Tag: BBC

  • Paid less than male peers, BBC China editor quits and speaks out

    Paid less than male peers, BBC China editor quits and speaks out

    The BBC’s China Editor Carrie Gracie has quit her post in Beijing to fight for her right to pay equality with male peers, posting an attack on what she called the “secretive and illegal BBC pay culture”.

    Gracie’s revolt is part of the fallout from pay disclosures the British broadcaster was forced to make last July, which showed that two thirds of the highest earners on air were men, and that some of them were earning far more than women in equivalent roles.

    Funded by a license fee levied on TV viewers and reaching 95 percent of British adults every week, the BBC is a pillar of the nation’s life, but as such it is closely scrutinized and held to exacting standards by the public and rival media.

    Gracie’s stand was one of the top news headlines of the day on the BBC itself and on other British media, and many prominent women from the BBC and beyond voiced their support on social media under the slogan #IStandWithCarrie.

    Gracie, who speaks fluent Mandarin and has reported on China for three decades, has not left the BBC. She said she was returning to her former post in the TV newsroom in London where she expected to be paid equally to men in equal jobs.

    “I am not asking for more money. I believe I am very well paid already — especially as someone working for a publicly funded organization. I simply want the BBC to abide by the law and value men and women equally,” she wrote on her website.

    Gracie said she was paid 135,000 pounds ($182,800) a year as China editor. According to last July’s disclosures, North America Editor Jon Sopel earned between 200,000 and 250,000 pounds a year, while Middle East Editor Jeremy Bowen was in the 150,000 to 200,000 bracket.

    Europe editor Katya Adler, the BBC’s only other female editor in foreign news, did not feature in the disclosures, meaning her pay was less than 150,000 pounds.

    Gracie said managers had offered to increase her pay to 180,000 pounds, but that was no solution. She rejected the rise and insisted that all four of the BBC’s international editors should receive equal pay.

    “I was not interested in more money. I was interested in equality,” she said during an interview on BBC radio.

    Britain enacted legislation outlawing sex discrimination in the 1970s and this was followed by an equality act in 2010, but women still earn less than men across much of the economy.

    “Enough is enough”

    The BBC defended itself by saying its gender pay gap was below the national average and less bad than at many other organizations, adding that it was committed to wiping it out by 2020. It also said an independent audit of rank and file staff had found “no systemic discrimination against women” at the BBC.

    Several high-profile women seized on the Gracie story to say the problem was much bigger than the BBC and affected the whole of society.

    “Tip of the iceberg in @BBC & most other orgs (organizations). Equality Act 2010 means no hiding place for shameful discrimination against women. Ending it long overdue,” wrote prominent lawmaker Harriet Harman of the opposition Labor Party, a long-time advocate of women’s equality, on Twitter.

    As in many other countries, pay inequality based on gender has been a persistent problem in Britain, which by some measures has performed worse than comparable European countries in recent years. Britain was ranked 15th in the World Economic Forum’s global gender gap index 2017, below France and Germany.

    But Gracie said her complaint was not about the gender pay gap the BBC admits to, which stems from men earning more on average because they do more of the best paid jobs. “It is men earning more in the same jobs or jobs of equal value. It is pay discrimination and it is illegal,” she said.

    Gracie accused the BBC of adopting a botched “divide and rule” response to the legitimate anger of female staff, offering pay rises to some women while locking down others in a protracted complaints process. In her own case, the process had been “dismayingly incompetent and undermining”, she said.

    “Enough is enough. The rise of China is one of the biggest stories of our time and one of the hardest to tell,” she wrote, citing Chinese state censorship, surveillance, police harassment and official intimidation.

    “I cannot do it justice while battling my bosses and a byzantine complaints process.”v

  • In Asia, Netflix trips on regulation, content, and competition

    In Asia, Netflix trips on regulation, content, and competition

    Months after its global rollout, Netflix is facing problems in several major Asian markets as it struggles to provide enough strong content to attract consumers amid tough local competition, and also faces many regulatory hurdles, underlining concerns about disappointing subscriber numbers reported this week.

    From complaints that programming libraries offered in many countries are far smaller than in the United States to delays in offering its signature “House of Cards” series in some markets due to rights issues, the U.S. video streaming giant’s January launch into 130 new markets worldwide, including a slew in Asia, has been bumpy.

    When it launched in Indonesia in January, for example, Netflix ran afoul of the film censorship board for carrying content deemed inappropriately violent or sexual. The communications ministry also demanded that Netflix set up a local office and pay Indonesian taxes.

    State telecoms company PT Telekomunikasi Indonesia Tbk (Telkom) will continue blocking Netflix until it adheres to regulations, Arif Prabowo, vice president for corporate communications at the carrier, told Reuters, declining to give details.

    Netflix is still available in Indonesia via wifi connections and other carriers.

    “Services delivered over the Internet present new questions for everyone, including policymakers, and our intention is to comply with applicable laws and regulations,” said Jessica Lee, Netflix’s head of communications for Asia.

    “It is all part of the journey as we roll out in different countries,” she said.

    The cost of dealing with these kinds of issues are reflected in its results, which show that Netflix suffered a first-quarter operating loss of $104.2 million for streaming video outside the U.S., partly because of higher marketing costs, and also showed that it is earning less per subscriber overseas than at home.

    Netflix had 34.5 million international subscribers against 47 million in the U.S. at the end of the quarter. It is unclear how many of its customers are in Asia.

    LICENSING RESTRICTIONS

    In South Korea, where local content is popular and consumers have numerous streaming options, the Netflix site offers fewer than 20 local TV shows or movies.

    “Korean Netflix’s library in terms of content is pretty thin,” said Jung Dong-yoon, a 29-year-old Seoul office worker and subscriber since January.

    Netflix viewers in the country also this week discovered that well-known shows including “How to Get Away with Murder” and season two of “Better Call Saul” were missing – temporarily, Netflix says – as the shows are submitted for age appropriate ratings by the country’s ratings board.

    Programming rights are an issue globally.

    As of January, Netflix Australia, which launched service more than a year ago, offered just 443 TV shows, compared with 1,157 in the United States, and had 1,585 movies, compared with 4,593, according to Finder.com – fewer than those available in Iraq, Haiti, Cuba and many other countries.

    “With the traditional way in which rights to movies and TV titles are structured, there will be licensing restrictions and the goal is to get to a global library that is the same everywhere but that takes time,” Lee said.

    Vivek Couto, executive director of consultants Media Partners Asia, said it is still early in Asia for Netflix. He expects the company will ramp up local content and eventually get “reasonable penetration” in markets such as India, South Korea, Singapore, Hong Kong, the Philippines, Thailand, and Vietnam.

    “Markets like Singapore and India, over time, they can do reasonably well, but I think they’re going to find more challenging markets like Japan, Korea, China,” he said.

    Netflix has yet to win permission to enter the coveted but highly restricted China market.

    SLOWER GROWTH

    Netflix this week said it expected to add about 2 million non-U.S. subscribers in the second quarter, below analysts’ average expectations for about 3.5 million.

    Chief Executive Reed Hastings on Monday cited a lack of local language content and local payment options for limiting initial sign-ups in some countries.

    “Over the next couple years as we further localize, we’ll be able to see more opportunity,” he told analysts on a conference call. Netflix can take heart from its performance in Latin America, where it launched in 2011 and is by far the dominant video streaming service.

    However, it has seen its share of the key Mexican market eroded slightly by competition from Clarovideo, a streaming service offered by billionaire Carlos Slim’s America Movil.

    One of Netflix’s biggest obstacles to growth in Mexico has been the low-level of broadband subscribers, according to one industry source. Broadband availability also looms as a potential concern in Brazil, where the telecoms regulator announced earlier this week that broadband providers would soon be allowed to set Internet usage limits.

    In Asia, Competition is intensifying from local streaming sites as well as global providers such as Amazon, Hulu, HBO and BBC iPlayer.

    Around the time Netflix debuted in South Korea, local company Frograms Inc launched its own Watcha Play service. Two months later, SK Telecom made its video streaming service available to customers who do not subscribe to its phone service.

    Around the time Netflix debuted in Australia, publisher Fairfax Media and broadcaster Nine Entertainment Co Holdings launched a joint venture streaming service, while News Corp and Seven West Media teamed up to do the same. All offered heavy discounts, including free trials.

    Netflix had an explosive start in Australia, counting nearly 3 million Australians as viewers, OUT OF A population of 24 million, within nine months of its March 2015 launch. But growth has slowed just as dramatically, from a 55 percent leap between April and May to a rise of 4 percent between September and October, according to Roy Morgan research.