when he saw the tweet about the future of the BBC’s funding and the threatened end of the licence fee. The Treasury has indicated that it will not chase down the £4 billion fraudulently claimed from its coronavirus support schemes at the height of the pandemic, so why not reverse that—track down the money in order to properly fund the BBC and other services and reduce, or at least offset, the planned tax increases that will hit family budgets far harder than the licence fee ever could?
We need a stable and secure funding base for the BBC, a more co-operative and collegiate approach from the Secretary of State, and a proper plan in place to effectively review the BBC’s charter and address the long-term issues that the Secretary of State raised about the dynamic and fast-changing nature of the digital, media and communications sector, which contributes so much to this country, its national life and our economy. This Statement was about little of the above, and I am afraid that it was much more about the shambles that, hour by hour and day by day, this Government have descended into.
Baroness Bonham-Carter of Yarnbury (LD)
My Lords, the BBC is 100 this year—what a birthday present from the Secretary of State this is. What possible reason is there for this attack on an institution that is the backbone of our world-beating creative industries, doubling its money, so far as investment in our creative economy goes?
Does the Minister not agree that the effect of initial BBC spending multiplies as it ripples through the economy, from region to region and sector to sector? Does he agree that it is pivotal in supporting our creative industries through innovation, skills and training, which directly feed into the Government’s levelling-up agenda, making programmes across the country that boost local economies and utilise local skills? BBC investment over decades has helped to develop significant local creative hubs across the UK, not to mention a network of local radio and TV, ensuring that a spotlight is shone on important regional issues and essential local news.
Does the Minister agree that 43p a day, which is the cost of the licence fee, offers exceptional value to all audiences across the UK, supplying via television, radio and the internet British content that is universally available to everyone across the country? Cuts will affect everyone but especially those with only free-to-air TV and radio, who tend to be less well off and older. Does the Minister not also agree that the BBC has been a lifeline through the pandemic, providing both news that the public trusted and essential support, through Bitesize, for those home-schooling?
Does the Minister agree that the World Service and the programmes that it exports, which showcase this country’s creative talent, are central to promoting the UK around the world, and are the envy of the world? The BBC was described by our Prime Minister, when he was Foreign Secretary, as
“the single greatest and most effective ambassador for our culture and our values”.
The DCMS is not the department for social policy, as the noble Lord, Lord Bassam, has mentioned; there are more direct ways to help those who are trying to deal with the burden of inflation plus increased energy bills. So will the Minister please listen to the words of Richard Sharp, chair of the BBC and a member of his party:
“I believe that the case for a well-funded, modern and efficient national broadcaster has not diminished over the past decade, but grown”?
Have the Government assessed the impact of this funding freeze on the BBC? Given that 95% of BBC spend goes into content and its delivery—despite what the Daily Mail says—what would the Minister be happy to do without? What about an impact assessment of this decision on the UK creative economy as a whole? Finally, does he not agree that these decisions cannot continue to be made behind closed doors—we believe that there is disagreement within the Cabinet about the announcement—and that we need an independent licence fee commission?
BBC: Government Support
Baroness Bonham-Carter of Yarnbury Excerpts(3 years, 11 months ago)
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Baroness Bonham-Carter of Yarnbury (LD)
My Lords, I also declare the fact that I worked for the BBC. In fact, I think I may have been rejected for the BBC traineeship scheme in the same year as the noble Lord, Lord Londesborough, but I went on to have a very good and enjoyable career there. I thank the noble Lord, Lord Bragg. I think in a previous debate I referred to him as a creative industry in himself, and I would repeat that now. I also thank the right reverend Prelate the Bishop of Liverpool for a wonderful maiden speech. He comes from a city which is surely one of our most creative.
Last week was a good one for the creative industries. They got recognition, via “Peppa Pig”, from the Prime Minister for the wealth they generate for the UK economy. That is excellent—but, just to put the record straight, “Peppa Pig” was never rejected by the BBC, and though born in the UK, it is now the property of an American company. But the BBC has funded, created and distributed global gold such as “Doctor Who”, “Blue Planet” and “Mastermind”, and BBC Studios has supported the creation of the favourite programme of the noble Lord, Lord Vaizey, “Strictly Come Dancing”, and mine, “Small Axe”. The BBC is the world’s leading television distributor outside the US.
The point about our creative industries—the fastest growing sector of our economy—is that they involve an interwoven set of relationships and support systems very much nurtured by our PSBs, and the BBC is the cornerstone of all of this. Pivotal in supporting them through innovation, investment, skills and training, the effect of initial BBC spending is multiplied as it ripples through the economy from region to region and sector to sector.
As my noble friend Lord Foster said, the BBC is emphatically not just about news and current affairs, as so many politicians seem to think. I would say to the noble Lord, Lord Hannan, that it is not just about comedy programmes either. As well as showcasing British culture and creativity, the BBC functions as a catalyst for the creative industries as a whole. It invests over £1.4 billion in TV content production in the UK and generates for the UK economy the equivalent of £2 of economic value for every £1 of licence fee it receives. In other words, it doubles its money.
The investment and R&D the BBC put into iPlayer, for instance, was a trail-blazer for the global streamers. I have a quote for your Lordships:
“I think the impact the BBC has had over the last few decades in building the profile of the UK creatively, in nurturing talent, in its investment in production and so forth, is one of the key reasons we have chosen to make our home here and why we are such strong supporters of what they do and want to see them continue doing that.”
Those are not the words of BBC DG Tim Davie or BBC chair Richard Sharp, but those of Benjamin King from Netflix. The streamers want to be here because of the BBC—they do not want to annihilate it. This is not politics; it is creativity.
Contrary to what some have said today, the BBC is far from London-centric. BBC investment over decades has helped to develop significant local creative hubs across the UK, with major production centres in Glasgow, Cardiff, Belfast, Salford, Bristol and Birmingham, not to mention a network of local radio and TV which ensures a spotlight is shone on important regional issues and, of course, supplies local news.
That brings me back to BBC chair Richard Sharp and a speech he made the other day in which he said:
“I believe that the case for a well-funded, modern and efficient national broadcaster has not diminished over the past decade”—
reflecting what the noble Lord, Lord Bragg, said—and he added that it has “grown”. His powerfully put argument was largely predicated on what he referred to as
“today’s global news and information landscape”.
We need the BBC, not just for its contribution to our economic well-being and social cohesion but because, so far as the dissemination of true, factual, unbiased news and information, the times we live in are quite frankly scary.
The BBC remains the most trusted broadcaster in the world, as the noble Lords, Lord Bilimoria, Lord Vaizey and Lord Bragg, mentioned. In this era of fake news, it is more important than ever as an impartial and reliable news source. Its universal availability and independent, well-informed and neutral approach have been particularly essential during the pandemic, when untruths and conspiracy theories have been rife. Does the Minister agree that we need news that can distance itself from the partisan and that this is provided by the BBC and, of course, our other great PSB outlets?
In my view, the right reverend Prelate the Bishop of Liverpool spoke most eloquently on the question of impartiality. To pick up on what the noble Lord, Lord Liddle, said, when I worked in the BBC, the noble Lord, Lord Grade, was director of programmes; he now sits on the Conservative Benches. Jeremy Paxman was the “Newsnight” rottweiler; he declared himself a Tory when he left the BBC. The bête noire of the noble Lord, Lord Lilley, Nick Robinson, was once president of the Oxford University Conservative Association; and Sir Robbie Gibb was head of BBC Westminster, in overall charge of BBC political programmes for years. I rest my case—although, of course, the BBC did employ the noble Lord, Lord Bragg, the noble Baroness, Lady Jay, and me.
Internationally, the BBC is one of the greatest sources of British soft power, as mentioned by so many across this House—my noble friend Lord McNally, the noble Baroness, Lady Jay, the noble Lord, Lord Bilimoria, the noble Lord, Lord Hannay, of course, and many others. When he was Foreign Secretary, our Prime Minister described the BBC as
“the single greatest and most effective ambassador for our culture and our values”
and a crucial contributor to Britain’s role as a “soft power superpower.” As Prime Minister, he launched his vision for a post-Brexit global Britain in a document presented to Parliament which is redolent with praise for the BBC. We on these Benches agree. As well as playing a hugely important role in promoting the UK, it is the only British media brand with truly global recognition.
Turning to funding, I mentioned earlier that the licence fee doubles its money so far as investment in the creative economy goes. I accept what the noble Baroness, Lady Bennett, said—that we have to look to the future—but we believe that for the moment, it continues to ensure that the BBC is an independent universal broadcaster committed to serving everyone. That universality, as my noble friend Lord Foster mentioned, is an essential part of public service broadcasting which cannot survive paywalls and subscriptions; everyone pays less in our present system and everyone has access to the content. Actually, as the noble Lord, Lord Grade, said last year, there is a direct relationship between your source of finance and the kind of programmes you make; it is as simple as that.
However, the setting of the licence fee has to be free from political interference, so it is worrying to hear the Secretary of State say:
“The perspective from the BBC is that they will get a settlement fee and then we’ll talk about how they’re going to change. But my perspective is, tell me how you’re going to change and then you get a settlement.”
That is the wrong way round. Will the Government commit to setting up an independent BBC licence fee commission? I think I know the answer to that.
Alongside the issue of global Britain, which, in the Prime Minister’s own words, needs a strong, thriving BBC, is the part the corporation plays in levelling up. It feeds directly into this, supplying training and making programmes across the country, boosting local economies and utilising local skills. The BBC has held us together through the pandemic, providing news the people can trust and essential support for home schooling, as my noble friend Lord Storey mentioned. So, can the Minister explain why this Government are seeking to slash the funds of the BBC?
What the BBC needs, alongside the other PSBs, is prominence on all EPGs extended to all digital TV platforms. It needs secure and adequate funding. The Prime Minister in his CBI speech on global Britain called for support for the cultural and creative sectors; in which case, include the BBC. Global Britain needs it; a levelled-up Britain needs it; so, support it, do not unravel it. The BBC is precious; it is unique. As the noble Lord, Lord Bragg, said, it is ingenious and illogical, but once lost, it is never coming back.
Ofcom: Appointment of Chair
Baroness Bonham-Carter of Yarnbury Excerpts(3 years, 11 months ago)
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Baroness Bonham-Carter of Yarnbury
To ask Her Majesty’s Government what are the criteria for the appointment of the next Chair of Ofcom; and what has been the impact of the withdrawal of Paul Dacre on the progress with that recruitment.
The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Lord Parkinson of Whitley Bay) (Con)
My Lords, the essential criteria for the role of chairman of Ofcom have been publicly available on the public appointments website since the process launched on 1 November. The panel, whose names have also been published, will be responsible for assessing candidates objectively against these criteria. The process is fair and open and the Secretary of State has been clear that she wants the best candidate for the role and to be presented with a choice of candidates from a broad and diverse field.
Baroness Bonham-Carter of Yarnbury (LD)
I thank the noble Lord for his Answer and say how pleased we are on these Benches that so many Conservative Ministers are celebrating the creative industries this week. Does the Minister agree that my Question would not have had to be asked if the Prime Minister had heeded warnings, including from Julian Knight MP, chair of the DCMS Select Committee, not to pursue bending the rules to suit the reapplication of the person of his choice? Going forward, will the Minister assure this House that choosing the next chair will be conducted in a way that ensures the integrity and independence of the process, as is fit for Ofcom’s global reputation as an independent regulator?
Lord Parkinson of Whitley Bay (Con)
My Lords, the original competition was rerun because of the disappointing number of candidates. As the previous commissioner, Peter Riddell, wrote, one of the reasons for that was no doubt a result of speculation in the press at the start of the process about candidates said to be preferred by Ministers. It is regrettable that that speculation may be putting people off. We want to see a broad and diverse range of people applying so that the right person can get this important job.
Channel 4: Consultation
Baroness Bonham-Carter of Yarnbury Excerpts(4 years ago)
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Baroness Bonham-Carter of Yarnbury
To ask Her Majesty’s Government how many responses they received to their consultation on A potential change of ownership of Channel 4 Television Corporation, which closed on 14 September.
Lord McNally (LD)
My Lords, in the absence of my noble friend Lady Bonham-Carter, and at her request, I beg to move the Question standing in her name on the Order Paper.