Strategy plans are often dismissed as nothing more than meaningless corporate jargon. However, RTÉ’s strategy for 2018-2022, which pledged to revamp the organisation for future generations, was different. Despite the lack of clear outcomes, this strategy, presented last Tuesday by Director General Kevin Bakhurst, justified its words with clear timelines, relevant metrics, and rationales that drew on external sources and consultations. This leaves the ball in the Government’s court to clarify its plans for RTÉ’s funding.
Bakhurst aims for RTÉ’s transformation into a predominantly digital platform, shifting from merely offering online video content. A significant aspect of the discussions was the destiny of the ‘Fair City’ and ‘The Late Late Show’, given the strategy’s scarcity of other groundbreaking parts. Key components, notably digitalisation, decentralisation, and outsourcing, had already been established last November.
Changes in RTÉ are not only unavoidable, they are essential. Longing for the times when major topics were debated in ‘The Late Late Show’ or woven into ‘Fair City’ storylines is misguided. The golden era of soap operas and talk shows is past us. This doesn’t imply they’re no longer significant, but they no longer define our culture. RTÉ’s survival depends on its ability to adapt to people’s requirements through appropriate cultural mediums.
Encouraging aspects in the strategy include a dedication to enhance children’s content and offer it in a commercial-free online space. RTÉ prides itself on its exceptional children’s television offerings, but viewing habits have evolved. Based on data from Ofcom, the UK media regulator, 25% of British 5-7 year-olds own smartphones, and 48% maintain profiles on platforms like YouTube. Despite a lack of similar data for Ireland, this portrays the reality of digital media trends. RTÉ’s intention to offer an ad-free alternative to YouTube, exclusively tailored for children in Ireland, exemplifies its potential as a digital public service provider.
Digital transformation doesn’t demand a thorough revamp but rather a relocation of the principles of public service and broadcasting proficiency into innovative forms. For instance, RTÉ’s extensive experience in radio broadcasting ranging from news and documentaries to drama and art is significant. These genres are receiving worldwide attention in the podcasting era. It is feasible to expect the proposed Cork-based audio unit to benefit from this interest and expertise.
While the strategy carries many positives in content, it continues a trend seen in a significant way. Last June, RTÉ’s crisis was largely fuelled by commercial motives. This new strategy will see an expansion of these commercial motives, while the public sector aspect of RTÉ will undergo a “streamlining” process with “efficient workflows”. A 20 percent staff reduction is loosely referred to as obtaining “a new skills profile”. One might be curious about the nature of these envisaged skills. It is likely a large portion are connected to the ‘bold plans for commercial revenue growth’ and the proposed 60 per cent rise in commission expenditure from the private sector.
The potential for an increased influence of the private sector must be thoroughly comprehended. Criticism of the shift towards privatisation is not a denouncement of private production, which has consistently produced high-quality content from documentaries like Birdsong to award-winning animations like Alva’s World. However, the transformation of a public entity from a content producer to a content commissioning organization is a notable shift. It raises critical questions about the supervision of commissions and indirect funding of private firms by public funds. In a small media market such as Ireland, this could wind up under investigation by an Oireachtas committee in the future.
Furthermore, as persuasively argued by the unions, there are employment implications. Debates about media funding are often overly concentrated on media companies’ financial health rather than the sustainability of media careers. Journalists, writers, editors, actors and others require solid wages and career progression prospects. Public service media usually provide this stability. When they fail—as RTÉ has been rightly censured for promoting bogus self-employment—it draws warranted criticism.
RTÉ’s privatisation increase is leading to instability across the entire sector, affecting workforce diversity. Media outlets tend to hire fewer workers from working-class backgrounds, and women also find it challenging to thrive in such unstable sectors. While the RTÉ’s strategy commits to promoting diversity and incorporation, steady employment offers the most effective route to enhanced diversity.
Despite potential oversizing within RTÉ, the answer to the issue does not lie in creating more insecurity for media employees in an increasingly competitive market. Strong public sectors are beneficial to all media workers. RTÉ’s current challenges, a product of long-standing public-private tensions, were not brought about by Kevin Bakhurst and the present board – these issues are rooted in RTÉ’s very structure, amplified by special interests and government inattention. Government funding remains an unresolved matter.
Paschal Donohoe, the Minister for Public Expenditure, is against direct exchequer funding since this will limit the amount of money available for social welfare or childcare, and instead supports the retention of the licence fee, albeit minimal in revenue generation. This financial approach is a death sentence for RTÉ, given that the licence fee is entirely obsolete.
As national identity and politics become more fragmented, it is crucial to preserve elements of Irish life designed to represent the public. RTÉ, the sole media outlet legally required to serve every segment of society, differs from other media outlets and does not equate to unnecessary spending. It functions similarly to public libraries, parks, and playgrounds.
Now, with RTÉ having produced a definitive plan, the government needs to act. The above insights come from Dr Eileen Culloty, an assistant professor at the DCU School of Communications and Institute for Media, Democracy, and Society.