� a day, but this was 11 minutes down on the previous year and 49 minutes down on 2012. This decline is, of course, steeper with younger viewers. As we swiftly change our models, there’s still an important role for the PSBs to deliver universally available, scaled services with programmes that must demonstrate a public purpose. It’s gratifying for the BBC to have Ofcom’s report recognise the finales to Bodyguard and Line of Duty as enduring examples of mass appeal. Gratifying, also, for World Productions, part of ITV Studios, which makes both series.
SEPTEMBER
To Cambridge for our industry’s biennial health check and workout, courtesy of the RTS. Here are some Cantab-bytes: “We ordered our diversity pizza ages ago, it’s time to deliver” (Lenny Henry). And speaking of access: “You’re never going to make it in TV. Your accent is appalling” (Lorraine Kelly). Turning to modern viewing habits: “I go on trains and buses at 3:00pm to see what schoolchildren are doing” (Paul Bojarski); and “[the BBC will be] the best people to tell the stories of the UK to the world… with a distinctive set of British values” (Tony Hall). The streaming competition: “Sometimes, you do your best work when challenged” (Reed Hastings); and “Holy shit – we’re in trouble. What do the other seven guys have? Go get it. I don’t care what you have to pay” (David Zaslav).
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Finally, the value of broadcasting: “In an era of fake news… public service news has never been more important to our democracy” (Carolyn McCall, conference chair); and “Our society is getting more polarised and more tribal, [TV] can bring us together” (Nicky Morgan MP).
OCTOBER
I’m invited to speak in the City with BT, which is launching its “Beyond limits” campaign to tackle digital exclusion. I ask John Whiston, ITV’s soap consigliere, whether Corrie or Emmerdale have had any recent storylines about society’s struggles with the internet era that I can share. I’m not disappointed, as they always have their finger on the nation’s pulse. Jenny, the current Rover’s Return landlady, reconnected with the Street via Facebook; there’s been a coercive relationship where bullying Geoff changed all Yasmeen’s passwords; and, over the Pennines, Ryan has created an online platform to help sell Matty’s restored furniture. Truly, Britain’s soap operas are the essence of our national conversation.
NOVEMBER
Mid-month, Creative Careers Week has 500 employers across our sector opening their doors to thousands of young people to learn about the many rewarding career paths on offer. It’s one of many initiatives we recommended to government in order to grow the creative industries
AP
England vs Australia in the Rugby World Cup quarter finals beyond their present £101bn value (more than 5% of the economy). Having had our proposals endorsed by the current industrial strategy, there are now investments in nine “creative clusters” around Britain and further backing for immersive tech (virtual reality to you and me). There’s also a new sort of export board being set up as a joint venture with the Department for International Trade. We’ve finally got the creative industries on the national map. And, if you’ve seen the extraordinary growth figures for TV and film production, you’ll know this is not before time.
DECEMBER
And so, as indicated, the year ends with the Brexit general election. Television is playing a more central part in the campaign than ever. Some great reporting on all the news programmes, taking the temperature of our nation as never before. And a plethora of debate and interview shows, to which all the leaders submit themselves at some point. But lest we get carried away in a lather of self-congratulation, what’s this? A block of ice in place of a politician… really? A three-minute piece to camera about trust… really? I recall being taught as a BBC news trainee (42 years ago, I confess) to report the story, not be the story. And with that, a happy 2020 to all our readers. n Sir Peter Bazalgette is Chair of ITV.