BBC Review Finds No 'Toxic Culture' But 'Minority of People Whose Behavior Is Simply Not Acceptable'
A BBC review has found no evidence of a 'toxic culture' but a 'minority of people whose behavior is simply not acceptable,' the U.K. public broadcaster said on Monday. It vowed to 'take immediate action to improve workplace culture' after publishing the comprehensive independent report that its board had commissioned amid allegations of bullying.
The review and report from Change Associates, led by executive chairman and founder Grahame Russell, 'found no evidence of a toxic culture, but in a series of detailed findings and recommendations, it highlighted key areas for improvement,' the broadcaster said.
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The report also found that 'the majority of people who work for the BBC are proud to do so and describe loving their jobs,' it said. 'Some staff, however, thought there [was] a minority of people at the BBC – both on and off-air – who were able to behave unacceptably without it being addressed.'
Concluded the report: 'Even though they are small in number, their behavior creates large ripples which negatively impact the BBC's culture and external reputation.'
The BBC board and management have fully accepted the report and its findings, with both calling it 'a catalyst for meaningful change.'
'There is a minority of people whose behavior is simply not acceptable. And there are still places where powerful individuals – on and off screen – can abuse that power to make life for their colleagues unbearable,' said BBC chair Samir Shah. 'The report makes several recommendations that prioritize action over procedural change – which is exactly right. It also addresses some deep-seated issues: for example, the need to make sure everyone can feel confident and not cowed about speaking up.'
He concluded: 'In the end, it's quite simple: if you are a person who is prepared to abuse power or punch down or behave badly, there is no place for you at the BBC.'
BBC director-general Tim Davie said that the report 'represents an important moment for the BBC and the wider industry. It provides clear, practical recommendations that we are committed to implementing at pace.'
He added: 'The action we are taking today is designed to change the experience of what it is to be at the BBC for everyone and to ensure the values we all sign up to when we arrive here – the values that, for most of us, are what made us want to come to the BBC in the first place – are lived and championed by the whole organization each and every day.'
The BBC said its immediate actions include launching 'a refreshed and strengthened' Code of Conduct, with specific guidance for on-air presenters; implementing 'a more robust' disciplinary policy, with updated examples of misconduct and clear consequences; requiring all TV production partners to meet Creative Industries Independent Standards Authority (CIISA) industry standards; rolling out a new 'Call It Out' campaign to 'promote positive behavior, empower informal resolution where appropriate, and challenge poor conduct;' and introducing clear pledges for anyone raising concerns and setting out what they can expect from the BBC.
The review also came up with other recommendations, including investment in leadership and HR capabilities, such as defining the leadership skills the BBC values most and ensuring they are being embedded at all levels; enhancing succession planning to 'create more transparent and inclusive processes for identifying and preparing all talent, particularly in on-air roles;' and establishing a dedicated and independent Response Team 'to rebuild trust and confidence in how issues are raised, addressed and anonymously reported. '
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Hamilton Spectator
39 minutes ago
- Hamilton Spectator
Guru Nanak's Jahaz Film Brings Historical Depth to Halton, Highlighting the 1914 Komagata Maru Incident
As Asian Heritage Month wrapped up in Halton Region, one cinematic release stood out for its historical resonance and emotional impact. The Punjabi-language film Guru Nanak's Jahaz, directed by Sharan Art, premiered in cinemas across the region and the Greater Toronto Area following its worldwide release on May 1. The historical drama, funded in part by the Canadian government, explores the 1914 Komagata Maru incident, a key moment in Canada's immigration history, through the lens of Sikh faith, resilience, and the struggle for justice. The film struck a chord with South Asian communities in Milton, Oakville, Burlington, and surrounding areas. Local screenings drew large audiences and sparked conversations about identity, inclusion, and Canada's complex past. 'I had read about the Komagata Maru in school, but seeing it portrayed on screen with such depth and emotion gave me chills,' said Rajdeep Sandhu, a third-generation Canadian whose great-grandparents immigrated from Punjab. 'This movie reminded me of the courage it took for our elders to fight for the right to simply be treated as human beings.' On May 23, 1914, the Guru Nanak Jahaz steamship arrived in Vancouver's Burrard Inlet, carrying 376 passengers—340 Sikhs, 24 Muslims, and 12 Hindus, primarily from the Punjab region of India. Seeking better opportunities in Canada, they were instead met with exclusion. Despite being British subjects, they were denied entry due to discriminatory immigration laws. Confined to the ship without adequate food, water, or medical care, the passengers endured harsh conditions for two months. On July 23, 1914, the ship was ordered to turn back, forcing the passengers to return to India. Tragically, upon arrival, 19 were killed by gunfire, and many others were injured or imprisoned, branded as political agitators. The film uses historical records, personal accounts, and cultural insight to depict the voyage and its aftermath, bringing a little-known story to wider audiences. Ayesha Malik, a Milton resident originally from Pakistan, brought her two teenage children to one of the screenings. 'As a South Asian Muslim woman, I found this film incredibly unifying,' she said. 'The story transcends religious boundaries—it's about a shared struggle for dignity. Watching it with my children during Asian Heritage Month felt like an important way to honour our collective history in Canada.' The screenings were part of a broader month-long celebration across Halton, which included cultural exhibits, storytelling initiatives, and panel discussions. One such event, held in Oakville following a screening of Guru Nanak's Jahaz, featured educators and historians reflecting on the impact of historical immigration policies and their lasting legacy. 'This movie helped me see my grandparents' journey in a new light,' said Sanjay Krishnan, a young professional from Oakville. 'They arrived in the '70s, decades after the Komagata Maru, but the themes of exclusion, hope, and resilience are the same.' For many, the film was not only a tribute to the past but also a reminder of the work still required to build inclusive communities. 'We need more projects like this—especially ones that are accessible to young people,' said Shama Bano, one of the founding members of the Desi Moms group in Milton. 'It brings context and meaning to why we celebrate Asian Heritage Month, and why representation matters in our cultural storytelling.' The Canadian government's involvement in funding the film highlights the country's commitment to preserving and sharing stories of South Asian heritage. This support allowed the filmmakers to create a project that reaches both local and international audiences, shedding light on an important chapter of Canada's history. As Guru Nanak's Jahaz continues its theatrical run, including strong box office numbers in India, it has emerged as one of the most successful Punjabi-language films of 2025. For audiences in Halton Region, its impact extended beyond entertainment, offering a powerful lens through which to reflect on shared histories and future aspirations. Error! Sorry, there was an error processing your request. There was a problem with the recaptcha. Please try again. You may unsubscribe at any time. By signing up, you agree to our terms of use and privacy policy . This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. Want more of the latest from us? Sign up for more at our newsletter page .


Geek Vibes Nation
4 hours ago
- Geek Vibes Nation
'Doctor Who' Season 2 Finale Review - A Hollowly Nostalgic Trainwreck
The Doctor (Ncuti Gatwa) | Photo Credit: James Pardon/BBC Studios/Disney/Bad Wolf Well, that sure was a mess of a finale. After eight weeks, the Doctor and Belinda's journey back to May 24, 2025 ends in more of a whimper than a bang. Written by Russell T. Davies and directed by Alex Sanjiv Pillai, 'Wish World' and 'The Reality War' form a two-part finale that promises answers to lingering questions from across the Fifteenth Doctor's era and satisfying conclusions to a string of character arcs. But instead, it's a two-hour trainwreck from start to finish; an unsatisfying combination of strong premises, hollow nostalgia, and desperate ratings grabs that leaves a bad taste in your mouth and gives Ncuti Gatwa's Fifteenth Doctor the worst send-off of any modern Doctor so far. Note: major spoilers for 'Wish World' and 'The Reality War' follow. A Wish Gone Wrong After the explosive end of 'The Interstellar Song Contest', the Doctor (Ncuti Gatwa) and Belinda (Varada Sethu) wake up in their idyllic suburban home, their young daughter, Poppy (Sienna-Robyn Mavanga-Phipps) calling to them. But this isn't the Earth Belinda's been trying to return to. No, this is a world wished up by Conrad Clark (Jonah Hauer-King); a nuclear family-inspired callback to the heteronormative suburbs of yesteryear. It's a world devoid of identity and self-expression. Except the Doctor's doubt may literally crack the universe in two. Meanwhile, the Rani (Archi Panjabi) and Mrs. Flood hope to utilize all this doubt to free the First Time Lord, Omega, from his prison so they can create a new Gallifrey. Can the Doctor remember who he is and put a stop to the Unholy Trinity's evil plans? Or is this the end of everything the Doctor and his friends have ever known? 'Wish World' and 'The Reality War' offer a mixed bag of missed opportunities and hollow nostalgia. On the one hand, most of 'Wish World' serves as a timely satire of dystopian societies that idolize a heteronormative past that never existed, complete with a knowing wink at the fragilities of such fantasies. On the other hand, you've got an endless list of self-indulgent callbacks to Doctor Who 's past that form the rest of the finale. It's nostalgic nonsense that feels empty and devoid of any meaning. And the finale throws all of that goodwill generated by the first half of 'Wish World' out the window in favor of hollow fan service that goes nowhere, says nothing, and does little. Based on this finale, Doctor Who feels like a show trapped in its own shadow, terrified to truly try something new—despite 62 years spent proving the value of constantly innovating. The Doctor (Ncuti Gatwa) | Photo Credit: James Pardon/BBC Studios/Disney/Bad Wolf A Mixed Bag of Character Beats The finale's character beats make for a similarly mixed bag. The Doctor's continued longing for a family takes center stage, a wish that's finally granted to him with Belinda and Poppy in 'Wish World'. But that joy gets cruelly taken away as the Doctor realizes his paradise is fake. Still, his endless longing leads him to quite literally give up his life in the sheer hopes of saving Poppy (who ends up being Belinda's child in the real world); a true act of heroism in this mess of a story. Otherwise, it's Millie Gibson's Ruby who shines the brighest, as she's the only person who seems to remember the world before Conrad's wish took over. And it's Ruby who defeats Conrad and remembers Poppy after she disappears from reality following that defeat In a way, she's more crucial to the story than either Doctor or Belinda. Which brings us to the biggest flawed character beat: Belinda Chandra feels like a former shell of herself. Gone is the Belinda who faced off against cartoon gods and unknowable horrors. Instead, she largely fades into the background as she hides away in a crate with Poppy and allows the Doctor to, later, go off on his own to save Poppy after the wish's end erases her from existence. A disapponting turn of events for a character so strongly introduced eight weeks ago. It's not that Belinda being a mother is a bad thing. It's that she's never once mentioned it in all of her time with the Doctor, despite the episode's final minutes suggesting she'd done just that in scenes never previously shown. Instead of the season using Belinda's daughter as a driving motivation, her existence feels tacked on in a way that ignores everything the show's previously told us. Belinda Chandra (Varada Sethu) and Poppy (Sienna-Robyn Mavanga-Phipps) | Photo Credit: James Pardon/BBC Studios/Disney/Bad Wolf An Exercise in Hollow Nostalgia The root of these problems is Doctor Who 's current obsession with hollow nostalgia. Like several other legacy franchises, Doctor Who seems to think the mere existence of legacy characters offers a strong enough draw to entice fans into overlooking any narrative deficiencies. At least, that's certainly how this finale feels because there's just not a story here. You've got legacy Doctor Who villain, the Rani, trying to find legacy Doctor Who villain, Omega, so they can bring back legacy Doctor Who location, Gallifrey. But there's no drama and no emotional connection. In fact, the Rani and Omega don't even feel like themselves. Gatwa, Panjabi, and Dobson can try as hard as they like to sell their characters' pasts—and they do try—but there's just nothing there. So, what's the point? 'Freaky Tales' Review - A Lot Happening, But Leaves Us Wanting More Without a cohesive narrative or a group of characters to emotionally invest in, what's left to care about? A Wikipedia-style list of plot points and callbacks to past stories that were both more inventive and more enjoyable? No amount of mustache-twirling, scenery-chewing energy from Panjabi and Dobson can make up for the narrative's fundamental disinterest in exploring anything about their characters as fully rounded people. Their existence is just fan service in chase of a story rather than an exciting, innovative story delighting in playing with fan-favorite characters from the past. Say what you will about Davies' finales from his first tenure as showrunner but at least he knew then that if the character drama works, then the audience will forgive a wonky plot. But here, he chases solely after plot twists and cameos and winks at the expense of meaningful conclusions to the characters' arcs, and it shows. A Future Obsessed with its Past All of this hollow nostalgia comes to a head in the final twenty minutes or so of 'The Reality War'—an ending that feels as though it was changed months after the fact in a series of reshoots. Having defeated the Unholy Trinity, the Doctor, Belinda, and Poppy prepare to continue traveling. Except as Conrad's wish fades away, so too does Poppy. But the Doctor vows to save her at any cost. But in doing so, he begins to regenerate. As far as regeneration-prompting events go, it's ho-hum; somewhat emotionally satisfying, perhaps, but one that doesn't feel remotely alluded to. Aided by a surprise cameo from Jodie Whittaker's Thirteenth Doctor, Gatwa's Doctor begins the process of saying goodbye, complete with the speech we've all grown to expect. And despite the fact that Gatwa's departure's been kept a secret and the episode as a whole does a terrible job at even hinting at his departure, it's a decent enough send off. Until the regeneration itself. Plagued by special effects that look barely finished (and significantly worse than those twenty years ago), Gatwa's Fifteenth Doctor regenerates into…Billie Piper, last seen on Doctor Who as Rose Tyler, companion to Christopher Eccleston and David Tennant's 9th and 10th Doctors. And no disrespect to Piper, but for a show defined by its ability to move forward, two of the past three Doctors being David Tennant and Billie Piper both returning to the show feels hopelessly backward-looking. It's all very 'Somehow, Palpatine returned' of the show in the worst way possible. And with Doctor Who 's future looking quite uncertain, it feels desperate in the most cynical of ways; a last-ditch attempt to goose the ratings and earn the show a third reprive. But if this is the cost, perhaps Doctor Who may indeed be due for another rest. The 13th Doctor (Jodie Whittaker) and The 15th Doctor (Ncuti Gatwa) | Photo Credit: James Pardon/BBC Studios/Disney/Bad Wolf Final Thoughts And with that, Doctor Who 's second season comes to a whimper of an end. After a strong run of episodes, Doctor Who just couldn't nail the landing. It's as if the show decided midway through the finale to completely ignore everything that's made the rest of the season so good and lean into its very worst habits. 'Wish World' and 'The Reality War' offer up an exercise in hollow nostalgia in search of a meaningful story. It's a collection of things happening with no real connective tissue. A surprise regeneration episode in the worst possible way and, perhaps most damningly, a perfect example of why Doctor Who might just need a rest. Say what you will about the finales of seasons' past but at least they tried to do something new, regardless of how well they accomplished it. But this finale? It's a whole lot of disappointing nothing. Doctor Who season two is available now on Disney+.


Hamilton Spectator
5 hours ago
- Hamilton Spectator
CTV comedy ‘Children Ruin Everything' among early Canadian Screen Award winners
Comedian Lisa Gilroy opened the Canadian Screen Awards Sunday with several self-deprecating jokes while also taking light jabs at celebrities and calling on Canadians to toast homegrown content. 'We're here to celebrate an industry that's helped birth enormous global stars like Drake,' Gilroy said on stage at CBC headquarters in her opening monologue. 'And commemorate stars we've lost in the past year, like Drake.' In an opening skit, Will Sasso referred to Gilroy, who is from Edmonton and based in Los Angeles, as the 'Canadian Nikki Glaser only less successful,' to which she retorted, 'Exactly.' Gilroy also joked that Australian actor Cate Blanchett, up for best lead performance in a comedy, was in the building as well — before the camera panned to a mannequin donning a dress in the audience. Early winners included CTV's 'Children Ruin Everything,' which won best comedy. The sitcom is created by Ottawa's Kurt Smeaton and stars Meaghan Rath and Aaron Abrams as a couple trying to carve out an identity beyond parenthood. Andrew Phung of CBC's 'Run the Burbs' won for best lead performer in a comedy series and Crave's drag queen competition series 'Canada's Drag Race' for best reality program. 'Canada's Drag Race' judge Brooke Lynn Hytes thanked her fellow queens while accepting the award. 'Thank you for coming on TV, sharing your stories, and letting it all hang out literally and figuratively,' she said. 'Canada's Drag Race' won five categories at an industry gala earlier in the week, including best host for Hytes, Brad Goreski and Traci Melchor. A best sound prize for 'Canada's Drag Race: Canada vs. The World' handed the franchise an additional trophy. Matthew Rankin's 'Universal Language' was among the leading contenders heading into tonight's bash. The absurdist Winnipeg-set dramedy picked up five awards at Saturday's industry gala for cinematic arts, including best original screenplay, casting and art direction. It was also up for the best film trophy against 'The Apprentice,' 'Darkest Miriam,' 'Gamma Rays,' 'Village Keeper' and 'Who Do I Belong To.' On the red carpet before the show, Rankin reflected on the definition of Canadian content amid political tensions with the U.S. over tariffs and sovereignty. 'We're in this political moment where we have to reckon with what Canada means, and ideally we should be thinking also about what it will mean as we go forward and what cinema can contribute to that,' the filmmaker said. 'I think of Canada as a space that should constantly be redefined. But usually, when I identify something as being Canadian, I think it feels like a President's Choice Hollywood movie,' Rankin quipped. Prime Video docuseries 'The Tragically Hip: No Dress Rehearsal' nabbed a leading seven wins at a Friday bash for the documentary, factual, lifestyle and reality categories. Trophies for the docuseries on The Tragically Hip included best biography or arts documentary series and best director for Michael Downie, brother of the band's late frontman Gord Downie. 'Law & Order Toronto: Criminal Intent,' which led all nominees overall with 20, was up for several after winning two awards on Saturday for best writing in a drama series and best sound in fiction. This report by The Canadian Press was first published June 1, 2025.