UK plans BBC Charter Review, Ofcom prominence rules

If you work in, study, or simply love TV, film and games, this is a useful moment to pause. On 19 November 2025, Creative Industries Minister Ian Murray told the British Screen Forum that government is moving on three fronts: a careful BBC Charter Review, stronger rules so public‑service content is easy to find online, and new funding to help creators and small studios grow. DCMS published the speech on 21 November 2025, which we’ve used here to build clear explainers for you.

The theme of the event was “Standing Out in an Age of Abundance.” That phrase speaks to a daily truth for all of us: there’s more to watch than ever, yet the shows that help us share national moments can be harder to find. The policy moves below try to answer a simple question teachers often ask in media studies classes: how do we keep trusted, home‑grown stories visible when attention is split across so many apps?

Quick explainer: the BBC’s Royal Charter is the document that sets what the BBC is for and how it’s funded. The current Charter runs to 31 December 2027. Ministers say they will keep the licence fee in place until then (uprated with inflation), consult the public, and use the review to consider future funding options while protecting independence. That’s the big civic literacy point: independence and accountability should travel together. Source: DCMS statements and House of Commons Library briefing.

Context matters here. Just last week, the BBC’s director‑general Tim Davie and BBC News chief Deborah Turness resigned amid an editorial controversy, prompting fresh debate about trust and standards. For classrooms and newsrooms alike, that sets the backdrop to the Charter Review’s focus on editorial quality and public confidence. Sources: BBC News and the Financial Times.

Now to Ofcom’s “prominence” work. In plain English, prominence means where services sit on your screen and how easily you can find public‑service content. Under the Media Act 2024, Ofcom is implementing a new regime so that PSB apps like BBC iPlayer, ITVX, Channel 4 and others are available and easy to reach on connected TVs and set‑top boxes; Ofcom calls these “television selection services”. Ofcom also wants government to ensure public‑service content is findable on platforms such as YouTube, and to make this happen on fair commercial terms. Sources: Ofcom implementation updates and its Transmission Critical review.

Why does prominence matter for learners and audiences? Ofcom’s July analysis puts some numbers on the shift: PSB streaming apps account for about 9% of viewing, while video‑sharing platforms make up roughly 19%. That’s why the regulator argues public‑service news and children’s content should be easy to discover where young people already watch. For policy students, this is a live case study in platform power and public value. Source: Ofcom.

There is also a money story, and it’s practical for students, freelancers and small companies. The government’s £75 million Screen Growth Package scales up existing programmes. The BFI confirms the UK Global Screen Fund will rise to £18 million per year from 2026 to 2029 to back international co‑production and distribution, while the BFI Film Academy and festival and inward‑investment work will expand. If you’re mapping routes into the industry, these programmes are worth tracking. Source: BFI.

Games get a dedicated boost too. A £30 million Video Games Growth Package expands the UK Games Fund and support around London Games Festival, aiming to move more prototypes to market and pull in private investment. If you teach game design or run a small studio, this is one to watch for grant windows and investor readiness support. Source: DCMS Creative Industries Sector Plan announcement, 23 June 2025.

Place matters. A £150 million Creative Places Growth Fund is being devolved to six mayoral regions outside London-Greater Manchester, Liverpool City Region, North East, West of England, West Midlands and West Yorkshire-to back local strengths and skills. Announced in June and allocated in September, this is designed to create more chances closer to where you live and study, not only in the capital. Source: DCMS.

R&D is part of the picture too. UKRI’s CoSTAR programme is building a national lab plus new regional labs and showcase spaces to test virtual production and real‑time tools. If you’re a student or tutor working with LED volumes, performance capture or real‑time engines, this is the public science infrastructure that will sit behind those skills. Source: UKRI/AHRC.

Access to finance remains a pinch point, especially for independent producers who can’t secure loans against intellectual property. Ministers say they will expand support through the British Business Bank, explore IP‑backed lending, and create a simple “front door” for investment guidance. Treat this as a work‑in‑progress area to follow in careers sessions and business planning tutorials. Source: DCMS Sector Plan materials.

Work quality is on the agenda as well. The independent Good Work Review mapped pay, overtime, safety and representation issues across the creative industries; in response, industry and government are building an action plan, the BFI has launched a Good Work programme for screen, and a Creative Freelance Champion is due to be appointed to give freelancers a stronger voice in policy. Source: PEC, BFI and parliamentary answers.

Finally, standards and safety. The Creative Industries Independent Standards Authority (CIISA) launched common behaviour standards in February 2025 and is working with broadcasters and venues to embed them. For students stepping onto sets or stages, this is about knowing your rights and the expectations on employers and commissioners. Source: CIISA.

What this means for you: if you’re teaching media, this is a ready‑made lesson on the balance between platform power and public service; if you’re studying, it’s a chance to follow live consultations on the BBC’s future and prominence rules; if you create, it’s time to check BFI and UK Games Fund guidance, watch for regional opportunities, and build a plan that mixes skills, standards and sustainable finance. Our job as a learning community is to keep these moving parts understandable-and make sure more people can take part.