BBC: Government Support
Baroness Bonham-Carter of Yarnbury Excerpts(4 years, 2 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(4 years, 2 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, 3 months 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.
Creative Sector
Baroness Bonham-Carter of Yarnbury Excerpts(4 years, 3 months ago)
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Baroness Bonham-Carter of Yarnbury (LD)
My Lords, I add my thanks to my noble friend Lady Featherstone. Many superlatives have been sprinkled on her speech; I add “passionate”. I have also heard passion from around the House on this incredibly important topic. I also welcome the fine maiden speech of the noble Lord, Lord Spencer. I am so pleased that he chose this debate to make his maiden speech, because it was not necessarily obvious to the rest of us. It was a wonderful speech and I am pleased that he is part of this debate.
Lockdown was catastrophic for the creative industries, a sector that relies particularly on personal interaction. My own stark realisation of what was about to happen was on 16 March 2020, when the doors to Tom Stoppard’s “Leopoldstadt” literally closed in my face as I arrived. However, as the noble Lord, Lord Marland, said, the sector showed characteristic imagination and innovation and found new ways of collaborating, working and planning with communities across the land, streaming gigs, exhibitions, performances and festivals. In so doing, in some ways, it succeeded in reaching out to a more diverse audience. However, we all know that online events are no replacement for the pleasure of actual shared experience or the loss of revenue. The toll it took on the viability of venues, on the literal escape for audiences into other worlds and on the careers and lives of our fabulous creative workforce was terrible.
As the noble Lords, Lord Foster and Lord Cashman, said, this workforce was particularly vulnerable due to the precarious nature of its freelance world. Some 72% of its workers fall into this category. During lockdown, they came to be known as the “excluded” because that is what they were, unable to access government support schemes. Will the Minister listen to the calls for a freelance commissioner to ensure that resources are distributed more equally in future?
The UK’s creative and cultural workforce still does not adequately reflect the diversity of the UK population, as the noble Baroness, Lady Prashar, mentioned. I hope that the Minister will pay attention to the report from the APPG for Creative Diversity, of which I am a member, on how the Government can help the sector in this area. For instance, although we welcome government investment in developing flexi-job apprenticeships with agencies, will the Minister ensure that this remains sustainable and affordable for the sector after the initial investment runs out? Also, will he ensure that some of the levelling-up support, in particular the £560 million for youth services, is available for culture and creative activities? I take this opportunity to thank the noble Baroness, Lady Stedman-Scott, for her leadership and energy in making Kickstart work for the creative sector, as exemplified by the involvement of Pinewood and the games sector.
Our creative industries, and the cultural and artistic excellence that underpins them, make us a soft power superpower—an economic powerhouse. As the noble Lord, Lord Spencer, said, they unlock innovation. They provide social cohesion. They bring solace and, in some cases, actual healing to those struggling with physical and mental ill-health. They are gold dust, literally and metaphorically. The Chancellor acknowledged this recently when he said:
“For any country, there are probably a few things that you are world-class at. For us, in the UK, the creative industries, arts culture is something we are genuinely world-class at.”
His provision last week of an uplift in tax relief—I hope the noble Lord, Lord Vaizey, hears me—was very welcome indeed.
However, why is government policy not more joined-up in its support for the creative industries? Much has been said today about education and the skills pipeline. The acquiring of a skill begins at school, as the noble Lord, Lord Storey, said. Successive Conservative Governments consistently and persistently undervalue and undermine arts education. First, it was via the EBacc. Then, it was through proposals to scrap qualifications that are still needed by the creative industries, such as BTECs and level 3 courses. Defunding existing courses before new ones are tested is a huge risk. Please can the Government stop further cuts to the funding for creative subjects in higher education, with a 50% cut for some courses having already been announced in the summer?
“STEM, not STEAM” is the Government’s mantra. It totally ignores the fact that there should not be a choice between the arts and science. They are symbiotic. As Peter Bazalgette, chair of ITV and ex-chair of Arts Council England, said in a recent speech:
“Our global competitiveness will increasingly depend on the fusion of creative and technological innovation.”
It already does. The noble Lord, Lord Vaizey, mentioned Jony Ive and the iPhone, but did your Lordships know that nine out of the last 10 special effects Oscars were won by Brits—a perfect example of this fusion? Yet this Government—the same Government whose industrial strategy prizes the creative industries as a priority sector—say that arts subjects are not strategic priorities. It is baffling. Can the Minister explain this disconnect? More importantly, will he listen to the many noble Lords, including a former Culture Minister, who have made the same point in this debate?
Then there is Brexit. We have just heard the words of my noble friend Lord Strasburger. The fact is that the creative sector was dealt a no-deal Brexit. Will the Minister respond to his requests, and those of the noble Lord, Lord Berkeley, and the noble Earl, Lord Clancarty? Through their careers, they understand directly what is going on.
Finally, I want to pick up what my noble friends Lord McNally and Lord Clement-Jones highlighted. One of the most successful drivers of our world-beating creative sectors are our PSBs—a sector that feeds directly into levelling up. They make programmes across the country, boosting local economies and utilising local skills. They and our cultural institutions are central to promoting the UK around the world. It is about soft power. When he was Foreign Secretary, our now 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.
The PSBs held us together during the pandemic, providing news that people could trust and, in the case of the BBC, essential support for home schooling. Can the Minister explain why this Government are seeking to slash the funds of the BBC and privatise Channel 4? Why, as the noble Baroness, Lady McIntosh, asked, are they so determined that a man such as Paul Dacre, who was deemed unsuitable to chair the PSB regulator Ofcom by the last interview panel, should be encouraged to apply again, with the job description tweaked to favour his application, as highlighted on Twitter? The old job ad said that candidates for the Ofcom chair needed to “support the chief executive”, while the new one says that candidates need to “challenge” the CEO. The old ad said that candidates need “familiarity” with regulation, while the new one says that they need an “understanding” of regulation.
Finally, I return to something Peter Bazalgette said in his recent speech. He asked why, as a nation, we overinform ourselves about declining industrial sectors and underinform ourselves about high-growth ones, such as the creative industries. Let us shout out about what we are so good at and invest in it in a joined-up way, as so eloquently put by my noble friend Lady Featherstone. Then I suggest we raise a glass of British sparkling wine—a great creation in itself.
Ofcom: Appointment of Chair
Baroness Bonham-Carter of Yarnbury Excerpts(4 years, 3 months ago)
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Lord Parkinson of Whitley Bay (Con)
I am not familiar with the noble Lord’s second point, but I will certainly take it away and look into it as he asks. Yes, this is an important role with responsibilities not just in broadcast but across the communications framework, which is why we want a high-quality range of candidates to apply for Ministers to choose from.
Baroness Bonham-Carter of Yarnbury (LD)
My Lords, I welcome the Minister to his role, this being my first opportunity to do so, although he may not welcome my question. In a recent speech, the noble Lord, Lord Puttnam, who will be much missed in this Chamber, said that
“when the Prime Minister actively—and repeatedly—intervenes to manipulate an ideological ally into the chairmanship of Ofcom, every alarm bell should start to ring.”
Given that one of the most important functions of Ofcom is to uphold the broadcasting impartiality regime, does the Minister agree that it would be unacceptable for the new chair to be someone with a long record of extreme political partisanship?
Lord Parkinson of Whitley Bay (Con)
I thank the noble Baroness for her welcome and join her in paying tribute to the noble Lord, Lord Puttnam, whose views will, I am sure, continue to be heard, even if not in your Lordships’ House. This is an important role, which needs impartiality and the appointment of which is governed by clear rules on public appointments. The process has been run along those lines so far and it will continue to be.
Channel 4: Funding and Governance
Baroness Bonham-Carter of Yarnbury Excerpts(4 years, 7 months ago)
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Baroness Bonham-Carter of Yarnbury
To ask Her Majesty’s Government what plans they have for the future (1) funding, and (2) governance, of Channel 4.
The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Baroness Barran) (Con)
My Lords, I am tempted to invite the noble Lord, Lord Watson, to respond. As part of their ongoing strategic review of the UK system of public service broadcasting, the Government will be consulting on the future of Channel 4, including its ownership model and remit. A fast-evolving media landscape, increasing competition and changing audience habits pose imminent challenges. Moving Channel 4 into private ownership and changing its remit could help secure its future as a successful and sustainable public service broadcaster.
Baroness Bonham-Carter of Yarnbury (LD)
Does the Minister accept that for the sale of Channel 4 to bring in the amount of money that the Government are talking about, the remit will have to change? At the very least it would have to be watered down, with disastrous consequences for our public service broadcasting sector and the wider creative economy. No change to the remit means no real profit for the Government, so why do it? Could this be ideologically driven rather than economically—something to do with a melting ice sculpture?
Baroness Barran (Con)
I do not think it is anything to do with a melting ice sculpture. The Government are committed to having a thriving PSB sector. I know the noble Baroness understands full well what the trends are in advertising revenues for linear television. We are trying to address that and make sure that Channel 4 has a secure, sustainable and thriving future.
BBC: Freedom of Information Legislation
Baroness Bonham-Carter of Yarnbury Excerpts(4 years, 7 months ago)
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Baroness Bonham-Carter of Yarnbury (LD)
My Lords, I think the Minister agrees that FoI exemptions are afforded to the BBC and other PSBs so that they can correctly maintain editorial control. Does she also agree that nothing should be done that might prejudice journalistic integrity, and that BBC journalists should have exactly the same protection of their sources as those working, for instance, for the Daily Mail?
Baroness Barran (Con)
I hear the noble Baroness’s point. What is perhaps behind the Question from the noble Baroness, Lady Hoey, is perceptions of impartiality concerning the BBC. The noble Baroness will be aware that both the new chairman and the new director-general have made addressing those perceptions a priority.
BBC: Dyson Report
Baroness Bonham-Carter of Yarnbury Excerpts(4 years, 8 months ago)
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The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Baroness Barran) (Con)
It is obviously up to the board of the BBC to determine the scope of the review. I am sure the noble Baroness has seen the letter today from the chief executive of Ofcom about its work in this area. It is all part of an effort to rebuild trust in the BBC after the dreadful events revealed by the Dyson report.
Baroness Bonham-Carter of Yarnbury (LD) [V]
My Lords, we welcome the fact that the Government agree that, in an era of fake news, public service broadcasting has never been more important. The Bashir story is truly shocking, but I worked as a journalist at the BBC for many years and know that the vast majority abide by the values and principles that make it such a respected institution at home and abroad. This is not a time, as the Secretary of State said, for knee-jerk reactions. While I wholeheartedly condemn these events, does the Minister not agree that they must not be used as an opportunity to undermine the BBC’s independence or the principles of universality that so importantly underpin it?
Baroness Barran (Con)
We absolutely agree—we want a strong and successful public broadcasting system, and that needs the BBC to be a central part of it. As my right honourable friend the Secretary of State made clear in his recent article in the Times, there will be no knee-jerk reaction.
Music Festivals: Covid-19-related Cancellations
Baroness Bonham-Carter of Yarnbury Excerpts(4 years, 9 months ago)
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Baroness Barran (Con)
My noble friend is right that the issue of indemnity cover cuts across a range of sectors. The Government have supported the sports sector both by allowing events to take place behind closed doors and through the £600 million sport survival fund.
Baroness Bonham-Carter of Yarnbury (LD) [V]
My Lords, in response to my Question yesterday, as the noble Lord, Lord Stevenson mentioned, the Minister said that the Government were
“aware of the wider concerns around indemnity for live events and are trying to understand the market failure and how it impacts on different forms of live events.”—[Official Report, 26/4/21; col. 2074.]
Is it not simple? Does not this admission of market failure mean that intervention can be justified and should be acted upon?
Baroness Barran (Con)
I am sure the noble Baroness would agree that before taking that decision we need to understand the impact on infection rates of removing or amending social distancing, not using masks, the role of certification and the impact of allowing global travel, which all have a bearing on the viability of these events.
Creative Industries: Covid-19
Baroness Bonham-Carter of Yarnbury Excerpts(4 years, 9 months ago)
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Baroness Bonham-Carter of Yarnbury
To ask Her Majesty’s Government what assessment they have made of the impact of COVID-19 on the levelling up agenda in relation to the creative industries sector.
The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Baroness Barran) (Con)
My Lords, our creative industries are a global success story, growing at four times the UK average before the pandemic struck. While the pandemic has had a heavy impact, particularly on audience-facing subsectors, the Government have provided them with unprecedented levels of support through the £1.57 billion cultural recovery fund and the £500 million TV and film production restart scheme. Both these schemes have supported businesses across the UK and will help to ensure that the sector can return to growth as soon as public health conditions permit.
Baroness Bonham-Carter of Yarnbury (LD)
I thank the Minister for her reply. The Budget included the levelling-up fund, which drew attention to the importance of the creative sector in this endeavour, so why are the Government so resistant to working with the industry to create a scheme for insurance cover for festivals and live events? Without this, and as long as the threat of the pandemic continues, events that are so important to local economies and local jobs will not happen this summer. Does the Minister agree that in preventing such an insurance scheme the Government are taking a backwards step in their bid to level up the country?
Baroness Barran (Con)
The Government absolutely do not accept that we are taking any backwards step, either in support of the creative industries or in relation to levelling up. We have offered substantial practical help through setting out a very clear road map and identifying an events research programme to get those events going. We are aware of the wider concerns about securing indemnity for live events and are continuing to explore what further support we can offer.