Speeches by Franklin.

“Thank you. Obviously, this is a really challenging sphere to be working in. You are against tech firms who have a lot of resources. Do you feel that you have the resources that you need to address these issues?”

“Thank you. To widen the question out to illegal and harmful content across the board, what progress are you making in ensuring that platforms have the processes to address this type of content?”

“Good afternoon. I want to start by talking about the Online Safety Act. One issue that I particularly want to touch on, which I have been alerted to through a very sad case in my constituency, is access to pro-suicide content online through forums and websites. In April, you started your first investigation into one of…”

“Do you think that is still the case, given the evolving nature of the online space? Do you have the expertise that is going to continue to evolve as the online space continues to evolve?”

“Have you had much in the way of conversation with the Arts Council and the Government? If so, what have they been like? Maybe I can start with Jessica Toomey.”

“It is lovely to meet you all in this place. We talk a lot on this Committee about fair remuneration for creative artists. We have already touched on it in the first session and you have started to talk about it a bit. How difficult is it to make a living from comedy?”

“We will come back to the Edinburgh festival in a bit. Kate, do you want to add anything?”

“What forms of financial support would you like to see to make it better for comedians and to enable that inclusivity of the circuit?”

“Going beyond the direct assistance for artists and moving back to the Edinburgh Fringe conversation, what are your thoughts about what can be done? What would you like to see as artists? Lynne, is there also something for you to add?”

“What can we put in place? What support would you like to see?”

“It is good to meet you all. Thank you for your time. Geoff, it was interesting, how you set out that comedy is seen differently from live theatre or other parts of the arts offering. I find it sad but also interesting. If the Government and the Arts Council recognised comedy as a specific art form, how do you think it …”

“I have one more question. It is great that we have the Live Comedy Association. Because you exist, you have been able to bring your message here today. How much of the industry is engaged with the Live Comedy Association?”

“It is lovely to meet you all in this place. We talk a lot on this Committee about fair remuneration for creative artists. We have already touched on it in the first session and you have started to talk about it a bit. How difficult is it to make a living from comedy?”

“We will come back to the Edinburgh festival in a bit. Kate, do you want to add anything?”

“What forms of financial support would you like to see to make it better for comedians and to enable that inclusivity of the circuit?”

“Going beyond the direct assistance for artists and moving back to the Edinburgh Fringe conversation, what are your thoughts about what can be done? What would you like to see as artists? Lynne, is there also something for you to add?”

“What can we put in place? What support would you like to see?”

“It is good to meet you all. Thank you for your time. Geoff, it was interesting, how you set out that comedy is seen differently from live theatre or other parts of the arts offering. I find it sad but also interesting. If the Government and the Arts Council recognised comedy as a specific art form, how do you think it …”

“Have you had much in the way of conversation with the Arts Council and the Government? If so, what have they been like? Maybe I can start with Jessica Toomey.”

“I have one more question. It is great that we have the Live Comedy Association. Because you exist, you have been able to bring your message here today. How much of the industry is engaged with the Live Comedy Association?”