Speeches made during Parliamentary debates are recorded in Hansard. For ease of browsing we have grouped debates into individual, departmental and legislative categories.
These initiatives were driven by Baroness Benjamin, and are more likely to reflect personal policy preferences.
A Bill to amend the definition of still-birth to apply from 20 weeks into a pregnancy; and for connected purposes.
A Bill to make provision for a certificate to be issued to mothers in respect of miscarried and still-born children not eligible for registration under the Births and Deaths Registration Act 1953; to establish a database for archiving the certificate and recording information about the miscarriage or still-birth; and for connected purposes.
A Bill to make provision for a certificate to be issued to mothers in respect of miscarried and still-born children not eligible for registration under the Births and Deaths Registration Act 1953; to establish a database for archiving the certificate and recording information about the miscarriage or still-birth; and for connected purposes
A bill to make provision for a certificate to be issued to mothers in respect of miscarried and still-born children not eligible for registration under the Births and Deaths Registration Act 1953; to establish a database for archiving the certificate and recording information about the miscarriage or still-birth; and for connected purposes
Baroness Benjamin has not co-sponsored any Bills in the current parliamentary sitting
The Government is committed to ensuring that all children have access to arts and cultural attractions across the UK. That is why it encouraged Arts Council England to ensure that the public money it disburses is spread more equitably across the country, and why we are pleased to see a record number of cultural organisations receiving funding in more parts of the country than ever before, helping to bring world-class arts and culture closer to everyone.
Arts Council England funding supports a range of projects, programmes, and organisations which specialise in widening opportunities for young people, including those with special educational needs and/or disabilities. The most recent annual survey of Arts Council national portfolio organisations showed that 509 organisations (61%) delivered specific activity for people with disabilities, with 71 reporting that this was a major focus of their work. 309 organisations in the portfolio delivered workshops or educational sessions for children and young people with Special Educational Needs and Disabilities.
David Stanley is the Government’s Arts and Culture Disability and Access Ambassador. As founder and chief executive of the multi award-winning music education charity The Music Man Project, David is widely known for his experience and commitment to supporting people with special educational needs to access and participate in the arts. The Department is working closely with David to improve accessibility for people with disabilities, including children with special educational needs.
Arts Councils across the UK are also working with the British Film Institute to launch a free, UK-wide arts access scheme by early 2024. This scheme will operate across all arts and cultural venues, for seamless, barrier-free booking that is responsive to individual circumstances and needs.
Our work with the Department for Education on a new Cultural Education Plan, as committed to in the Schools White Paper, will build further on this important work.
The design of the roadmap has been informed by the latest scientific evidence and seeks a balance between our key social and economic priorities, whilst preserving the health and safety of the country. The scientific evidence shows that opening too early or too quickly risks a further lockdown.
The Chancellor announced in the 2021 Budget an additional £300 million to support theatres, museums and other cultural organisations in England through the Culture Recovery Fund. The Chancellor also set out that we will provide £90 million funding to support our government-sponsored national museums in England due to the financial impact of Covid-19.
The design of the roadmap has been informed by the latest scientific evidence and seeks a balance between our key social and economic priorities, whilst preserving the health and safety of the country. The scientific evidence shows that opening too early or too quickly risks a further lockdown.
The Chancellor announced in the 2021 Budget an additional £300 million to support theatres, museums and other cultural organisations in England through the Culture Recovery Fund. The Chancellor also set out that we will provide £90 million funding to support our government-sponsored national museums in England due to the financial impact of Covid-19.
The ICO provided advice and guidance to Aylo and XHamster on compliance with data protection legislation and on their Data Protection Impact Assessments (DPIAs). The ICO would consider further interactions with these organisations if subsequent compliance concerns arise.
Should the ICO receive a complaint that these or any other pornography website organisations have breached their obligations, the ICO would consider the complaint and take action where necessary.
Following publication of its “Likely to be accessed by children" guidance, the Information Commissioner’s Office (ICO) has worked with Ofcom and engaged with two pornographic website companies (Aylo and XHamster).
During the development of its guidance on the Age Appropriate Design Code, the ICO also worked with the content subscription service provider OnlyFans on how the code would impact their processing activities.
The ICO proactively reviewed the Data Protection Impact Assessments (DPIAs) for all three organisations, providing feedback where appropriate, and suggesting improvements in two cases. These were not formal investigations.
711 applications were received in total from schools and academies for the Public Sector Decarbonisation Scheme. These have a combined value of £429 million.
The total value of applications received to the Public Sector Decarbonisation Scheme was £2.4 billion.
My Rt hon Friend the Prime Minister’s ten point plan for a green industrial revolution, announced in November 2020, includes a commitment for further funding for the Public Sector Decarbonisation Scheme in the 2021/22 financial year. Further information will be announced in due course.
As of 1 May, in total over £4.7 billion worth of loans have been issued under the Coronavirus Business Interruption Loan Scheme (CBILS) to 29,496 businesses. We are working with the British Business Bank, HM Treasury and the lenders on providing transparent and regular data publication going forward.
The support announced by the Government is intended to support firms to keep trading throughout this difficult period. Cashflow issues are highly likely to be included in the list of difficulties any of these firms might experience.
The Coronavirus Business Interruption Loan Scheme (CBILS) provides support to small businesses which were viable before the Covid-19 outbreak.
The Small Business Grant Fund is designed for eligible small businesses with relatively high fixed costs and experiencing reduced trade as a result of social distancing and closures policies.
In October 2019, His Majesty’s Government announced its decision to use the Online Safety Bill to protect children from pornography. The provisions in this Bill will provide greater protection to children than Part 3 of the Digital Economy Act. It will cover a wider range of services, including social media companies and search services, which were not in scope of the Digital Economy Act, and which play a significant role in enabling children to access harmful content online.
There is no statutory obligation to update the guidance mentioned in section 27 of the Digital Economy Act. As HM Government intends to repeal Part 3 of that Act through the Online Safety Bill, amending this guidance would not serve any purpose as it will not be used. Instead, Ofcom, as the independent regulator for the online safety regime, will set out the steps companies can take to protect children from harmful content such as pornography in codes of practice. Ofcom will also publish guidance for companies to meet the duty to protect children from published pornography in Part 5 of the Bill. The Secretary of State will also have a general power to issue guidance to Ofcom about the exercise of its functions under the Bill.
Ofcom will have a range of powers to assess whether companies are fulfilling their duties, and will be empowered to enforce the new regulatory regime. The British Board of Film Classification’s designation as the age verification regulator under the Digital Economy Act was revoked following the October 2019 announcement.
In October 2019, His Majesty’s Government announced its decision to use the Online Safety Bill to protect children from pornography. The provisions in this Bill will provide greater protection to children than Part 3 of the Digital Economy Act. It will cover a wider range of services, including social media companies and search services, which were not in scope of the Digital Economy Act, and which play a significant role in enabling children to access harmful content online.
There is no statutory obligation to update the guidance mentioned in section 27 of the Digital Economy Act. As HM Government intends to repeal Part 3 of that Act through the Online Safety Bill, amending this guidance would not serve any purpose as it will not be used. Instead, Ofcom, as the independent regulator for the online safety regime, will set out the steps companies can take to protect children from harmful content such as pornography in codes of practice. Ofcom will also publish guidance for companies to meet the duty to protect children from published pornography in Part 5 of the Bill. The Secretary of State will also have a general power to issue guidance to Ofcom about the exercise of its functions under the Bill.
Ofcom will have a range of powers to assess whether companies are fulfilling their duties, and will be empowered to enforce the new regulatory regime. The British Board of Film Classification’s designation as the age verification regulator under the Digital Economy Act was revoked following the October 2019 announcement.
In October 2019, His Majesty’s Government announced its decision to use the Online Safety Bill to protect children from pornography. The provisions in this Bill will provide greater protection to children than Part 3 of the Digital Economy Act. It will cover a wider range of services, including social media companies and search services, which were not in scope of the Digital Economy Act, and which play a significant role in enabling children to access harmful content online.
There is no statutory obligation to update the guidance mentioned in section 27 of the Digital Economy Act. As HM Government intends to repeal Part 3 of that Act through the Online Safety Bill, amending this guidance would not serve any purpose as it will not be used. Instead, Ofcom, as the independent regulator for the online safety regime, will set out the steps companies can take to protect children from harmful content such as pornography in codes of practice. Ofcom will also publish guidance for companies to meet the duty to protect children from published pornography in Part 5 of the Bill. The Secretary of State will also have a general power to issue guidance to Ofcom about the exercise of its functions under the Bill.
Ofcom will have a range of powers to assess whether companies are fulfilling their duties, and will be empowered to enforce the new regulatory regime. The British Board of Film Classification’s designation as the age verification regulator under the Digital Economy Act was revoked following the October 2019 announcement.
In October 2019, His Majesty’s Government announced its decision to use the Online Safety Bill to protect children from pornography. The provisions in this Bill will provide greater protection to children than Part 3 of the Digital Economy Act. It will cover a wider range of services, including social media companies and search services, which were not in scope of the Digital Economy Act, and which play a significant role in enabling children to access harmful content online.
There is no statutory obligation to update the guidance mentioned in section 27 of the Digital Economy Act. As HM Government intends to repeal Part 3 of that Act through the Online Safety Bill, amending this guidance would not serve any purpose as it will not be used. Instead, Ofcom, as the independent regulator for the online safety regime, will set out the steps companies can take to protect children from harmful content such as pornography in codes of practice. Ofcom will also publish guidance for companies to meet the duty to protect children from published pornography in Part 5 of the Bill. The Secretary of State will also have a general power to issue guidance to Ofcom about the exercise of its functions under the Bill.
Ofcom will have a range of powers to assess whether companies are fulfilling their duties, and will be empowered to enforce the new regulatory regime. The British Board of Film Classification’s designation as the age verification regulator under the Digital Economy Act was revoked following the October 2019 announcement.
In October 2019, His Majesty’s Government announced its decision to use the Online Safety Bill to protect children from pornography. The provisions in this Bill will provide greater protection to children than Part 3 of the Digital Economy Act. It will cover a wider range of services, including social media companies and search services, which were not in scope of the Digital Economy Act, and which play a significant role in enabling children to access harmful content online.
There is no statutory obligation to update the guidance mentioned in section 27 of the Digital Economy Act. As HM Government intends to repeal Part 3 of that Act through the Online Safety Bill, amending this guidance would not serve any purpose as it will not be used. Instead, Ofcom, as the independent regulator for the online safety regime, will set out the steps companies can take to protect children from harmful content such as pornography in codes of practice. Ofcom will also publish guidance for companies to meet the duty to protect children from published pornography in Part 5 of the Bill. The Secretary of State will also have a general power to issue guidance to Ofcom about the exercise of its functions under the Bill.
Ofcom will have a range of powers to assess whether companies are fulfilling their duties, and will be empowered to enforce the new regulatory regime. The British Board of Film Classification’s designation as the age verification regulator under the Digital Economy Act was revoked following the October 2019 announcement.
His Majesty’s Government is committed to implementing protections for children from online pornography, including the provisions in Part 5 of the Online Safety Bill, as quickly as possible. The Government’s intention is to have the online safety regime operational as soon as possible after Royal Assent, while ensuring the necessary preparations are completed effectively and service providers understand what is expected. We are working closely with Ofcom to ensure this.
As set out in Ofcom’s Roadmap to Regulation, an important consideration for the implementation of Part 5 will be the need to ensure a consistency in approach across all providers of online pornography, including those hosting user-generated content subject to the duties of Part 3. This is to ensure the legislation effectively protects children from pornography, wherever it appears online. Ofcom also needs appropriate time and flexibility properly to produce and then consult relevant statutory consultees on the relevant guidance, including those who represent the interests of children.
Ofcom will be able to use its enforcement powers, including the power to issue a provisional notice of contravention relating to Part 5, once clause 68, which sets out the duties for regulated provider pornographic content, is commenced. We do not, however, expect to see sanctions applied, except in the most egregious cases, until Ofcom has worked with regulated entities to ensure they have sufficient knowledge and notice of the new regulatory framework. Before issuing any sanctions Ofcom will undertake a full and fair investigation of any suspected non-compliance.
The introduction of the Bill should be taken as a clear message to companies that they need to begin preparing for regulation now.
His Majesty’s Government takes the introduction of Domain Name System over Hypertext Transfer Protocol Secure and over Transport Layer Security seriously, and is concerned about how implementation could affect users’ safety, as well as cybersecurity and the lawful interception of communications. His Majesty’s Government is actively engaging with industry representatives to ensure that it does not cause unintended consequences.
The Online Safety Bill will apply to companies which allow users to post content online or to interact with each other, as well as to search services.
The Online Safety Bill will ensure that users in the UK are protected. It will apply to any relevant service which is ‘linked to the UK’, no matter where it is based. A service is linked to the UK if it has a significant number of UK users, UK users form a target market, or if it poses a material risk of significant harm to UK individuals.
The onus will be on companies to ensure that their systems are sufficiently effective. Ofcom will be able to take robust enforcement action against companies which fail to fulfil their duties.
Big Lottery Fund (operating as The National Lottery Community Fund) took on the property, rights and liabilities of the Millennium Commission when it ceased to exist by virtue of the National Lottery Act 2006.
The National Lottery Community Fund is a non-departmental public body which means that it operates at arm’s-length from Government and that, as a distributor of Lottery money, rather than of taxpayers’ funds, it makes its funding decisions independently.
The responsibility for enforcing Deeds entered into by the Millennium Commission is now the responsibility of the Big Lottery Fund (operating as The National Lottery Community Fund) which carries out those functions in accordance with their regulations and directions from DCMS and in line with current policies relating to the administration of legacy funders such as the Millennium Commission.
The National Lottery Community Fund is a non-departmental public body which means that it operates at arm’s-length from Government and, as a distributor of Lottery money, rather than of taxpayers’ funds, it makes its funding decisions independently. The Government cannot, therefore, intervene in or influence the Fund’s decision-making process.
The Birmingham 2022 Commonwealth Games ceremonies have been developed by a diverse group of some of the finest creative talents the UK has to offer. This consists of Iqbal Khan as Artistic Director; Maeve Clarke as Writer; Joshua ‘RTKal’ Holness as Music Director; Misty Buckley as Production Designer; Hamish Hamilton as Broadcast Director and Steven Knight CBE as Executive Producer.
They are bringing together some of the city’s most celebrated artists and promoting its emerging talent on a global stage. From Black Sabbath’s Tony Iommi to vocalists Indigo Marshall and Gambini, they will welcome the Commonwealth to Birmingham and showcase the very best of the West Midlands and the whole of the UK to a global audience.
The Birmingham 2022 Commonwealth Games ceremonies have been developed by a diverse group of some of the finest creative talents the UK has to offer. This consists of Iqbal Khan as Artistic Director; Maeve Clarke as Writer; Joshua ‘RTKal’ Holness as Music Director; Misty Buckley as Production Designer; Hamish Hamilton as Broadcast Director and Steven Knight CBE as Executive Producer.
They are bringing together some of the city’s most celebrated artists and promoting its emerging talent on a global stage. From Black Sabbath’s Tony Iommi to vocalists Indigo Marshall and Gambini, they will welcome the Commonwealth to Birmingham and showcase the very best of the West Midlands and the whole of the UK to a global audience.
The Birmingham 2022 Commonwealth Games ceremonies have been developed by a diverse group of some of the finest creative talents the UK has to offer. This consists of Iqbal Khan as Artistic Director; Maeve Clarke as Writer; Joshua ‘RTKal’ Holness as Music Director; Misty Buckley as Production Designer; Hamish Hamilton as Broadcast Director and Steven Knight CBE as Executive Producer.
They are bringing together some of the city’s most celebrated artists and promoting its emerging talent on a global stage. From Black Sabbath’s Tony Iommi to vocalists Indigo Marshall and Gambini, they will welcome the Commonwealth to Birmingham and showcase the very best of the West Midlands and the whole of the UK to a global audience.
HM Government is committed to ensuring that young listeners and viewers benefit from a system of public service broadcasting which remains relevant and which can continue to meet the needs of UK audiences in the future. That is why we are conducting a strategic review of public service broadcasting – drawing on the work of Ofcom, Select Committees in both Houses of Parliament, and the Government’s own expert PSB Advisory Panel – to work out how best to achieve this in light of the challenges the sector is currently facing.
The three-year pilot Young Audiences Content Fund was designed to test a new way of financing public service TV content. A full evaluation of the pilot Fund will take place following its conclusion to determine its impact on the children’s television industry and the provision and plurality of public service content for young audiences across the UK. The potential for further investment of public funding will be assessed against the Fund evaluation and alongside future public service broadcasting needs.
The Government is committed to the success of our world-leading TV production sector. UK-wide tax reliefs continue to play a vital role in driving production across children’s, animation, and high-end television, supporting approximately £2.2 billion production spending in these sectors through tax reliefs in 2019 alone. The Government continues to act to support the industry in developing the physical infrastructure and skills pipelines it needs to sustain success - success which has seen 2021 being a record-setting year, with total high-end TV production spend reaching more than £4 billion.
HM Government is committed to ensuring that young listeners and viewers benefit from a system of public service broadcasting which remains relevant and which can continue to meet the needs of UK audiences in the future. That is why we are conducting a strategic review of public service broadcasting – drawing on the work of Ofcom, Select Committees in both Houses of Parliament, and the Government’s own expert PSB Advisory Panel – to work out how best to achieve this in light of the challenges the sector is currently facing.
The three-year pilot Young Audiences Content Fund was designed to test a new way of financing public service TV content. A full evaluation of the pilot Fund will take place following its conclusion to determine its impact on the children’s television industry and the provision and plurality of public service content for young audiences across the UK. The potential for further investment of public funding will be assessed against the Fund evaluation and alongside future public service broadcasting needs.
The Government is committed to the success of our world-leading TV production sector. UK-wide tax reliefs continue to play a vital role in driving production across children’s, animation, and high-end television, supporting approximately £2.2 billion production spending in these sectors through tax reliefs in 2019 alone. The Government continues to act to support the industry in developing the physical infrastructure and skills pipelines it needs to sustain success - success which has seen 2021 being a record-setting year, with total high-end TV production spend reaching more than £4 billion.
HM Government is committed to ensuring that young listeners and viewers benefit from a system of public service broadcasting which remains relevant and which can continue to meet the needs of UK audiences in the future. That is why we are conducting a strategic review of public service broadcasting – drawing on the work of Ofcom, Select Committees in both Houses of Parliament, and the Government’s own expert PSB Advisory Panel – to work out how best to achieve this in light of the challenges the sector is currently facing.
The three-year pilot Young Audiences Content Fund was designed to test a new way of financing public service TV content. A full evaluation of the pilot Fund will take place following its conclusion to determine its impact on the children’s television industry and the provision and plurality of public service content for young audiences across the UK. The potential for further investment of public funding will be assessed against the Fund evaluation and alongside future public service broadcasting needs.
The Government is committed to the success of our world-leading TV production sector. UK-wide tax reliefs continue to play a vital role in driving production across children’s, animation, and high-end television, supporting approximately £2.2 billion production spending in these sectors through tax reliefs in 2019 alone. The Government continues to act to support the industry in developing the physical infrastructure and skills pipelines it needs to sustain success - success which has seen 2021 being a record-setting year, with total high-end TV production spend reaching more than £4 billion.
HM Government is committed to ensuring that young listeners and viewers benefit from a system of public service broadcasting which remains relevant and which can continue to meet the needs of UK audiences in the future. That is why we are conducting a strategic review of public service broadcasting – drawing on the work of Ofcom, Select Committees in both Houses of Parliament, and the Government’s own expert PSB Advisory Panel – to work out how best to achieve this in light of the challenges the sector is currently facing.
The three-year pilot Young Audiences Content Fund was designed to test a new way of financing public service TV content. A full evaluation of the pilot Fund will take place following its conclusion to determine its impact on the children’s television industry and the provision and plurality of public service content for young audiences across the UK. The potential for further investment of public funding will be assessed against the Fund evaluation and alongside future public service broadcasting needs.
The Government is committed to the success of our world-leading TV production sector. UK-wide tax reliefs continue to play a vital role in driving production across children’s, animation, and high-end television, supporting approximately £2.2 billion production spending in these sectors through tax reliefs in 2019 alone. The Government continues to act to support the industry in developing the physical infrastructure and skills pipelines it needs to sustain success - success which has seen 2021 being a record-setting year, with total high-end TV production spend reaching more than £4 billion.
HM Government is committed to ensuring that young listeners and viewers benefit from a system of public service broadcasting which remains relevant and which can continue to meet the needs of UK audiences in the future. That is why we are conducting a strategic review of public service broadcasting – drawing on the work of Ofcom, Select Committees in both Houses of Parliament, and the Government’s own expert PSB Advisory Panel – to work out how best to achieve this in light of the challenges the sector is currently facing.
The three-year pilot Young Audiences Content Fund was designed to test a new way of financing public service TV content. A full evaluation of the pilot Fund will take place following its conclusion to determine its impact on the children’s television industry and the provision and plurality of public service content for young audiences across the UK. The potential for further investment of public funding will be assessed against the Fund evaluation and alongside future public service broadcasting needs.
The Government is committed to the success of our world-leading TV production sector. UK-wide tax reliefs continue to play a vital role in driving production across children’s, animation, and high-end television, supporting approximately £2.2 billion production spending in these sectors through tax reliefs in 2019 alone. The Government continues to act to support the industry in developing the physical infrastructure and skills pipelines it needs to sustain success - success which has seen 2021 being a record-setting year, with total high-end TV production spend reaching more than £4 billion.
The government established Ofcom as the BBC regulator to ensure the BBC is robustly held to account as the nation's broadcaster. Ofcom is independent of the government and the government has no say over Ofcom’s operational decisions
However, the Mid-Term Review of the Royal Charter offers an opportunity for the government to consider whether current governance and regulatory arrangements for the BBC are working effectively, including the effectiveness of the regulation by Ofcom. We will start the preparations now, ahead of the review starting formally next year, as the Royal Charter sets out.
Following a successful Spending Review, the Young Audiences Content Fund will continue into its third year and receive up to £10.7m for year 3 of the pilot scheme, totalling up to £44.2m for the three years.
As set out in the Contestable Fund scoping paper published in 2018, monitoring and evaluation of the Fund would inform the annual budget allocation over the course of the pilot. The 2021/22 funding awarded demonstrates a commitment to the value of children’s television programming in an exceptionally challenging fiscal climate, where some tough decisions have had to be made. DCMS has engaged continuously with the BFI, who administers the Fund, throughout the funding determination.
Although assessment of the funds is ongoing, the Year One review sets out a number of successes for the fund. As planned, a detailed evaluation of the scheme, against the criteria set out at launch, will take place this year before a decision is made on whether to close, continue or expand the Contestable Fund.
Following a successful Spending Review, the Young Audiences Content Fund will continue into its third year and receive up to £10.7m for year 3 of the pilot scheme, totalling up to £44.2m for the three years.
As set out in the Contestable Fund scoping paper published in 2018, monitoring and evaluation of the Fund would inform the annual budget allocation over the course of the pilot. The 2021/22 funding awarded demonstrates a commitment to the value of children’s television programming in an exceptionally challenging fiscal climate, where some tough decisions have had to be made. DCMS has engaged continuously with the BFI, who administers the Fund, throughout the funding determination.
Although assessment of the funds is ongoing, the Year One review sets out a number of successes for the fund. As planned, a detailed evaluation of the scheme, against the criteria set out at launch, will take place this year before a decision is made on whether to close, continue or expand the Contestable Fund.
Ofcom is independent of the government and the government has no say over Ofcom’s operational decisions. A review of the BBC's operating licence and service requirements is therefore for Ofcom as the BBC’s regulator.
The Mid-Term Review of the Royal Charter offers an opportunity for the government to consider whether current governance and regulatory arrangements for the BBC are working effectively, including the effectiveness of the regulation by Ofcom.
We will start the preparations now, ahead of the review starting formally next year, as the Royal Charter sets out.
The government is clear that the BBC has to provide high quality, distinctive content and services. However, it is ultimately a matter for Ofcom as the independent regulator on how to enforce these obligations through appropriate regulation. It is therefore for Ofcom, not the government, to set and amend quotas for the BBC’s public services.
The Online Safety Bill will deliver the most comprehensive approach in the world to protecting children online. Where pornographic websites or social media sites host user generated content or facilitate online user interactions (including video and image sharing, commenting and live streaming), they will be subject to the duty of care. The government has not conducted a detailed sector-by-sector analysis of the services in scope of the Bill and the number of UK users accessing those services, given the breadth of services in scope of legislation. However, the online safety regime will capture both the pornography sites most visited by UK users and pornography on social media, therefore covering the vast majority of sites where children are most likely to be exposed to pornography.
The exact list of Category 1 services has not yet been determined. We have set out how the process will work for designating Category 1 services. Thresholds will be set by the government about the number of users and functionalities of a service, following receipt of advice from Ofcom. This is to ensure the process is objective and evidence-based. Ofcom will then be required to assess services against these thresholds and publish a register of all those which meet both thresholds.
The Online Safety Bill will deliver the most comprehensive approach in the world to protecting children online. Where pornographic websites or social media sites host user generated content or facilitate online user interactions (including video and image sharing, commenting and live streaming), they will be subject to the duty of care. The government has not conducted a detailed sector-by-sector analysis of the services in scope of the Bill and the number of UK users accessing those services, given the breadth of services in scope of legislation. However, the online safety regime will capture both the pornography sites most visited by UK users and pornography on social media, therefore covering the vast majority of sites where children are most likely to be exposed to pornography.
The exact list of Category 1 services has not yet been determined. We have set out how the process will work for designating Category 1 services. Thresholds will be set by the government about the number of users and functionalities of a service, following receipt of advice from Ofcom. This is to ensure the process is objective and evidence-based. Ofcom will then be required to assess services against these thresholds and publish a register of all those which meet both thresholds.
The Online Safety Bill will deliver the most comprehensive approach in the world to protecting children online. Where pornographic websites or social media sites host user generated content or facilitate online user interactions (including video and image sharing, commenting and live streaming), they will be subject to the duty of care. The government has not conducted a detailed sector-by-sector analysis of the services in scope of the Bill and the number of UK users accessing those services, given the breadth of services in scope of legislation. However, the online safety regime will capture both the pornography sites most visited by UK users and pornography on social media, therefore covering the vast majority of sites where children are most likely to be exposed to pornography.
The exact list of Category 1 services has not yet been determined. We have set out how the process will work for designating Category 1 services. Thresholds will be set by the government about the number of users and functionalities of a service, following receipt of advice from Ofcom. This is to ensure the process is objective and evidence-based. Ofcom will then be required to assess services against these thresholds and publish a register of all those which meet both thresholds.
Ofcom is required to conduct a review into public service broadcasting at least every five years and went out for consultation in December 2020. The report of its third review, "Public Service Broadcasting in the Internet Age", was published on 2 July 2015.
The concept and principles for the Mid-Term Review are set out in the BBC Royal Charter of 2016. The Royal Charter is clear that “the (mid-term) review must not be undertaken before 2022 and must be completed by 2024.”
Government officials shall be undertaking preparatory work ahead of the mid-term review starting formally next year, and will consult Ofcom on the scope, timing, and terms of reference in due course, as is required by the BBC Charter.
Further, the Charter requires that Ofcom conduct a periodic review of the BBC which looks at the extent to which the BBC is fulfilling its Mission and promoting each of the Public Purposes and addressing any specific issues of concern. This must be concluded in time to inform the Mid-Term Review.
Where pornography sites host user generated content or facilitate online user interactions (including video and image sharing, commenting and live streaming), they will be subject to the duty of care.
The online harms regime will capture both the most visited pornography sites and pornography on social media, therefore covering the vast majority of sites where children are most likely to be exposed to pornography. In practice, we would anticipate that any commercial pornography site hosting user generated content or facilitating user-interaction will need to put in place robust measures such as age verification to prevent children from accessing it. This would then also protect children from any non user generated content as well.
We will continue to review our proposals to ensure we deliver the most comprehensive protections for children online.
Where pornography sites host user generated content or facilitate online user interactions (including video and image sharing, commenting and live streaming), they will be subject to the duty of care.
The online harms regime will capture both the most visited pornography sites and pornography on social media, therefore covering the vast majority of sites where children are most likely to be exposed to pornography. In practice, we would anticipate that any commercial pornography site hosting user generated content or facilitating user-interaction will need to put in place robust measures such as age verification to prevent children from accessing it. This would then also protect children from any non user generated content as well.
We will continue to review our proposals to ensure we deliver the most comprehensive protections for children online.
The government will deliver the objective of the Digital Economy Act (DEA) to protect children from online pornography through the upcoming online safety legislation.
When taking the decision not to commence the relevant provisions in the DEA, the government concluded that there should be a coherent and comprehensive approach to protecting children online. This will be best achieved through the wider online harms proposals. The online harms regime will capture both the most visited pornography sites and pornography on social media, therefore covering the vast majority of sites where children are most likely to be exposed to pornography. Taken together, we expect this to bring into scope more online pornography that children can currently access than the narrower scope of the Digital Economy Act, which did not include social media companies.
We are working at pace to develop the Online Safety Bill that will be ready this year. We are already working closely with Ofcom to ensure that the implementation period that will be necessary following passage of the legislation is as short as possible.
The reports on The Relationship Between Pornography Use and Harmful Sexual Behaviours were commissioned by a previous administration and are now available on gov.uk. The reports make it clear that there is not one single factor that leads someone to engage in harmful sexual behaviour, rather it is a combination of factors which interact with one another to differing effects on each individual. The literature review highlights that a direct causal link cannot be established between pornography and harmful sexual behaviour as this would require impractical and unethical study conditions (forced exposure to pornography).
The government will deliver the objective of the Digital Economy Act (DEA) to protect children from online pornography through the upcoming online safety legislation.
When taking the decision not to commence the relevant provisions in the DEA, the government concluded that there should be a coherent and comprehensive approach to protecting children online. This will be best achieved through the wider online harms proposals. The online harms regime will capture both the most visited pornography sites and pornography on social media, therefore covering the vast majority of sites where children are most likely to be exposed to pornography. Taken together, we expect this to bring into scope more online pornography that children can currently access than the narrower scope of the Digital Economy Act, which did not include social media companies.
We are working at pace to develop the Online Safety Bill that will be ready this year. We are already working closely with Ofcom to ensure that the implementation period that will be necessary following passage of the legislation is as short as possible.
The reports on The Relationship Between Pornography Use and Harmful Sexual Behaviours were commissioned by a previous administration and are now available on gov.uk. The reports make it clear that there is not one single factor that leads someone to engage in harmful sexual behaviour, rather it is a combination of factors which interact with one another to differing effects on each individual. The literature review highlights that a direct causal link cannot be established between pornography and harmful sexual behaviour as this would require impractical and unethical study conditions (forced exposure to pornography).
The government will deliver the objective of the Digital Economy Act (DEA) to protect children from online pornography through the upcoming online safety legislation.
When taking the decision not to commence the relevant provisions in the DEA, the government concluded that there should be a coherent and comprehensive approach to protecting children online. This will be best achieved through the wider online harms proposals. The online harms regime will capture both the most visited pornography sites and pornography on social media, therefore covering the vast majority of sites where children are most likely to be exposed to pornography. Taken together, we expect this to bring into scope more online pornography that children can currently access than the narrower scope of the Digital Economy Act, which did not include social media companies.
We are working at pace to develop the Online Safety Bill that will be ready this year. We are already working closely with Ofcom to ensure that the implementation period that will be necessary following passage of the legislation is as short as possible.
The reports on The Relationship Between Pornography Use and Harmful Sexual Behaviours were commissioned by a previous administration and are now available on gov.uk. The reports make it clear that there is not one single factor that leads someone to engage in harmful sexual behaviour, rather it is a combination of factors which interact with one another to differing effects on each individual. The literature review highlights that a direct causal link cannot be established between pornography and harmful sexual behaviour as this would require impractical and unethical study conditions (forced exposure to pornography).
The Department has been working closely with stakeholders across museums, galleries and heritage sites throughout the pandemic, and do not underestimate the significant impact that the closure - and subsequent loss of visitors and in-person access - has had.
In the roadmap laid out by the Prime Minister, outdoor activity has been prioritised because the likelihood of COVID-19 transmission is substantially lower in the open air than indoors. From 29th March, groups of six, or two households will be able to meet outside and socialise outdoors at heritage sites, with seasonal offers including Easter walking trails.
In the Budget,the Chancellor announced extensions to measures which have supported museums, galleries and heritage sites throughout the pandemic. These include extending the COVID Job Retention Scheme and Self Employment Income Support Scheme until September 2021; hospitality VAT set at 5% until July 2021; and a new programme of business loans.
Building on the £100m awarded to DCMS-Sponsored Arm’s Length Bodies, (including national museums and galleries) in 20-21, the government will now provide an additional £90m to mitigate the financial impacts of Covid-19.
We have made a record investment in cultural and creative sectors, including museums, galleries and heritage buildings - nearly £2 billion (including additional support for the Culture Recovery Fund and £500 million on the Film and TV Restart scheme). These are unprecedented sums.
There is clear evidence of an association between arts and culture participation and self-reported subjective wellbeing, even when social, economic and lifestyle factors are taken into account. The All-Party Parliamentary Group (APPG) on Arts, Health and Wellbeing found evidence that cultural engagement reduces stress and helps people to live longer and happier lives. During the first national lockdown, a DCMS study showed well-being increased with access to outdoor space, often accessed at heritage sites.
Learning is at the heart of museums, galleries and heritage sites. Many identify as delivering education as their primary function. In the public consultation for the Mendoza Review, 85% of over 1,200 respondents felt that museums and galleries are primarily places for education.
Museums, galleries and heritage sites contribute to positive social outcomes at a local level, making places more attractive to businesses and residents.
Our roadmap is driven by the latest evidence on the risk of transmission. We are therefore reopening outdoor settings before indoor settings, and reopening relatively low risk indoor settings where household mixing is less likely to take place at an earlier step, including retail, personal care and exercise facilities.
The department collects information on children looked after in the annual Children Looked After (SSDA903) data return, including information on missing incidents. The data collected includes the primary need of a child starting to be looked after, which is collected using an established code set, set out in the collection guide. These categories are not intended to be exhaustive, and mental health issues, sexual exploitation or criminal exploitation are not specified categories. The data collection guide is published online at: https://www.gov.uk/guidance/children-looked-after-return-guide-to-submitting-data.
The department publishes an annual statistical release which contains information on looked after children who have gone missing. This release disaggregates missing incidents by age, duration or placement, but not ethnicity, although this data is collected. The department reviews the content of statistical publications in light of user needs.
The published information is available in table G1 of the ‘Children looked after in England’ statistical release, which can be found at: https://explore-education-statistics.service.gov.uk/find-statistics/children-looked-after-in-england-including-adoptions.
The department believes in a high-quality education for all pupils, and integral to this is cultural education, including teaching music and the wider arts. All state-funded schools are required to teach a broad and balanced curriculum, and this includes promoting pupils' cultural development.
The department will continue to spend around £115 million per annum in cultural education over three years, through our music, arts and heritage programmes. With the real terms per pupil increases to core school funding and the nearly £5 billion that has been announced for education recovery, schools will continue to have the flexibility to deliver a broad and ambitious curriculum and enrichment activities, including in arts and creative subjects.
The department published the Model Music Curriculum in 2021 and a refreshed National Plan for Music Education in 2022 to support teachers in delivering high-quality music education. The National Plan for Music Education was jointly published by the department and the Department for Culture, Media and Sport in June 2022, and sets out a vision for music education to 2030, to enable all children and young people to learn to sing, play an instrument and create music together, and have the opportunity to progress their musical interests and talents, including professionally.
The department will also publish a Cultural Education Plan in 2023, working with DCMS and Arts Council England. The Chair of the Expert Advisory Panel was announced last year and other panel members will be announced in due course.
The plan will further support young people who wish to pursue careers in the creative and cultural industries and will cover a range of wider arts subjects where appropriate, such as drama, dance and the wider performing arts. The department does not intend to produce detailed plans in other arts subjects, or to establish a Hub programme for arts subjects other than music. It is widely recognised that that there is a need for Music Hubs in addressing the unique challenges in supporting young people’s access to and progression in music.
With the significant impact of the COVID-19 pandemic on children’s education, the department’s priorities have been to focus on education recovery in the recent Spending Review. The government remains committed to the ambitions for a Cultural Education Plan and will give consideration to the future of the Arts Premium in due course.
The department does not collect information on spending in arts education at independent schools. The department does publish information on entries in arts qualifications at Key Stage 4 by type of school, including in GCSEs. In the 2021/22 academic year, the proportion of Key Stage 4 pupils taking at least one arts qualification in state-funded schools was 52.4%, while the equivalent proportion for independent schools was 42.3%.
The department believes in a high-quality education for all pupils, and integral to this is cultural education, including teaching music and the wider arts. All state-funded schools are required to teach a broad and balanced curriculum, and this includes promoting pupils' cultural development.
The department will continue to spend around £115 million per annum in cultural education over three years, through our music, arts and heritage programmes. With the real terms per pupil increases to core school funding and the nearly £5 billion that has been announced for education recovery, schools will continue to have the flexibility to deliver a broad and ambitious curriculum and enrichment activities, including in arts and creative subjects.
The department published the Model Music Curriculum in 2021 and a refreshed National Plan for Music Education in 2022 to support teachers in delivering high-quality music education. The National Plan for Music Education was jointly published by the department and the Department for Culture, Media and Sport in June 2022, and sets out a vision for music education to 2030, to enable all children and young people to learn to sing, play an instrument and create music together, and have the opportunity to progress their musical interests and talents, including professionally.
The department will also publish a Cultural Education Plan in 2023, working with DCMS and Arts Council England. The Chair of the Expert Advisory Panel was announced last year and other panel members will be announced in due course.
The plan will further support young people who wish to pursue careers in the creative and cultural industries and will cover a range of wider arts subjects where appropriate, such as drama, dance and the wider performing arts. The department does not intend to produce detailed plans in other arts subjects, or to establish a Hub programme for arts subjects other than music. It is widely recognised that that there is a need for Music Hubs in addressing the unique challenges in supporting young people’s access to and progression in music.
With the significant impact of the COVID-19 pandemic on children’s education, the department’s priorities have been to focus on education recovery in the recent Spending Review. The government remains committed to the ambitions for a Cultural Education Plan and will give consideration to the future of the Arts Premium in due course.
The department does not collect information on spending in arts education at independent schools. The department does publish information on entries in arts qualifications at Key Stage 4 by type of school, including in GCSEs. In the 2021/22 academic year, the proportion of Key Stage 4 pupils taking at least one arts qualification in state-funded schools was 52.4%, while the equivalent proportion for independent schools was 42.3%.
The department believes in a high-quality education for all pupils, and integral to this is cultural education, including teaching music and the wider arts. All state-funded schools are required to teach a broad and balanced curriculum, and this includes promoting pupils' cultural development.
The department will continue to spend around £115 million per annum in cultural education over three years, through our music, arts and heritage programmes. With the real terms per pupil increases to core school funding and the nearly £5 billion that has been announced for education recovery, schools will continue to have the flexibility to deliver a broad and ambitious curriculum and enrichment activities, including in arts and creative subjects.
The department published the Model Music Curriculum in 2021 and a refreshed National Plan for Music Education in 2022 to support teachers in delivering high-quality music education. The National Plan for Music Education was jointly published by the department and the Department for Culture, Media and Sport in June 2022, and sets out a vision for music education to 2030, to enable all children and young people to learn to sing, play an instrument and create music together, and have the opportunity to progress their musical interests and talents, including professionally.
The department will also publish a Cultural Education Plan in 2023, working with DCMS and Arts Council England. The Chair of the Expert Advisory Panel was announced last year and other panel members will be announced in due course.
The plan will further support young people who wish to pursue careers in the creative and cultural industries and will cover a range of wider arts subjects where appropriate, such as drama, dance and the wider performing arts. The department does not intend to produce detailed plans in other arts subjects, or to establish a Hub programme for arts subjects other than music. It is widely recognised that that there is a need for Music Hubs in addressing the unique challenges in supporting young people’s access to and progression in music.
With the significant impact of the COVID-19 pandemic on children’s education, the department’s priorities have been to focus on education recovery in the recent Spending Review. The government remains committed to the ambitions for a Cultural Education Plan and will give consideration to the future of the Arts Premium in due course.
The department does not collect information on spending in arts education at independent schools. The department does publish information on entries in arts qualifications at Key Stage 4 by type of school, including in GCSEs. In the 2021/22 academic year, the proportion of Key Stage 4 pupils taking at least one arts qualification in state-funded schools was 52.4%, while the equivalent proportion for independent schools was 42.3%.
The department believes in a high-quality education for all pupils, and integral to this is cultural education, including teaching music and the wider arts. All state-funded schools are required to teach a broad and balanced curriculum, and this includes promoting pupils' cultural development.
The department will continue to spend around £115 million per annum in cultural education over three years, through our music, arts and heritage programmes. With the real terms per pupil increases to core school funding and the nearly £5 billion that has been announced for education recovery, schools will continue to have the flexibility to deliver a broad and ambitious curriculum and enrichment activities, including in arts and creative subjects.
The department published the Model Music Curriculum in 2021 and a refreshed National Plan for Music Education in 2022 to support teachers in delivering high-quality music education. The National Plan for Music Education was jointly published by the department and the Department for Culture, Media and Sport in June 2022, and sets out a vision for music education to 2030, to enable all children and young people to learn to sing, play an instrument and create music together, and have the opportunity to progress their musical interests and talents, including professionally.
The department will also publish a Cultural Education Plan in 2023, working with DCMS and Arts Council England. The Chair of the Expert Advisory Panel was announced last year and other panel members will be announced in due course.
The plan will further support young people who wish to pursue careers in the creative and cultural industries and will cover a range of wider arts subjects where appropriate, such as drama, dance and the wider performing arts. The department does not intend to produce detailed plans in other arts subjects, or to establish a Hub programme for arts subjects other than music. It is widely recognised that that there is a need for Music Hubs in addressing the unique challenges in supporting young people’s access to and progression in music.
With the significant impact of the COVID-19 pandemic on children’s education, the department’s priorities have been to focus on education recovery in the recent Spending Review. The government remains committed to the ambitions for a Cultural Education Plan and will give consideration to the future of the Arts Premium in due course.
The department does not collect information on spending in arts education at independent schools. The department does publish information on entries in arts qualifications at Key Stage 4 by type of school, including in GCSEs. In the 2021/22 academic year, the proportion of Key Stage 4 pupils taking at least one arts qualification in state-funded schools was 52.4%, while the equivalent proportion for independent schools was 42.3%.