Strategy plans are often dismissed as mere corporate jargon, yet the 2018-2022 plan set out by RTÉ aspired to wholly reform the organisation in order to appeal to an upcoming generation. Unsurprisingly, this was not accomplished. On the other hand, the strategy proposed by director-general Kevin Bakhurst last week offered a concrete plan, complete with timelines, metrics, and reasons supported by external audits and discussions. This leaves it to the Government to detail their plans for RTÉ’s financial support.
Bakhurst envisions RTÉ shifting primarily to a digital platform rather than being a broadcaster that uploads content on the internet. The majority of discussions centred on the future of shows such as Fair City and The Late Late Show – an expected result given the plan’s sparse revelations. Its main themes – digitisation, distribution, and contracting out – were initially introduced last November.
A transformation in RTÉ is not only inescapable but also obligatory. Longing for the past, when important matters were debated on The Late Late or incorporated in Fair City storylines is misplaced. The golden age of soap operas and talk shows has ended, rendering these programmes less defining of our culture. RTÉ’s survival depends on catering to individuals’ requirements through pertinent cultural formats.
The strategy demonstrates potential, especially with a pledge to raise the volume of children’s content and offer it on an advertisement-free online platform. RTÉ is recognised for top-quality children’s programming, although consumption patterns have since shifted. Ofcom, the British media watchdog, points out that a quarter of 5-7-year-olds own smartphones and 48% have accounts on platforms like YouTube. While equivalent Irish data is unavailable, these statistics reflect current digital media trends. Offering an alternative to commercial platforms such as YouTube, specifically tailored for Irish children, exemplifies how RTÉ can provide a digital public service.
Digitisation doesn’t necessitate a complete overhaul; rather, it involves adapting our public service values and broadcasting acumen into novel formats. Take RTÉ’s extensive radio background in areas such as news, documentaries, dramas, and arts, as an example; these are all areas that have gained global recognition in the podcasting era. With the proposed audio unit set to operate out of Cork, one can hope for utilising these interests and experiences.
Despite the positive aspects of the content, the strategy largely utilises a similar approach. The difficulties faced by RTÉ in June were spurred by commercial pressures. As per the new approach, such commercial influences are set to rise while the public sector facet of RTÉ will be “streamlined” with “efficient workflows”. There are vague references to gaining a “new skills profile” by reducing staff by 20%. It would be useful to understand the nature of the skills contemplated here. It’s assumed that many of these are linked to the “ambitious plans for commercial revenue generation” and an expected 60% increase in commissions from the private sector’s funds.
The possibility of the private sector wielding further influence needs a lucid understanding. Criticising the transition to privatisation does not signify opposing private production, which has consistently provided exceptional content, including ‘Birdsong’ documentaries and award-winning animations such as ‘Alva’s World’. However, the metamorphosis of a public entity from a content producer to a commissioner heralds a significant shift. This brings up critical questions about commission oversight and indirect funding of private enterprises with taxpayers’ money, creating potentially difficult situations in Ireland’s relatively small media market that could end up under an Oireachtas committee’s scrutiny in the coming years.
Moreover, employment repercussions cannot be ignored, as pointed out by unions. Media funding debates often lay too much emphasis on the financial health of media corporations and less on the sustainability of media careers. Media professionals such as journalists, writers, editors, actors and others need reasonable pay and career opportunities. This level of stability is generally provided by public service media. Any failure to deliver this, as witnessed with RTÉ’s dubious self-employment procedures, is subject to legitimate criticism.
The increasing privatisation of RTÉ is causing more instability within the sector as a whole, which significantly impacts the diversity within the workforce. The media, in general, does not have an impressive history of recruiting individuals from lower-income backgrounds. Women also face difficulties in such unstable environments. Although RTÉ’s initiative is set to promote “effective implementation regarding diversity and inclusion”, the optimum route towards increased diversity is stable employment.
[As RTÉ downsizes, Fair City is hit hard]
Does RTÉ lean towards overstaffing? Conceivably. With a more competitive media market, it’s likely that employees may naturally gravitate towards other organisations, introducing spaces for staff of various profiles. However, the solution is not to intensify the precarious situations for media employees. A robust public sector would benefit the entire media workforce.
RTÉ’s current board and Kevin Bakhurst did not originate these problems. The tension between public and private is an inherent feature in RTÉ’s blueprint, backed up by entrenched interests and lack of governmental concern. The government’s decision regarding finance still remains indecisive.
Paschal Donohoe, the Minister for Public Expenditure, objects to government direct funding because those resources spent on RTÉ could be diverted “towards social welfare [or] childcare”. He favours maintaining the license fee as it brings in some revenue. However, adhering to this financial reasoning spells disaster for RTÉ, as the licence fee is patently archaic.
At this critical period, where national identity and politics are fragmenting, an earnest effort to preserve those elements of Irish life that cater to us as a collective is paramount. RTÉ remains the sole media outlet with a legal function to provide for all facets of the population. Hence, its comparison with other media groups is fair, and should not be dismissed as unnecessary expense. It functions akin to public libraries, parks, and playgrounds.
RTÉ’s plan is unambiguous. The ball is now in the government’s court.
Dr. Eileen Culloty, associate professor at DCU’s School of Communications and Institute for Media, Democracy, and Society submits this view.