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Netflix viewers £1,000 BBC TV Licence fine risk this weekend

Netflix viewers £1,000 BBC TV Licence fine risk this weekend

Every household in the UK is legally required to have a TV licence if they watch or record live TV, regardless of what channel it is on.
But if you do not use BBC iPlayer, watch or record live television then you do not need a TV Licence.
Typically, this has meant that those who solely watch television through Netflix or other streaming platforms do not need a TV Licence.
However, with Netflix now branching into showing live content, such as the upcoming Tudum Live event this weekend, that could now change.
As the event will be live streamed by Netflix, UK viewers wishing to watch will require a TV Licence to do so legally.
The BBC confirmed to Cord Busters last year that viewers will need to purchase a TV Licence if they are to watch live events on Netflix.
The majority of Netflix's content remains exempt from the TV Licence fee, as long as it is not being broadcast live.
These are the occasions where you do not need a TV Licence.
You do not need a TV Licence to watch:
You do need a TV Licence if you:
For those of us aged 75 or over who are in receipt of Pension Credit, the TV Licence can be obtained for free rather than costing £174.50.
Guidance from TV Licensing says: 'Free TV Licences are only available if you're 75 or over and you, or your partner living at the same address, are receiving Pension Credit.
'If you think you're eligible for a free licence but can't apply online, please call 0300 790 6117* and speak to one of our advisors to request an application form (our lines are open between 8.30am and 6.30pm, from Monday to Friday).
'Once we've received your application it may take a few weeks to process. If there are any problems we'll write to let you know. We may also call you if you have given us your phone number.
'There are separate arrangements in place for over 75s on the Isle of Man, the Bailiwick of Jersey and the Bailiwick of Guernsey.'
Even if you do not meet the eligibility criteria for a free TV Licence you may be able to get some money back on yours, so long as it is no longer needed.
If you have already purchased a TV licence but do not watch or record live TV, or stream BBC iPlayer, you could be entitled to a refund worth £174.50.
Households across the UK can apply for a refund if you won't need your licence again before it expires, and you have at least one complete month left on it or the licence fee for you expired less than two years ago.
You can apply for a refund online here.
The amount you will be due in a refund will be worked out by TV Licensing, the organisation that issues TV licences.
They explain how they work out the amount you will be due here: 'Any refund due is calculated in unused months. You must have at least one complete month left on your licence that you won't need before it expires.
'So, you could get a refund for between one and 11 months, depending on how long you have left on your licence.
'You won't be eligible for a refund if there is less than one month between the cancellation date and the expiry date.

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Why the BBC thinks it can get Labour to give it more funding
Why the BBC thinks it can get Labour to give it more funding

Telegraph

time6 hours ago

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Why the BBC thinks it can get Labour to give it more funding

Tim Davie struck a gloomy tone when discussing the BBC's finances on Tuesday, as he renewed calls for extra funding. 'I want proper investment and not begrudging, grinding cuts to the BBC, which you've had in the last 10 years, which have just not helped,' the director general said. The timing of his comments was key. Davie is currently locked in talks with ministers ahead of the BBC's Charter renewal in 2027, as he fights for the future of the licence fee. Bosses in W1A acknowledge that the funding model requires reform in the modern media age. But how this will affect the BBC's stretched finances is a critical question as it continues to lose viewers at an alarming rate. Identity crisis The licence fee has existed in some guise since the BBC's launch in 1922, when the government decided the new broadcaster should be publicly funded. This, the corporation says, allows its UK output to remain 'free of advertisements and independent of shareholder and political interest'. While the BBC was initially limited to radio services, the first combined radio and TV licence was issued in 1946 for £2. Fast-forward to the 21st century and the BBC has transformed from a fledgling broadcaster into a public service behemoth. Income from the licence fee stood at £3.7bn last year, a significant chunk of the UK's entertainment and media market, which is valued at around £100bn by PwC. However, this scale does not tell the full story. With the emergence of streaming rivals such as Netflix and Disney, as well as social media platforms such as YouTube and TikTok, the BBC is facing an identity crisis. While the public service broadcaster continues to dominate the UK media space – around 86pc of adults consume its services each week, according to the latest Ofcom figures – it is losing ground. This is particularly acute among 16 to 24-year-olds, who spend just 5pc of their in-home video time with the BBC, compared to the 23pc for over-35s. Waning interest has meant lower income as viewers vote with their feet. The number of households paying the licence fee dropped to 23.9m last year – a 500,000 fall that sucked £80m from the BBC's budget. The figure is 2.3m lower than the peak of 26.2m between 2017 and 2019. Cost is likely to be a factor. At £174.50 per year, the licence fee comes in at around £14.50 a month. That compares to £5.99 a month for Netflix's ad tier, or £12.99 for its standard ad-free service. Disney charges £4.99 with ads and £8.99 without. While the BBC argues it offers good value for money given the breadth of its service, this is unlikely to win over apathetic youngsters who consider Auntie irrelevant. The fall in licence fee payers is not the only driving force behind the BBC's squeezed finances, however. Over the last 15 years, repeated government interventions have taken their toll. In 2010, George Osborne announced the licence fee would be frozen for seven years at £145.50. Nadine Dorries, former culture secretary, then froze the levy again in 2022, even as inflation surged. The fee will now increase in line with inflation until the end of the Charter in 2027, but only after another Tory culture secretary, Lucy Frazer, stepped in to prevent a 9pc – or £15 – rise amid concerns it would fuel the cost of living crisis. Adding further strain to the budget, the government in 2015 forced the BBC to take over the cost of providing free licence fees to the over-75s, while it also handed over the main burden of funding the World Service. Analysis shows that Government interference, coupled with a decline in licence fee payers, amounts to a real-terms decrease of around 30pc – or £1.4bn – in the broadcaster's domestic funding over the last 15 years. The question, then, is how to plug the gap. Davie has been wielding the axe on both staff and programming as he seeks to strip £700m from the BBC's annual budget. Yet this whittling down of resources has fuelled anger and concern about the impact on the quality of the broadcaster's output, with spending on new shows poised to fall by £150m this year. The BBC has also ramped up enforcement of the licence fee, with 41m warnings sent out in the 2024 financial year – an increase of almost 13pc year on year. Another method championed by Davie, the former BBC Studios boss, is to boost the broadcaster's commercial income to help balance the books. Measures so far have included taking full control of BritBox International, the BBC's joint streaming venture with ITV, after buying out its rival for £225m. The BBC has also struck a co-production deal with Disney to air Doctor Who overseas, worth an estimated $100m (£73m). But other schemes, such as its plan to run adverts around radio and podcast output, have been scrapped in the face of fierce opposition from commercial rivals. Despite its bold aims, the BBC's commercial income fell to £1.7bn last year from just under £2bn the year before. Overall, the BBC is forecasting a £33m deficit for the coming year. While this is down from the eye-watering £500m shortfall the previous year, it highlights the ongoing strain on the corporation's finances. It is against this precarious backdrop that the BBC has entered discussions with the Government. Ministers have made it clear, however, that reform, or even scrapping, of the licence fee is top of the agenda. While the licence fee is now lower as a proportion of average household income – 0.46pc last year compared to 0.64pc in 2012 – the levy is facing scrutiny in a world where viewers have a plethora of entertainment options. What's more, the licence fee is regressive, with poorer households paying more relative to their income and women disproportionately prosecuted for not paying. So if the licence fee were to be scrapped, what could take its place? One option is replacing it with a subscription model, similar to those of streaming services. However, critics have warned that such a move risks undermining the BBC's ability to serve its audiences and would limit the scope of its output. 'A subscription funding model would be antithetical to the BBC's public service mission, necessarily ending universality of access and undermining its breadth of content,' said analysts at Enders Analysis. Similarly, funding the BBC through advertising has been viewed as a non-starter as it would draw too much money away from the commercial TV and radio sector. Both Davie and Samir Shah, the BBC chairman, have pushed to retain the licence fee with reforms, acknowledging the shortcomings of a regressive flat tax. But what would this look like? Lisa Nandy, the Culture Secretary, has pushed back against the idea of funding the BBC through general taxation, saying it would leave the broadcaster exposed to political interference. 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The State pensioners who will get an immediate Winter Fuel Payment boost
The State pensioners who will get an immediate Winter Fuel Payment boost

North Wales Live

timea day ago

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The State pensioners who will get an immediate Winter Fuel Payment boost

Many State pensioners were controversially stripped of their £300 Winter Fuel Payment over the winter. It came after the Government declared the benefit would be means tested but the issue has been highly contentious. It means the vast majority of State pensioners will no longer receive a £300 payment unless they claim a qualifying benefit. Since then Prime Minister Sir Keir Starmer has announced a partial reversal on the benefit, pledging to reassess the eligibility threshold to reinstate the payment to more pensioners. How this will be implemented or what the criteria might be have not yet been disclosed. This week, Chancellor of the Exchequer Rachel Reeves announced that more pensioners will receive the winter fuel allowance this year, although it still won't be universal, reports the Express. Officials haven't yet said how many more pensioners will be eligible. Chancellor Rachel Reeves said: "We have listened to the concerns that people had about the level of the means test and so we will be making changes to that. Join the North Wales Live Whatsapp community now "They will be in place so that pensioners are paid this coming winter. People should be in no doubt that the means test will increase and more people will get winter fuel payment this winter." 'Exact amount will vary depending on your birth year' However, many aren't aware that if you do qualify for the Winter Fuel Payment this year, the exact amount you receive will vary depending on your birth year and possibly other circumstances as well. The Government previously paid the Winter Fuel Payment automatically to all state pensioners, but until any changes are announced, the current rule is that you must be claiming a qualifying benefit such as Pension Credit. Those who are of state pension age but under 80, meaning they were born on or before September 22, 1958, and who qualify will receive a £200 payment. But those aged over 80 - born on September 23, 1944, or earlier - will receive £300. The amount you receive is determined by your age and circumstances during the "qualifying week" of September 16 to 22, 2024. If you missed this period, you can backdate Pension Credit claims until December, so it's still accessible now. So if you're over 80 and eligible, your Winter Fuel Payment will rise from £200 to £300. Most qualifying individuals will receive a letter detailing the amount they'll receive and the bank account in which it will be paid to, this is typically the same as the one used for your Pension Credit or other benefits. An Age UK spokesman said: "If you or your partner claims Pension Credit, Income Support, income-based Jobseeker's Allowance or income-related Employment and Support Allowance, the payment should go to the main claimant of the benefit automatically. "You should receive your payment between mid-November and Christmas. Call the Winter Fuel Payment helpline on 0800 731 0160 if you have any enquiries or you don't receive your payment."

Can you tell what's real and what's cake? Test yourself against the Bake King
Can you tell what's real and what's cake? Test yourself against the Bake King

Telegraph

time2 days ago

  • Telegraph

Can you tell what's real and what's cake? Test yourself against the Bake King

The French theorist Jean Baudrillard argued that modern society had replaced reality with signs. 'The simulacrum is never that which conceals the truth – it is the truth which conceals that there is none,' he wrote. 'The simulacrum is true.' As images proliferate they become distorted, first so they bear increasingly little relation to reality, and eventually to a point where nothing bears any relation to the real world. All we have are images of things. Baudrillard would have been entertained by the things being done to cakes recently. If you watched The Great British Bake-Off in 2022 and 2023, you may recall a series of advertisements for Sainsbury's Taste the Difference range. At the start of the ad break, viewers were shown a delicious-looking plate of food. A rib of beef, a banana, a bottle of orange juice, a baked camembert. A kitchen knife would hover over them. At the end of the break, the knife would cut into the dish revealing whether it was what it appeared to be or, as was often the case, a cake ingeniously decorated to look like something else. 'The internet seems to fetishise the genre of hyper-realistic things being made of cake,' says Freddy Taylor, from the advertising agency Wieden & Kennedy, who came up with the idea for the ads. 'So bringing this strange fake-cake cultural phenomenon to Tuesday evenings seemed to really tickle people.' Just months later, Netflix launched a gameshow, Is It Cake?, based on this premise, in which contestants guess by sight whether objects are what they seem, or cakey simulacra. It became the second most-watched show on Netflix in the UK the month it was released. The cake decoration genius behind the Sainsbury's ads was Ben Cullen, known as The Bake King, who has amassed 493,000 followers on Instagram and some 368,000 on TikTok since he began making hyper-realistic cakes more than a decade ago. He's made cakes for private and celebrity clients, including Rita Ora, and for film and TV launches (for HBO's The Last of Us he made a terrifying 'clicker', one of the varieties of mushroom-infected zombie), as well as countless TV appearances, including Channel 4's Extreme Cake Makers. Now, Cullen has written a book, Cake or Fake?, in which he offers step-by-step instructions for people wanting to make their own illusion cakes at home. To prove it was possible, Cullen, 35, invited me to his studio just outside Chester to make one myself. 'One of the first things people say to me is, 'Ben, you could hold my hand, but I would never be able to do what you do,'' he says. 'I want people to know that anyone can do it. It was important to me that the cakes in the book were accessible. I don't want people to be deflated. I want them to think, 'This is class, I could do this again for my kid's birthday.'' For my tutorial, Cullen has chosen a pizza, one of his classic illusions. The recipe has a rigorous 23 steps, and begins: 'Start with a round cake.' Cullen is an artist, not a baker. (He dabbled in tattoos – his skin is almost completely covered in them – and fine art, before he found his talent for making cakes look like other things.) For most cakes, the act of cutting is merely the end of the beginning; with Cullen's it is the beginning of the end. What he looks for in the sponge is consistency, structural integrity, colour – the contrast of the interior with the outside is a key part of the reveal. 'I very rarely make them myself any more,' he says. 'I order them in big sheets. With a lot of my work being for social media predominantly, then moved on elsewhere, I need to guarantee that consistency with the texture. They always need to suffice for being eaten, too, but the priority is the look.' He uses a company called Sweet Success, from which he orders large slabs of Genoese sponge. It's two discs of this sponge that I begin with as I set about making my pizza. Using a knife to score a circle around the top of one, I scrape out a layer with a spoon. Then it's a matter of chiselling around the edges, on the ridge that will become the crust and on the underside, until they're rounded. 'A main thing with illusions,' says Cullen, 'is people always notice if the cake hits the surface flat, so you want some shadowing underneath.' I make dark and white chocolate ganaches with chocolate melted in the microwave and cream, vigorously stirred. We apply the dark chocolate ganache to the top of the base cake as adhesive, add some sugar syrup to keep it moist, then spread the white chocolate all over to form a base level. It goes in the fridge to set. While we press out discs of red sugar paste to craft into pepperoni, Cullen tells me about how he ended up with this curious gig. He grew up in Birmingham, where his dad worked at the bus garage but did magic at the weekends. His mum was a learning mentor at a primary school: illusion and education in the blood. He has an older sister, a performing arts teacher, who was into dance, but Cullen's priority was art. He drew on anything. Graffiti got him into trouble at school. 'I couldn't stop,' he says. 'I always wanted to be a painter, an artist, have work in the Tate galleries. But it's so competitive, that world.' Instead, he was working as a tattoo artist when he fell into conversation with a customer's mother about sugarcraft and started making cakes on the side. He had a day job as a graphic designer when he decided to go full-time into cakes in 2016. One of the first cakes he was proud of, still a favourite today, was of horror character Annabelle. 'My mum was obsessed with horror films,' he says. 'And she was my number-one cheerleader. Anything I would have done, she'd have said I was the best at it. Unfortunately, she passed away two years ago. It's one of the reasons I'm so excited about the book. For her, a book had more substance than TV or any of the other things I was doing. When she died, I thought, 'I have to do the book now.'' With the ganache chilled, it's time to decorate our pizza cake, which means sugar paste and food colouring. True to his technique of building the objects as they are in real life, Cullen has pre-coloured some paste to look like raw pizza dough. I roll it out thin and drape it over the base, tucking it in to create the rounded edges that are so important. Using a wire brush and some kitchen foil we roughen the edges of the dough: shiny surface textures are a giveaway. At last, it's time to paint, when Cullen's artistic prowess really starts to show. Using browns and yellows we darken the edges of the dough to replicate the deeper brown of the edges of a pizza. Red colouring, textured with cake crumbs, makes the tomato sauce. For the cheese, more ganache, browned with a real blowtorch. Dark crumbs for black pepper. More dark brown where the edges of the pepperoni would have burned in the oven. 'What separates the really good illusions is going to that extra level,' Cullen says. 'Different colours, different textures.' All of a sudden, my cake looks distinctly pizza-ish. It's only taken four hours and help from the world's leading practitioner. Contrary to usual advice about spoiling the magic, it's satisfying to see the illusion take shape. 'I do it myself,' he says. 'I'll step away and I'll be giddy. You'll be heading down the road and wondering if you're going the right way. Then there's a switch point where you think, 'Yes, it did work!'' After the book, Cullen has his eye on a TV programme. This time, his own creation. 'I think the thing I offer is that I'm in touch with normal people,' he says. 'I want to be the best in the world, but I also don't want to be out of touch. It's art at the end of the day – we're supposed to be enjoying it. There's a lot going on in the world, and we're making cakes. Any time I see someone crying on TV because their cake hasn't risen, I think 'calm down'. Don't let a hobby get ruined.' Decoration complete, Cullen fashions a pizza box so I can take my creation home. 'A pizza?' my five-year-old daughter asks when I show it to her back in London. We cut into it. 'Cake!' she says, with delight.

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