Broadcasting: Recent Developments

Viscount Chandos Excerpts

Thursday 8th January 2026 Lords Chamber

[Viscount Chandos (Lab)]

My Lords, I add my thanks and congratulations to the noble Lord, Lord Fowler, to those of other Lords, with the added reason that I have spent the past 12 years trying to fill the noble Lord’s giant shoes as chair of the Thomson Foundation, which trains journalists and promotes sustainable media throughout the world. In declaring that interest, I should add that I am also a director of the audience measurement company, RSMB, the rights management company, the Theseus Agency, and Digbeth Loc. Studios in Birmingham. My elder son is a film and television screenwriter.

I will not try to list the recent developments in relation to broadcasting, as other noble Lords have already comprehensively outlined those. I would comment only that, in considering regulatory and other decisions, we should be careful to learn from the past. The UK creative industries would be even stronger than they now are if, historically, regulation had been more forward-looking and less parochial, going as far back as the IBA’s supervision of the ITV network in the 1970s and 1980s, and the Competition Commission’s blocking in 2009 of Kangaroo, the streaming initiative intended to unite all the major PSBs.

I should like to use my remaining time to talk about the implication of these developments in two areas—news and drama—at opposite ends of the creative spectrum, requiring very different but qualitatively similar skills and discipline. However much the means of consuming news has changed for all of us—and all the more for younger generations—television and radio remain at the heart of quality news. Media have converged, and young journalists are trained, for instance, to use smartphone-based video to enhance their print or online reporting. The BBC’s continuing leadership, for all its mishaps, in trusted news provision is a result of the melding of its TV, radio and online operations. I would suggest that the challenge for the BBC’s news provision is about the maintenance of journalistic editorial standards broadly rather than being exclusively or predominantly an issue of impartiality, however important that undeniably is.

For the wider broadcast news environment, the decisions faced by Ofcom and the CMA in relation to the prospective acquisition of ITV by Comcast are critical and must protect the funding, diversity and quality of public service news—I am delighted that the noble Lord, Lord Grade, has been listening to the debate. The boom in television drama production driven by the growth of streamers came to an end, or at least a pause, three years ago, as all booms do. The inflation in costs that resulted from this and the financial pressures on the PSBs have created an acute problem, as the noble Lord, Lord Hall, has already said, for British and British-focused drama. Elisabeth Murdoch, whose production companies have been globally successful, has also spoken powerfully about this same issue. This threatens not just the idiosyncratic British voice—and within that, even more those of the nations and regions—but the whole system for the development of talent. We would not have in the Premier League the most successful men’s football league in the world without the other junior leagues. There is no time to be lost in taking action to stimulate and support British drama.