Media Regulation: Ofcom, IPSO and ASA
- Mastering Media
- Jun 5
- 3 min read
Media Regulation: Ofcom IPSO, and ASA
Media regulation refers to the rules and standards set to control the content, distribution, and ethical responsibilities of media products. It ensures media producers remain accountable to public expectations and legal boundaries. Across TV, magazines, and online platforms, different regulatory bodies operate, each addressing issues of taste, decency, representation, and commercial influence.
Television: Peaky Blinders & The Bridge
In the UK, television is primarily regulated by Ofcom. Ofcom ensures content adheres to its Broadcasting Code, particularly around violence, language, and harmful stereotypes. Peaky Blinders, produced by the BBC, has faced controversy for its depiction of graphic violence and glamorisation of gangster lifestyles. Critics questioned whether the show’s aestheticised violence breached Ofcom’s standards, particularly as it aired pre-watershed on some channels abroad, though in the UK it’s typically scheduled later.
The Bridge, a Nordic noir crime series, falls under European regulation but, when broadcast in the UK, must still comply with Ofcom standards. The show has been controversial for its portrayal of mental health through the character of Saga Norén. While many praised the portrayal as authentic and progressive, others argued that her autism spectrum traits were exaggerated or used as a plot device, raising concerns about representation and sensitivity under Ofcom’s rules.
Magazines: Vogue & The Big Issue
Magazines in the UK are regulated by the Independent Press Standards Organisation (IPSO). IPSO handles complaints about editorial content and enforces the Editors’ Code of Practice. Vogue has faced several regulatory and ethical challenges, particularly surrounding body image and diversity. A notable controversy was the use of heavily airbrushed images and a lack of racial diversity in model selection, especially in past decades. While recent issues under Edward Enninful’s editorship have moved towards inclusivity, Vogue's past was criticised for breaching IPSO’s codes on accuracy and discrimination.
In contrast, The Big Issue is a socially driven magazine that offers employment to the homeless and vulnerably housed. It is not typically mired in scandal but still adheres to IPSO’s standards. However, its bold political stances have occasionally drawn criticism. For example, its strong anti-austerity position during UK election periods raised questions about political impartiality, though it defended this as advocacy journalism rather than party bias.
Online content is more loosely regulated, primarily falling under the Advertising Standards Authority (ASA) and Ofcom, depending on format. Zoella (Zoe Sugg), a lifestyle influencer, came under ASA scrutiny for failing to disclose paid promotions. In one case, her promotion of a beauty product failed to clearly mark the post as an ad, breaching ASA guidelines on transparency and consumer protection.
Attitude, an online magazine catering to LGBTQ+ audiences, operates under IPSO if it produces editorial journalism, though much of its digital content is less regulated. It faced backlash in 2016 for publishing a sexualised photoshoot of a celebrity that some believed reinforced harmful stereotypes about gay men. Though not formally censured, the controversy highlighted the thin line between creative expression and social responsibility in online media.
In conclusion, while different forms of media are regulated by distinct institutions, the overarching goal remains consistent: to balance creative freedom with societal responsibility. The Peaky Blinders, Vogue, Zoella, and other case studies illustrate how regulation attempts to mediate the ethical, cultural, and legal tensions that arise in modern media.
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