
BBC Gaza documentary: Review finds editorial failures; Ofcom launches own investigation
The independent producer, Hoyo Films, was found primarily responsible, although the BBC accepted that its own checks fell short.
Oversight failures and mistakes
The review revealed that three Hoyo staff were aware the narrator's father held the position of deputy agriculture minister in the Hamas-run Gaza government. This crucial detail had not been disclosed to the BBC.
The report criticised the BBC for not undertaking 'sufficiently proactive' editorial checks and highlighted a 'lack of critical oversight of unanswered or partially answered questions' before broadcast.
It also concluded that while the narrator's scripted part did not breach impartiality, using a child narrator was 'not appropriate' under the circumstances.
Ofcom launches investigation
Broadcast regulator Ofcom has announced its own inquiry, stating it will investigate whether the documentary misleadingly presented facts, in breach of rules requiring factual content to be accurate.
'Having examined the BBC's findings, we are launching an investigation under our rule which states that factual programmes must not materially mislead the audience," an Ofcom spokesperson was quoted as saying to the BBC.
by Taboola
by Taboola
Sponsored Links
Sponsored Links
Promoted Links
Promoted Links
You May Like
An engineer reveals: One simple trick to get internet without a subscription
Techno Mag
Learn More
Undo
BBC's response
BBC News CEO Deborah Turness told Radio 4's The World at One that the organisation is 'owning where we have made mistakes, finding out what went wrong, acting on the findings, and we've said we're sorry.' She said that BBC staff overseeing the documentary 'should have known about the boy's position before transmission.'
The BBC has introduced new steps to improve oversight after the review. These include creating a new director role on the BBC News board to oversee long documentaries, issuing fresh guidance to check narrators more carefully in sensitive news programmes, and starting a new approval process to spot any problems before programmes are made.
Director‑general Tim Davie acknowledged 'a significant failing in relation to accuracy' and said the BBC would pursue accountability and implement reforms immediately. He added: 'We will now take action on two fronts. Fair, clear and appropriate actions to ensure proper accountability and the immediate implementation of steps to prevent such errors being repeated.'
Hoyo Films responds
Hoyo Films issued an apology and said it took the reviewer's findings 'extremely seriously'.
It welcomed evidence showing 'no inappropriate influence on the content of the documentary from any third party' and said it would collaborate with the BBC to possibly re-edit some material for archive purposes.
Media watchdog against antisemitism criticised the BBC's reforms as insufficient, saying: 'The report says nothing we didn't already know… The report yields no new insight, and almost reads like it's trying to exonerate the BBC.'
The review was conducted by Peter Johnston, the BBC's director of editorial complaints and reviews, who examined around 5,000 documents and 150 hours of footage from the ten‑month production.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


NDTV
2 hours ago
- NDTV
Gal Gadot, Criticized For Comments On Gaza War, Opens Jerusalem Film Festival With Call To End War
Organisers pushed ahead with the Jerusalem film festival on Thursday despite regional conflicts, with a special appearance by Israeli Wonder Woman star Gal Gadot, who has been criticised for comments on the Gaza war. Pro-Palestinian activists have attacked Gadot on social media for voicing support for the Israeli military, which has been accused of atrocities during its campaign in Gaza to crush the militant group Hamas and free Israeli hostages. She has also been criticised by right-wing media in Israel for urging an end to the war, which the government has vowed to continue until it destroys Hamas, despite international calls for a ceasefire. Israel's 12-day war with Iran last month had meanwhile threatened to derail the 42nd edition of the festival. It got under way on Thursday evening in an auditorium near Jerusalem's Old City, with Gadot -- also a star of "Fast and Furious" -- receiving a special award, to applause from thousands of spectators. The 40-year-old star, who was born near Tel Aviv, said in her acceptance speech that she was "praying for this (Gaza) war to end and for everyone here to finally have calm and security". "That will not be possible until the hostages come home." The Israeli military regularly denies intentionally targeting civilians in Gaza. The event's director Roni Mahadav-Levin told AFP meanwhile that during the June 12-24 war with Iran, organisers "spent two weeks in bomb shelters, trying to decide if we could keep the date of the festival" with flights cancelled and guests hesitating to come. One festival-goer, film student Ayal Sgerski, 29, said that the event was taking place under a "cloud" of conflict, with few international directors attending. "It is very difficult for the festival to draw films from around the world at the moment" due to opposition to the Gaza war, he complained. Mahadav-Levin said that organisers could not "expect to receive the same number of international guests as in a normal year". The event opened with a screening of "Sentimental Value" by Norwegian director Joachim Trier, who won an award at this year's Cannes Film Festival. The Jerusalem festival runs until July 26.


The Hindu
2 hours ago
- The Hindu
The Outsider: how Frederick Forsyth used facts to inform his fiction
The conventional spy genre's analog charm has withstood the test of time largely due to its universal entertainment value. The generous helping of hair-raising action coupled with overt acts of machismo, prevalent in novels like those of Alistair MacLean feed into a primal, adrenaline-pumped, cycle of pleasure derived from doses of violence. Ian Fleming romanticised the genre, with James Bond conforming to a patriarchal society's constructions of ideal masculinity. But his characters also serve as vehicles of wish fulfilment and modes of deferred rebellion through their highly individualistic and anti-establishment tendencies. Conversely, in John le Carre's writing, the psychological impact of an existence defined by betrayal and confusion takes centre-stage. In his work, spectacle is replaced with characterisation, fantasy with reality, and sympathy with empathy. Free-flowing narratives In a genre thus alternatively populated by action and emotion, acclaimed British spy-thriller writer Frederick Forsyth's novels, much like him, identify as 'the outsiders'. Forsyth (1938-2025) does not resort to scenes of gaudy violence or high-octane fights, instead choosing understated motion and smooth efficiency as his tools of tension. His narratives are neither rigidly structured nor conventionally plotted, thereby imbuing them with a free-flowing, procedural linearity. His central characters generally cannot be boxed into the good-bad dichotomy, and often behave as emblems or caricatures rather than emotional human beings who can be empathised with. In spite — and often because — of this blatant and conscious flouting of established 'rules' and tropes, Forsyth's classic novels are not only critically acclaimed hallmarks of the genre, but also remain equally entertaining for the modern Hollywood action-addled reader base. Much of this enduring appeal and feeling of contemporaneity almost 60 years since their writing can be attributed to Forsyth's unique style of amalgamating a spy-thriller with a non-fiction novel. Also referred to as 'faction' — a portmanteau of the words fact and fiction — the non-fiction novel is characterised by its mode of presenting real historical events in a dramatic format. Forsyth's appropriation of faction largely adheres to a more developed style of the genre popularised by the likes of Truman Capote. Archetypal faction novels include Capote's InCold Blood (1965) and Norman Mailer's The Executioner's Song (1979). Forsyth, who in the 1960s worked as a journalist for Reuters and the BBC before going freelance, was not only in the epicentre of the then-rapidly emerging form of New Journalism, but also debuted as a writer with the non-fiction book The Biafra Story (1969) — one of the first eyewitness accounts of the war from a Biafran perspective. It thus comes as no surprise that when he turned towards fiction in order to make ends meet, Forsyth's proclivity towards the journalistic mode of writing imbued his thrillers with certain key non-fictional aspects. Realist fiction The Day of the Jackal (1971) opens with the dramatisation of a real-life assassination attempt on French President Charles de Gaulle by members of the OAS (Secret Army Organisation), who opposed his decision to grant freedom to Algeria. The Odessa File (1972) includes pages-upon-pages of information on the socio-political scenery of the world post the Third Reich's fall. The entire first act of The Negotiator (1989) is designed to paint an accurate and expansive picture of the geopolitical chessboard during the Gulf oil crisis, and even features real figures like Margaret Thatcher and Mikhail Gorbachev. These interludes, while language-wise dry and heavy-handed, prioritise journalistic insight and economy of words, and are purposefully designed to inform more than entertain. Forsyth's decision to thus incorporate his intricate and accurate knowledge of the inner workings of world powers and their covert operations into his novels serves not only to add to their verisimilitude and urgency, but also allows him to treat historical events as the first domino fall — Jackal's events are written as the fictional consequences of the factual failed assassination attempt. In his historical epic Shei Shomoy (1983) (Those Days), Sunil Gangopadhyay tackles an issue similar to that faced by Forsyth — writing a fictional story set in a world defined by fact. Both authors end up taking similar approaches. Gangopadhyay states in the afterword that the characters of his novel exist as emblems, meant to embody specific socio-cultural ideologies and institutions — the 'protagonist' Nobinkumar is a personification of Time itself. Similarly, Forsyth deliberately crafts one-dimensional characters, whose identities are defined by what they personify. In Jackal, The Jackal represents the Outsider, de Gaulle the Establishment, the OAS the Opposition, and Lebel the Idealist. None of them undergo a transformation, and none of them tread a character arc. Imperfect like life Historical characters and events are central to both novels, with the authors deciding to conduct their stories alongside the established course of history, often intertwining but generally not contradicting it. Similarly, both Gangopadhyay and Forsyth forego adopting any codified, traditional narrative. In both novels, the authors are unafraid to depict days passing by without any significant developments. The primary focus is always on the logical progression of events and the realistic passage of time, irrespective of the impact this has on the story beats. The original question, then, still remains — in the face of such extensive rule-breaking, why do these novels work? The answer might be simple. It is a truth undeniable that real life rarely adheres to the rules of literature. Normal people do not become heroes following a 12-step programme. The sum of our lives does not always fit squarely into character arcs. Tragedy does not discriminate between the righteous and the flawed — it comes for everyone. And because facts never die, Forsyth's fiction will not either. In essence, the 'imperfections' in his novels are perfected by the imperfections of our lived reality, and if there is any lesson to be learned from the width of the master's bibliography, it is that of spontaneity, motion, and enjoying the journey without worrying about its destination. Archisman Ghosh studies English at St. Xavier's College, Kolkata


Indian Express
2 hours ago
- Indian Express
Did Pedro Pascal just spoil a major Avengers Doomsday death? Fans decode his cryptic Robert Downey Jr comment
Pedro Pascal may have just let slip a major Avengers: Doomsday plot point. The Fantastic Four: First Steps is barely a week away from release, and Pedro, who plays Reed Richards aka Mister Fantastic in the film, teased whether Marvel's first family will even survive what lies ahead in Avengers: Doomsday. The film's still over a year away, but his comment left fans already dreading what could happen to the characters. In a recent promo interview with SensaCine Latinoamérica, Pascal and Ebon Moss-Bachrach (Ben Grimm/The Thing) were talking about their upcoming MCU projects. Ebon revealed that he was star struck by Robert Downey Jr, who's returning as a variant of Doctor Doom in Doomsday. 'I was excited to work with Robert Downey Jr. I've loved him for so long,' he said, adding, 'He's one of my favourite actors, he's a brilliant actor. Come at me.' And then, Pascal added the line, 'Too bad you don't have any scenes with him.' Also read: The Fantastic Four First Steps final trailer: Fantastic Four rally together to face their biggest threat yet That remark sent fans into a frenzy. If The Thing doesn't share screen time with Doctor Doom, that could mean two things: Either their characters exist in different timelines or multiverse realities. Or worse, one of them doesn't survive long enough to make it to the final battle. It could also be that their scenes are computer-generated, and don't require them to be on set physically with each other. Either way, it sounded like the Last of Us star may have revealed the major plot point. In another interview promoting First Steps on the BBC, Moss-Bachrach described Doomsday using four words: 'Epic, tragic, intergalactic, starry.' Meanwhile, Joseph Quinn (who plays Johnny Storm aka Human Torch) described it as 'Epic, mental, Downey Jr.' With characters like Tony Stark and Black Widow already gone, fans are expecting more tragic news ahead. Doomsday, with its massive 60-member-plus cast, will pick up directly where The Fantastic Four: First Steps leaves off. Joining the Fantastic Four stars are Anthony Mackie (Captain America), Letitia Wright (Shuri), and Sebastian Stan (Bucky Barnes). But before they take on Doctor Doom, the team will face Ralph Ineson's Galactus and the Silver Surfer, played by Julia Garner. Meanwhile, a new clip from First Steps shows Sue Storm holding their baby, Franklin Richards, while Reed Richards addresses the press. 'We attempted to negotiate, but Galactus… he asked too high a price,' Reed says. When asked what that was, he adds, 'He asked for our child.' Why would Galactus want their baby? Because Franklin Richards, born to two parents exposed to radiation, is a mutant, one believed to grow up with powers strong enough to create entire universes, bend time, and mess with reality. Stronger than most Avengers combined. Which also explains why a planet-eating cosmic force like Galactus would be after him. Also read: Who is 'world eater' Galactus and the female silver surfer Shalla Bal who feature in the trailer of The Fantastic Four First Steps All signs point to yes. While Ebon may not get to face off against Doctor Doom, Reed Richards definitely will. Earlier, a Marvel producer even revealed that Pascal had to visit RDJ's house for a special Avengers 'homework day.' When asked if Chris Evans (the original Human Torch) would appear in First Steps or Doomsday, Pascal didn't say anything. 'I've just gone into… a blackout.' The Fantastic Four: First Step releases on July 25.