Government may nationalise British Steel amid standoff with owners
A Whitehall official described it as "one of several options" but noted it would involve significant financial implications.
An aerial view of the British Steel Scunthorpe site on September 13, 2024. (Photo: Getty Images)
By EasternEyeDec 04, 2024
MINISTERS are considering renationalising British Steel to safeguard thousands of jobs as negotiations stall between the government and Jingye, the company’s Chinese owners, over a £1 billion rescue plan for the Scunthorpe site.
Business secretary Jonathan Reynolds is leading discussions to determine the financial contributions from both parties. However, with limited progress, nationalisation is emerging as a possible solution, according to The Guardian. A Whitehall official described it as "one of several options" but noted it would involve significant financial implications.
A spokesperson for the business secretary declined to rule out nationalisation but stated there are “no plans” to do so. The government is focused on supporting a “green steel transition” that benefits the workforce, taxpayers, and the steel industry’s future.
British Steel’s Scunthorpe plant employs 4,000 people and is the UK’s sole steelmaker using iron ore. The company is central to government infrastructure and national security plans, producing materials for railways, heavy machinery, and warships.
Discussions have centred on replacing the site’s two blast furnaces with electric arc furnaces to reduce emissions, helping meet the UK’s net-zero target by 2050. However, plans for an additional furnace in Teesside have reportedly been scrapped, disappointing local leaders.
Unions have expressed support for nationalisation. Unite General Secretary Sharon Graham said the government acting as an "investor of first resort" would be a critical step. GMB union officer Charlotte Brumpton-Childs criticised private sector failures and advocated for renationalisation.
British Steel was nationalised in 2020 for ten months before Jingye’s acquisition. Negotiations are ongoing as unions push to protect jobs and production capacity. A resolution is needed before the end of January, when the company is expected to run out of raw materials.
The Guardian reported that if Jingye withdraws, the government could either nationalise the company or allow it to enter administration in search of a new buyer.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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