Article
Comment
Film & TV
Truth and Trust
5 min read

Impartial journalism isn’t possible for the BBC – or anyone else

It’s time to give up the ghost and opt for transparency over impartiality

Lauren Windle is an author, journalist, presenter and public speaker.

A wide angle view of the BBC newsrooms show a starm layout of desks
The BBC newsroom.
BBC.

I wrote 3,000 words explaining the differences between a complementarian and egalitarian relationships – loosely these are the two categories that determine a couple’s position on male headship and female submission in a Christian marriage. I have my opinions, sure. But in this piece, I was neutral. I clearly laid out the arguments for and against each, explained the history, context and nuances, all to equip the reader to make their own mind up.  

I proudly handed the piece to my editor highlighting the careful tightrope of neutrality I had walked. She hesitated: ‘Well, I guess. But it’s clear what position you take.’ I was crushed, all the delicate phrasing and open-handed descriptions and I was still as transparent as the Shard on window clean day. 

No matter how hard we try to present balanced arguments, there is no such thing as unbiased reporting. Even when trying to be ‘fair’ in the way we present a story, we always bring our own perception of ‘fairness’ to the table. And without the wisdom of Solomon (in the cut-the-baby-in-half era), we’re not going to consistently get it right.  

I’ve been a journalist for some years but I’ve never worked in an organisation that claims to be impartial, bar a week’s internship at Science in Action on BBC World Service. I have, however, worked for publications that don’t share my political views. And even with the mandate to write in ‘house style’ there are many subtle decisions a journalist can make to skew reporting towards their personal opinion. 

Phrasing is everything. Am I saying they ‘protested’ or ‘rioted’? Is it ‘reform’ or a ‘crackdown’? Are they an ‘immigrant’, ‘asylum seeker’, ‘refugee’ or ‘expat’? Did she ‘splash around in her swimsuit’ or ‘flaunt her curves on the beach’? There is no neutral choice of words or phrasing. Every micro-decision a journalist makes is based, consciously or unconsciously, on the perspective that they have and are trying to impart on you.  

Then there’s choosing which topics to write about in the first place, selecting sources to quote from and statistics to reference and deciding how to frame the headlines. With the vast body of data available online, you can always find a person or stat to back up your belief. None of this can be done without a hint of your own background, culture, and worldview. 

It is through this lens – my belief in the fallacy of impartiality – that I’ve followed the latest fallout at the BBC. After an internal dossier was leaked, it came to light that a Panorama documentary called ‘Trump: A Second Chance?’ that was broadcast not long before 2024’s presidential election, had misleadingly edited a speech he made on January 6 2021. The speech was spliced in such a way as to suggest he had egged on the assault on the Capitol. Shamir Shah, the BBC chairman, acknowledged the fault and said that the editing ‘did give the impression of a direct call for violent action.’  

The BBC has always been plagued by allegations that it is not living up to its Royal Charter legally requiring it to be impartial. Interestingly, there are many examples of these complaints coming in from both the left and right sides of the political spectrum. The term ‘impartiality’ in this context doesn’t mean stripping all viewpoint from its reporting, as the organisation acknowledges the impossibility of that task, but it does say that it strives for balance, fairness and due weight. This is a standard they fell short of in their reporting of Trump’s address. 

In this, it is undeniably at fault. Even the most questionable of news outlets, that do publish quotes out of context, would acknowledge that knowingly editing or adapting quotes and footage to support their own agenda is totally unacceptable. Regardless of a reporter’s own opinion, readers and viewers want to hear a person speak in their own words.  

The wider question this raises for me is: why we are still claiming any news outlet is impartial in the first place? There’s a sense of safety with both right- and left-wing media, that openly acknowledges its own agenda. If you pick up the Guardian, you understand that you are reading about the world from a socially liberal political stance while tuning into GB News where they champion British values and challenge ‘woke culture’ will bring you something very different. 

I think the BBC as an institution is brilliant, important and necessary but not impartial. When people decry the reporting choices or phrasing of BBC reporting as biased, my response is always ‘what do you expect?’. There are important checks and balances, like rights of reply and offering opposing positions, that help round out a story, but they don’t strip it of opinion. I think it’s time to give up the ghost and opt for transparency over impartiality. 

The honest response is to acknowledge that, like every other person who relays a story, the BBC cannot resist the siren call of opinion. To claim it can, when audiences can plainly see the inconsistencies across its platforms, is both disingenuous and outdated. Instead, perhaps they could work to a mission statement along these lines: ‘We are committed to fairness, accuracy, and transparency. We value robust reporting and careful fact checking. We recognise that complete neutrality is impossible, but we strive to reflect the world as truthfully and inclusively as we can.’ This transparency would at least free up 90 per cent of people who write in to BBC’s Point of View to complain about its reporting.  

Years ago, I was in conversation with the deputy editor of one of the big tabloids when he said that, while he thought his paper was great, no one should use it as their sole source of news. I appreciate his transparency. I think if any of us only consume news from one outlet, even if that is the BBC, we are selling ourselves short. Our pursuit of and clamouring for ultimate truth is a God-given and spiritual desire, so the wise would vary their sources. 

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Review
Culture
Film & TV
Friendship
5 min read

I’m going to cling on to The Ballad of Wallis Island

This comedy about fans and idols touches the heart too

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

A couple site on a sofa, one holds a guitar
Cary Mulligan and Tom Basden.

A few weeks ago, a good friend of mine told me I needed to see The Ballad of Wallis Island.  

He said I’d like it. In fact, my friend went so far as to say he thought it would be one of my favourite ever films.  

And now, having gone to see the new comedy-drama, I can confirm that he was right.  

But just what was it about this film - quite short by modern standards at 1 hour 40 - that marked it out as one I would so obviously enjoy?  

I was considering this as I sat through it, and as my guffaws eventually gave way to tears, I had my answer. 

For when it comes to films - or anything in life, really - it’s those with deeper meaning that most enthrall me. 

And James Griffiths’ new film certainly has this in spades - it’s a “ballad”, after all - as well as a good dose of humour, epitomised by the inimitable Tim Key, whom some of you may know from the 2022 sitcom Witchfinder. 

As someone who grew up on the painfully awkward comedy of Ricky Gervais’ The Office, Key’s character, Charles, the bumbling super-fan of a folk duo, is a perfect blend of the endearing and the ridiculous. 

From the moment “the great Herb McGwyer” (played by Tom Basden) arrives on Wallis Island to be met by a host who swiftly sends him head over heels into the sea, the stage is set for the relationship that will dominate the narrative. 

Devotee and artist, wealthy loner and lonely superstar provide the perfect juxtaposition, whose success is no doubt aided by the fact that both lead actors were also co-writers. 

One suspects the film’s success may also have something to do with the time it spent in development, having first been produced nearly two decades ago as a BAFTA-nominated comedy short, titled The One and Only Herb McGwyer Plays Wallis Island

But having now watched both 2025 film and 2007 short, which is available to watch online, the feature-length version is, to my mind, by far the better of the two. 

And while some of the jokes from the original remain, such as the manner of Herb’s comical arrival and eventual departure - though I won’t spoil the latter for you - there are some notable improvements. 

Chief among them, in my eyes, are the three female characters incorporated into the film: Carey Mulligan, who plays the second half of the McGwyer-Mortimer duo; Charles’ unseen former partner, Marie; and his new love interest, in the form of Wallis Island’s solitary shop-owner, Amanda (Sian Clifford). 

It’s funny to think that my friend pitched the film to me as a “Rom-com”, given that in the original concept there was not even a single female character, let alone any romance. Yet from this viewer’s perspective at least, it is the addition of the three women (including the unseen Marie) that make the film. 

Indeed, this major tweak to the plotline was the very element that ultimately brought tears to my eyes, as I considered the relational loss and loneliness that provide the common ground between the otherwise worlds-apart super-fan and idol. 

I saw the same look in this woman’s eyes as I had seen in Charles’s as he watched his hero play the song that was his former partner’s favourite. 

I was also forced to reflect upon the certain similarity I seem to share with the blundering Charles, having once lived two doors down from the real Carey Mulligan and, during our sole face-to-face encounter, chose the moment to express my great admiration for the music of her husband, Marcus Mumford, before awkwardly and very swiftly beating my retreat. 

I am embarrassed to admit that I even later posted a copy of one of my books into the Mumford letterbox - possibly that very same day - in the hope that it might engender the start of a beautiful friendship.  

Alas, I never heard from them again. 

A similar motivation is clearly the driving force behind Charles’ invitation of his two idols to his home, which is filled with their memorabilia, as the audience is encouraged to consider how they may feel if given the opportunity to host their own heroes. 

“Never meet your heroes,” Charles quips in the original short, but in the film the relationships are allowed to reach greater depths and, in spite of some initial suggestions that Charles’ affections may be bordering on stalker-like, it soon becomes clear that there is nothing sinister about this loveable simpleton. 

The rave reviews the film has received, years after the idea was first hatched, are also surely an encouragement to any of us who may have long held a dream but never seen it come to pass. 

The message of The Ballad of Wallis Island, I believe, is that we should hold onto such dreams and cling tightly to the things that matter most. 

Before sitting down to write this article, I was walking through a local park when I passed a young woman who was sitting on the grass, crying, and I approached her to ask if she was all right.  

It transpired that the woman’s partner had died a year before and that she liked to come back to the tree under which she was sitting to remember him, as it was a special place for them. 

I saw the same look in this woman’s eyes as I had seen in Charles’s as he watched his hero play the song that was his former partner’s favourite. 

"Cling to the things that matter most,” the woman told me, as we parted ways. And that’s certainly the message that both film and chance encounter have impressed upon me.

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If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
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