Online Harm: Child Protection

Helen Maguire Excerpts

Tuesday 24th February 2026 Commons Chamber

[Susan Murray (Mid Dunbartonshire) (LD)]

We have all learned that if an online service is free, we are the product. That is the business model used by the social media giants. They track what we watch, what we click, what we like and what we fear. They then build detailed profiles of our behaviour and they turn that behaviour into data and advertising revenue.

These platforms do not just host content; they actively shape what we see. They promote material, target adverts and keep users online for as long as possible because the longer we stay, the more money they make, and that is where the problem lies. The algorithms used by social media giants are designed for engagement, not wellbeing. They feed on outrage, division and shock to keep us scrolling. Users are pushed towards more extreme content, not because it is true and not because it is healthy, but because it is profitable. We can see the consequences in the real world.

Young people in particular are vulnerable to these pipelines of harmful content. Misogynistic and extremist figures, including Andrew Tate, rise to prominence through social media ecosystems that reward provocation and repetition. What starts as healthy curiosity or pushing the boundaries in young people can quickly lead to radicalisation. Given the serious harms caused by under-regulated social media, we have a responsibility to act quickly in a defined timeline to protect children and young people.

[Helen Maguire (Epsom and Ewell) (LD)]

Last week, the chief executive officer of Meta took the stand in Los Angeles as part of a landmark trial examining Instagram’s impact on the mental health of young users. This highlights the confusion about who is responsible for what in the online space. We know that we need Government legislation, but we also need clarity on what social media companies are responsible for. Does my hon. Friend agree that it is time that we establish a clear framework and proper accountability so responsibilities are understood and the right people are held to account for any failings?

[Susan Murray]

I absolutely agree; it is important that it is clear who is accountable for the harms that occur. That is why I urge the Government to work with the Liberal Democrats to introduce age ratings for social media. As the hon. Member for Milton Keynes Central (Emily Darlington) so clearly laid out, ratings help parents and carers to keep children safe. We already accept them in other areas of life—not every film is suitable for every age group, so we rate them; not every game is suitable for every child, so we rate them. Social media should be no different.

If a platform, unasked, can expose a child to violent content, misogyny, self-harm content or extremist propaganda, it must not be treated as if it were harmless by default. This is not about banning social media or saying it has no value. It can be a brilliant tool for learning, as we have heard. It can help people stay in touch with friends and family, as we have heard. It can open up access to information, support and communities that people might not otherwise find. Yet those benefits do not cancel out the harms. We are not trying to get rid of social media, but we must take a sensible approach to ensure that multibillion-pound companies do not push products that maximise profits while our children pay the price. We regulate risk in other areas. We cannot be beholden to tech giants; we have a responsibility to regulate here.

Community Theatre

Helen Maguire Excerpts

Wednesday 12th March 2025 Westminster Hall

[Chris Bryant]

I am not sure whether that was really a question or an advert. It would seem that all the world’s a stage, and all the MPs merely players. It is good that everybody appreciates the cultural institutions in their constituencies and that we all try our best to support them when we can.

The Park & Dare is the theatre in my patch with a beautiful 19th-century building. One of the most exciting nights that I have ever had was seeing Joan Armatrading perform there. When a performer of global standing comes to a local community theatre, that is really important. I think Paul Young is playing at the Forum theatre in a few weeks’ time; the audience then will no doubt be living in the “Love of the Common People”.

We have all used the term “community theatre” in the debate, but it does not really exist. According to the Society of London Theatre and UK Theatre, roughly 50% of the 1,100 theatres in the UK are community theatres, so we are talking about 500 or so of them. All those theatres are on a spectrum, however, that ranges from the tiny venue that seats only 100 people and is entirely run by the community on an almost-voluntary basis to much bigger venues, such as Nottingham Playhouse, that are run by the local authority but are still very much part of the local community.

Actually, I would argue that no theatre is really a theatre unless it is a community theatre, even many of the big theatres that we see in London’s west end, which are such an enormous attraction for people around the world. Incidentally, if anybody in the United States of America is watching this debate, the productions in our west end theatres are much better value than Broadway theatres, and their productions are of much better quality too.

Whatever kind of theatre we are talking about, in the words of Peter Brook, every theatre is in essence an “empty space”, and it is only when somebody walks across it that it becomes a theatre. To do that, however, it has to have a story to tell, it has to have people to tell that story and it has to have an audience. All of that is what turns a theatre into a community. The theatre industry in the UK generates something like £2.39 billion in gross added value, employs 205,000 workers and has a turnover of £4.4 billion a year. We already support it in many of the ways that the hon. Member for Hazel Grove has asked us to support it, so I am quite pleased that she asked those questions rather than more difficult ones.

The higher rate of theatre tax relief that comes into force on 1 April is a significant investment in the theatre industry across the whole UK. It will be set at 40% for non-touring productions and 45% for touring productions and ones that involve music. Arts Council England is going through the next round of looking at its national portfolio investment programme, which will provide something like £100 million a year to 195 theatres across the UK.

People might think that a lot of that is going to the big theatres, which might not qualify as a community theatre, but that is stuff and nonsense—sorry, that is the name of a theatre in Dorset. The Stuff and Nonsense theatre is one of Arts Council England’s national portfolio organisations, as are the Nottingham Playhouse, Z-arts in Manchester, the Little Bulb theatre in Mendip and Scratchworks theatre in Exeter. Interestingly enough, the programme does not just fund theatre buildings; it also funds the Writing Squad in Stockport, which is bringing on new writing talent in the north of England, because that is absolutely essential to making sure that there are new plays coming along.

I love J. B. Priestley, and one day I will tell the embarrassing story of when I was in a production of “Time and the Conways” many years ago, but we cannot endlessly put on the classics. Much as many of the classics are really important—I have seen productions of “Richard II”, “Edward II” and “Hamlet” in the last few weeks—we none the less need live, modern stories that reflect people’s lived experiences.

[Helen Maguire (Epsom and Ewell) (LD)]

On the point of funding, Leatherhead theatre is a grade II listed building leased by a small local charity. It faces ongoing maintenance challenges, but its ownership model makes covering those costs extremely difficult. The £85 million creative foundations fund is welcome, but past experience suggests that not owning the building or having a long-term lease could preclude access to such funding. Would the Minister look into ensuring that funding is accessible to all community theatres regardless of ownership to ensure that they continue enriching our communities?

[Chris Bryant]

I like the way that the hon. Lady casually dismisses the £85 million of capital investment—it took quite a lot of work to secure that money. One of the first things that the Secretary of State for Culture, Media and Sport and I were lobbied about when we came into government last July was the state of many of the cultural institutions—theatres, museums, galleries and so on—that have been run by local authorities and are in dire capital need. Many of the organisations that we are talking about will be covered by that. If she wants to write to me about the specifics of that case, I will look into it. We had to decide where our priorities should lie. There are other avenues that other organisations can go down, but we wanted to make sure that there was a solid amount of money available in a single year: £85 million for capital projects in 2025-26 for the kind of theatres that many of us will be talking about that are, or have been, local authority-run.

The other intervention that the Department is engaged in is the Theatres Trust, which provides a great deal of unbiased advice to a variety of different theatres about their funding mechanism, their legal structures, their governance and what they can do about energy costs—a whole series of different things. I am very grateful to the Theatres Trust team, who play an important role in making sure that the whole sector works.

It is clearly easy for us to celebrate the big shows that I have already mentioned in the west end, such as Tom Hiddleston in “Much Ado About Nothing”. Those productions get lots of coverage and are very successful commercially, but we cannot have a successful commercial UK theatre industry without a successful subsidised UK theatre industry. We need that whole mix. An actress such as Glenda Jackson, who ended up winning two Oscars and was nominated for two more, and who was a great star of stage and screen making her way partly in theatre and partly in the movies, started in rep in Hoylake and West Kirby. We must remember that it is that whole mix, even in the changing environment of modern theatre, which has very few repertory theatres in the classic sense, that we really have to sustain.

I have already referred to the £85 million creative foundations fund, but I should also refer, as the hon. Member for Hazel Grove rightly did, to local government. The new plan for neighbourhoods that is being developed by the Ministry of Housing, Communities and Local Government is precisely designed to look at how we can make sure our local neighbourhoods flourish. A key aspect of that must be the creative industries and our cultural institutions. People take so much pride in having a local theatre, a local music venue or whatever else it may be. We lose those organisations at our peril, although there are enormous challenges.