We’re delighted to announce our third Skills Bootcamp in Virtual Production!
Starting Wednesday 17th December 2025, these fully funded courses offer an incredible opportunity to gain cutting-edge skills that are transforming the future of film and media production.
We are offering two specialist courses:
• Virtual Production with Unreal Engine
• Virtual Production with Sony VENICE 2
These bootcamps are free to learners, funded by the West of England Mayoral Combined Authority (WEMCA) and led by the University of Bristol in partnership with MARS Academy (MARS Volume), Gritty Talent, and accredited trainers in Unreal Engine and Sony VENICE 2.
Virtual production is revolutionising the screen sector by blending live action, visual effects, and real-time 3D environments into a seamless creative process.
Applications close at midnight on Wednesday 12th November 2025, please share with your wider audience.
UK digital agency, Torchbox, delivers major website transformation focused on environmental responsibility and inclusive design
Bristol, UK – 14th October 2025 – Torchbox, the digital agency behind open source content management system Wagtail, has developed a new website for World Wildlife Fund-US that demonstrates how sustainable web development practices can work hand-in-hand with improved user experience.
The project helps one of the United States’ leading conservation organisations share its critical conservation message with its nearly 10 million annual users by rebuilding its digital platform.
“Working with a conservation organisation like WWF-US meant sustainability couldn’t just be a talking point, it had to be built into every technical decision,” said Gabi Mamon, Client Partner, Torchbox. “We’ve created a platform that performs better whilst reducing its environmental impact through thoughtful technical choices at every level.”
The new platform runs on Cloudflare’s renewable energy infrastructure and employs modern web development practices, including optimised image formats, efficient content delivery networks using caching to serve all content. These improvements deliver faster page loads whilst reducing the data transfer required for the site’s 30 million annual pageviews.
Accessibility features are integrated throughout the platform, including enhanced keyboard navigation, improved colour contrast, proper semantic markup, and screen reader compatibility. The rebuild also involved thoughtfully reorganising 6,000 pages of conservation content to create clearer user journeys.
“Our website is where millions of people come to learn about global conservation and how it helps both people and nature thrive,” said WWF-US Vice President of Digital Projects Diane Querey. “It’s important that it welcomes users in a way that highlights the important role nature plays in all our lives while conveying the urgency and importance of our mission.”
The project required tight deadline management, with Torchbox working closely with WWF-US’s internal team to migrate and reorganise content whilst building new functionality.
For WWF-US, the new platform provides a foundation for long-term digital growth. The successful delivery demonstrates Torchbox’s capability to meet the complex requirements of large international charities working under demanding timescales.
Visit the new site at https://www.worldwildlife.org/
Every autumn, the air shifts. Shadows stretch, lights glow earlier, and people start hungering for something beyond routine. They want meaning, magic, and connection…a story they can step into.
That’s why seasonal immersive events aren’t just popular; they’re unstoppable. Each year, they grow bigger, bolder, more ambitious, because they speak to something universal, our need to feel part of something shared, fleeting, and extraordinary.
And the truth is, the spaces that haven’t embraced that yet are already behind.
This isn’t about pumpkins and fairy lights. It’s about transformation and turning your existing space into a living, breathing story that people can feel in their bones.
The public appetite for immersive experiences has exploded. Seasonal events are selling out months in advance, driving new audiences, and dominating social feeds. People aren’t just attending, they’re participating. They’re hungry for connection, emotion, and atmosphere and they’re willing to travel and spend for it.
And here’s the thing: the places that already have character, story, or natural atmosphere, the ones sitting dark for half the year, are the ones that often might be the perfect venue.
Seasonal immersive programming can turn a quiet month into a sell-out. It can reframe how a space is seen, pull in new audiences, and create stories that live far beyond the season itself and build brand new audiences.
So the question isn’t should you do a seasonal immersive event. It’s why aren’t you already doing one?
Immersive design is no longer just for purpose-built attractions. It’s the future of how people experience the world around them. Every space has the potential to hold story.
Seasonal events give you a perfect excuse to unlock that, to reveal another layer of your space and make people fall in love with it all over again.
It’s not about building something new. It’s about seeing what you already have differently.
The right lighting design can make the familiar feel mythic. A single scent cue can shift memory. A piece of sound can transport a visitor before they even realise what’s happening.
This is where transformation starts, not with scale, but with imagination.
Emotion is built in.
Halloween and Christmas already carry universal feelings: fear, joy, nostalgia, hope. Immersive storytelling amplifies them.
They drive visibility. They’re PR gold, visual content magnets, and community anchors.
They make financial sense, one strong seasonal programme can sustain engagement through your quieter months.
These events are not side projects, they are cultural touchpoints, powerful, repeatable frameworks that keep audiences coming back year after year.
They create loyalty, seasonal traditions make people return.
“We do this every year” is the strongest possible brand statement there is.
Right now, the market is wide open. Audiences are ready. The appetite is proven. Technology and design tools are accessible. The question is who will seize the moment. and who will let it pass?
Spaces that act now will set the benchmark. Those that wait will be catching up.
Seasonal immersive events are no longer a luxury; they’re the smartest creative and commercial move you can make.
The best seasonal immersive events don’t rely on gimmicks or budget. They rely on intention.
They have a clear emotional journey.
They use their environment as part of the story.
They surprise people, not just entertain them.
They end on a note that lingers.
Audiences don’t remember everything they saw. They remember how it made them feel.
And that feeling, if designed well it can shape how they see your space forever!
At Immersive Ideas, we don’t do cookie-cutter Christmas lights or predictable Halloween thrills. We design experiences that transform space into story. Our work blends psychology, design, and emotion to create worlds that connect deeply, memorable, meaningful, and made for your audience.
Wondering if your space has potential? This is the moment to unlock it.
Even if you’re only exploring what might be possible, let’s start the conversation and see where it leads?
Worried about timeframe? Budget? Don’t be. Already this year our clients are testing the waters, preparing the ground work now for going big next year.
Let’s have a chat, reach out at [email protected]
Together, we can shape the kind of seasonal experience people will still be talking about long after the lights go down!
In my role and a fellow member of Bristol Creative Industries, I often sit down with founders of small creative agencies. They grow their teams from two people around the kitchen table to a buzzing studio of 40. Business is good, clients are happy — but there is a nagging worry about staff turnover.
“I feel like we’ve got a great culture”, “We pay fairly, we’re flexible about working hours, but people still leave for bigger companies. I can’t compete with their salaries — but maybe I’m missing a trick with benefits?”
That’s where an employee benefits audit comes in.
What exactly is an employee benefits audit?
In simple terms, it’s a review of the perks and support you give your team. It looks at the obvious things — pensions, healthcare, life insurance — but also at the less visible, day-to-day benefits: training budgets, wellbeing support, cycle-to-work schemes, flexible working, and even perks like free coffee or social events.
The goal isn’t to overhaul everything. Instead, it’s to answer three key questions:
Why does it matter?
Last month was a crying example for a BCI Member. When we ran their audit, we found they was paying for a health cash plan that most of her staff didn’t know existed — and those who did weren’t claiming. At the same time, their team wanted something much simpler: access to mental health support and more training opportunities.
By reallocating spend, they ended up with a package that cost her less but delivered more. Staff engagement has improved, and they noticed fewer people scanning job ads for “what else is out there.”
For SME/Mid-sized organisations, the stakes are high. Recruitment is expensive. Losing a key person can disrupt client work. The right benefits package won’t stop every resignation, but it can tip the balance between someone staying or leaving.
Isn’t an audit complicated?
Not at all. It’s not a mountain of paperwork or a six-month consultancy project. For Bristol Creative Industries members, it’s simple and free:
That’s it. No jargon. No disruption to your business.
Why now?
The world of work has shifted. What employees expect from their employer in 2025 isn’t the same as it was even three years ago. Hybrid working, mental health, flexibility, and personal development now matter as much — sometimes more — than traditional “perks.”
An audit helps you see whether your benefits reflect that reality. It’s not about spending more, but about spending smarter.
The takeaway
For the BCI Member I mentioned earlier, the audit was a turning point. They didn’t need a bigger budget — just a clearer view of what worked and what didn’t. The result? A happier team, better retention, and money saved.
Your people are your biggest investment. A benefits audit is a small step that makes sure that investment is paying off — for them, and for you.
👉 BCI members can access a free audit via myself. It takes less time than your morning coffee run, but it could make a real difference to your business.
One of the most common mistakes we see in immersive experience design is this: all spectacle, no soul. The lights are dazzling, the environment is beautiful, the tech is impressive. But something’s missing.
That something is story.
At Immersive Ideas, we believe narrative is the beating heart of a powerful experience. Whether it’s a theatrical show, a brand activation, a festival space, or an interactive exhibition, people need to know:
Why am I here? What is this world? What am I supposed to do with it?
Without those answers, even the most stunning environments can fall flat.
In traditional theatre, the story is front and centre. In immersive work, the story often surrounds you instead. But that doesn’t mean it should disappear. In fact, it becomes even more important, because the audience is no longer just watching, they’re in it.
A strong narrative:
Grounds people in the world you’ve created
Helps them understand their role or perspective
Guides behaviour and encourages meaningful interaction
Creates emotional connection and long-term impact
And here’s the key part: even if your audience never fully sees or understands the story, you and your creative team still need to know it inside out.
The internal logic of the world, the backstory, the rules, all of it matters. It acts as an invisible backbone. When everyone designing, performing, or producing knows why things are the way they are, the experience becomes richer, more coherent, more alive.
Audiences might not be able to articulate the story, but they’ll feel it. They’ll sense that this world makes sense. They’ll trust it. They’ll lean in.
In experiential marketing, the term immersive gets used a lot. But too often, what’s actually being built is just a visually impressive space or activation, cool, yes, but sometimes a lil shallow. A brand might commission an activation with high production values and creative flair, super photogenic, but if there’s no narrative underpinning it, audiences walk away remembering the look, not the feeling.
Immersion isn’t just about aesthetics, it’s about emotional logic. If a guest walks into your space and doesn’t understand why they’re there, or what they’re part of, the moment doesn’t land. It becomes a photo op instead of an experience.
Narrative in this context doesn’t mean writing a script. It means understanding the purpose, perspective, and emotional arc of the guest. It means layering in meaning and intention. A well-designed brand experience should tell a story through its structure, its pacing, its language, its atmosphere. It should feel like stepping into a world that has depth, even if that depth is only hinted at.
When narrative is an afterthought, audiences feel unanchored. They start asking questions that pull them out of the moment.
Am I allowed to touch this? Should I be doing something? Is this just for looking? Who am I meant to be?
This creates hesitation, not curiosity. Confusion, not wonder. It turns a space that should feel magical into one that feels awkward or unfinished.
We’ve worked on experiences that were visually stunning but emotionally hollow… until we added just a few layers of story. Suddenly, everything clicked. Audiences relaxed, interacted, cared. Because they understood their purpose in the space.
It’s tempting to lead with the big ideas, the set piece, the wow moment, the cool tech. But those should always serve the story, not the other way round. We always ask our clients the same three questions at the start of a project:
Why are people here?
What world are they in?
What do we want them to feel when they leave?
Those answers shape everything else. From the layout of the space to the way performers interact, from sound design to signage.
Whether you’re producing a theatre piece or a branded experience, story creates meaning and meaning is what makes people remember.
A well-crafted narrative doesn’t just support an immersive experience. It is the experience. It’s the glue that holds it all together. It turns audiences into participants, spaces into worlds, and moments into memories.
If you’re building an experience and want to get the story right from the start, let’s talk. We’ll help you craft a world that feels real, purposeful, and impossible to forget, whether you’re making a new experience, launching a product, or creating a space your audience will genuinely connect with.
Sarah Morris – Immersive Ideas Ltd
AI and copyright of content is a controversial issue in the creative industries, with the government receiving 11,500 responses to its consultation on the UK’s legal framework for copyright. Ministers say they are reviewing all the responses and technology secretary Peter Kyle said:
“I am determined to harness expert insights from across the debate as we work together to deliver a solution that brings the legal clarity our creative industries and AI sector badly need in the digital age.”
We asked some Bristol Creative Industries members what they think the government should do. See below for their responses.
Join our Wake Up Call webinar on 1 August: When AI kills the click, what comes next for SEO?
Russell Jones, JonesMillbank (see JonesMillbank’s BCI profile here):
“Jean-Luc Godard (1930-2022), a pioneer in filmmaking, said “It’s not where you take things from – it’s where you take them to”. Had he lived three more years, would he be saying the same thing about the generative imagery we’re seeing today?
“When nothing is original, and humans have copied and been inspired by others since the dawn of time, where do we draw the line between human inspiration and en-mass machine learning?
“Nobody has the answer yet, but any regulation must be worldwide – human-wide – to avoid creating an AI-divide.”
Phil Robinson, Proctor + Stevenson (see Proctor + Stevenson’s BCI profile here):
“I believe clarity and fairness are the two critical factors here. AI offers exciting creative opportunities, but we need a legal framework that respects the rights of artists while helping us explore new tools. Creators should know if their work is used to train AI, and there must be proper consent and fair compensation.
“I’d like to see rules that protect originality but also empower creatives to be ambitious and produce incredible work. If the government gets that balance right, AI could become a genuine asset to the creative industries, not a threat to them.”
Catherine Frankpitt, Strike Communications (see Strike Communications’ BCI profile here):
“Creative professionals are natural early adopters, so we must balance protecting our intellectual property with harnessing AI’s potential through proper legal safeguards.
“The government must work urgently with creative and tech sectors to establish a legally enforceable framework requiring clear disclosure of AI training data sources and mandatory opt-in licensing. We need a distinction between AI as a creative tool versus unauthorised training on copyrighted works. Creators must retain ownership and receive fair compensation for any AI usage of their work. Given AI’s global reach, this framework needs both robust UK legislation and international coordination.
“Finally, we must move at pace with regular legal reviews to ensure our protections evolve alongside the technology, preventing creators from being left behind.”
Mark Shand, UWE Bristol (see UWE Bristol’s BCI profile here):
“The proposals in the government consultation reflect an inconsistent approach to intellectual property, favouring undisclosed AI companies (other industries compensate creators), while disadvantaging university copyright holders across culture, research, education, business, science, and health. It places an unfair burden on creators, remains vague, appears technically unfeasible, and perpetuates business practices that undermine creators’ control and compensation.
“We are also concerned by the accompanying narrative, which frames creators as being at odds with ‘innovators’. In reality, our students and staff are innovators – they are also current and future income generators, market disruptors, and employers.”
Tim Shapcott, Tiki Media (see Tim Shapcott’s BCI profile here):
“Painful as it is to consider, it may be unrealistic to hold AI companies accountable for what’s already been done. Rather than close our borders to the world as other countries take advantage of the up-side, a more pragmatic path may be to focus on future solutions.
“Applying pressure to the AI industry to establish clear checks and balances could ensure that original creators receive fair recognition and compensation as AI evolves. This balanced approach may allow us to embrace the benefits of AI while still supporting our creative talent. If ‘back pay’ is possible as a part of that, then awesome!”
Claire Snook, AMBITIOUS (see AMBITIOUS’ BCI profile here):
“For the last 20 years, AI has helped our work and operations through programmatic ads, content development, chatbots, virtual assistants and more.
“But it’s undermining our creativity. Copyright is essential to protect our work. Our government has a responsibility to provide clarity for how AI is used in conjunction with creative work; we need clear and defined safeguards for creators. This should have been in the works decades ago.
“Companies are taking measures to protect our content. Cloudflare, one of the biggest architect providers, now prevents AI crawlers from scraping content without the creators’ permission meaning websites will be able to charge AI companies for accessing their content.
“We need a practical approach that protects and ensures our creative labour isn’t stolen, while making sure people can responsibly use AI for their needs and wants.”
Susan Pearson, Wordways (see Susan Pearson’s BCI profile here):
“The copyright for anything I write is 100% mine or my client’s. No-one or no ‘thing’ should ever have the right to reproduce the words of writers exactly unless these words are expressed within quote marks with the source of the quote acknowledged – unless they have specific permission. Anything else would be creative theft.
“Weakening of copyright law in any way will have a profound effect on the livelihood of writers and others in the creative industries. Even the suggestion that AI software can re-hash original material from creatives is a suggestion that theft should be legalised!”
Jessica Morgan, Carnsight Communications (see Carnsight Communications’ BCI profile here):
“AI is rarely out of the spotlight – particularly in the creative industries. It’s also a growth opportunity identified by the government, so it’s likely to remain there. This feels like a pivotal moment. Will we be left behind if we don’t evolve our regulations, or do we risk completely exploiting creativity if we do?
“Holding the consultation is a good first step, and those thousands of views given will have to be considered and taken into account (AI may prove useful here!) The key thing is, creative work is important and should be valued. Copyright exists for a reason and we’ve been abiding by it for decades. Any path forward needs to acknowledge that.”
Sandra Mouton, French translator (see Sandra Mouton’s BCI profile here):
“Copyrighted works available for reading online are routinely used to train the LLMs AI runs on. In my field of translation, that’s translated books, but also magazine articles, white papers from businesses or NGOs, video game content, etc. All this IP was created within the framework of copyright law and the protection it’s meant to provide for authors’ and copyright-holders’ rights.
“The government needs to ensure that protection is real and that the work of creatives like translators cannot be exploited for money without our express consent (with a default opt-in rather than opt-out system) and adequate compensation through royalties.”
Alex Murrell, Epoch (see Epoch’s BCI profile here):
“Human creativity thrives on curious minds and their insatiable appetite for inspiration. Film, fashion, art and architecture; it all gets devoured, connected and remixed into new and novel ideas. Copyright laws protect this process: copy too closely, and you risk infringement.
“But now, generative AI is rewriting the rules. If a machine uses your work to train a model, is that theft or fair use? Is it ethically different from a human remixing their inspiration? Should copyright continue to cover one’s output, or should it cover the input as well? That’s the question governments must answer—and fast.”
Emma Barraclough, Epoch
“AI is reshaping the creative landscape; enabling highly personalised, efficient design at scale. And as it becomes mainstream, using it has become essential to staying competitive in a fast-moving industry. But there are concerns we can’t ignore. Ambiguity around the ownership of AI-generated content presents legal challenges.
“For brand assets to be valuable, they must be protectable. And yet without clear rules AI generated assets are at risk of being copied and compromised by others. For AI to become a truly powerful tool for creatives, we need laws that make its output safe, ownable, and enforceable.”
Penny Beeston, Beeston Media (see Beeston Media’s BCI profile here):
“As an SME in the creative sector we embrace AI where it improves the efficiency of our craft. The red flags are where AI stifles or steals creative human endeavour. The horse may well have bolted in terms of past copyright theft, but the government has an important role to play in regulation going forward.
“Original assets used in generative AI should be traceable, accredited or paid for by third parties. The government’s commitment to investing in AI research and innovation with projects such as the Isambard-AI supercomputer is impressive. Let’s use that sovereign capacity for good by creating AI tools to shift the balance of power from poachers to gamekeepers.”
Chas Rowe, voiceover artist (see Chas Rowe’s BCI profile here):
“First, AI steals from creators. Then, AI steals from creators. Two wrongs don’t make a right. The government should stop providing shovels for the gravediggers of the creative industries.”
Join our Wake Up Call webinar on 1 August: When AI kills the click, what comes next for SEO?
Standard benefits packages won’t cut it for Gen Z. Here’s how they’re raising the bar and what you can do to meet it.
In simple terms, the generation that won’t settle for more of the same. Gen Z is here and they’re changing the game.
Born between 1997 and 2012, they’ve grown up digital, purpose-driven, and ready to challenge how work works. By the end of 2025, they’ll make up 24% of the global workforce and here’s the thing: standard benefits packages aren’t cutting it anymore.
If you want to attract, engage, and retain Gen Z talent, you’ll need a benefits experience that feels as personal, digital, and values led as they are. So, what Makes Gen Z Different (And Why It Matters for Your Benefits Strategy)?
Firstly, Gen Z grew up with smartphones, social feeds, and instant everything. So, when they join your workforce, they expect the same seamless experience from your benefits. 91% of Gen Z say a company’s tech influences whether they want to work there, (according to deskbird). They expect business tools to be as intuitive as TikTok and as mobile-friendly as their banking apps. If any benefits platform feels clunky or old-school? You’ll lose them before they’ve even logged in.
Secondly, they care Deeply About Purpose. For Gen Z, work isn’t just a job. It’s a platform for impact. 74% say purpose at work matters more than their pay cheque, according to SHRM. And it’s not just talk, where 50% have turned down work that clashes with their personal values, according to SHRM and 44% have rejected employers with negative environmental or social impact, says ACCP. If your benefits don’t reflect your social and environmental commitments, you’re missing a massive engagement driver.
Thirdly they value Flexibility Over Hierarchy. Gen Z doesn’t measure success by hours logged. They care about outcomes and flexibility. 77% would choose more flexibility over faster promotion, according to Innovative Human Capital. They expect to work when and where they perform best, whether that’s fully remote, hybrid, or something in between.
Finally, there is the rise of flexible, personalised benefits. Forget cookie-cutter packages. Gen Z expects choice such as workplace flexibility, like remote work and compressed schedules, mental health support including teletherapy and wellness apps, financial wellbeing, such as student loan repayment and financial coaching.
Looking at that lens, mental health is non-negotiable. Gen Z has made one thing clear: mental health is essential, not optional. Only 15% rate their mental health as “excellent”, and 40% report feeling stressed or anxious most of the time, according to Handshake and Deloitte. What’s expected and what is out there? Dedicated mental health days, digital-first EAPs with real usage, and wellness tech, like meditation apps and digital resilience tools. In simple terms, ignoring mental health isn’t just risky—it’s a missed business opportunity.
It’s tough out there, however there are many creative ways to find money with employee benefits (if you do not salary sacrifice your pension…why not?). Focus them in a new and creative way. It will pay off when employees feel their benefits reflect their real-life needs, they stay longer and engage more deeply.
Alongside its new Industrial Strategy for the next 10 years, the government has published five sector-specific plans.
We’ve outlined the creative industries sector plan here and in this article, we outline what’s in the digital and technologies sector plan for creative businesses.
Bristol is mentioned 11 times in the plan. That includes references to the Isambard-AI supercomputer at University of Bristol, the ScienceCreates engineering biology accelerator, the city’s semiconductor design cluster and NVIDIA’s recent decision to expand its AI lab in Bristol.
It also includes this:
The British Business Bank (BBB) is committing an additional £4bn of growth capital to the eight sectors of focus in the industrial strategy, which includes the digital and technologies sector and the creative industries.
West of England is one of 10 regions in which BBB will launch a new “Cluster Champions” programme through which “individuals with deep expertise and local knowledge will coordinate investment-readiness programmes, strengthen financial networks, and connect high-potential firms” in the eight Industrial Strategy sectors.
The BBB will also double its investment in new fund managers, and make direct investments of up to £60m in “strategically important companies”.
The government announced at the Spending Review that BBB’s overall yearly investments will increase by around two thirds, bringing its total financial capacity to £25.6bn.
The government will address regulatory and non-regulatory barriers to lending to IP-rich SMEs, by establishing a new working group of relevant departments and authorities, businesses, commercial banks and other financial institutions.
The Spending Review has confirmed that funding for R&D will reach £22.6 billion a year in 2029/30.
The government says it will “reform and streamline UKRI funding routes to make it easier for businesses to navigate different funding streams and reducing the length of time between applications and funding decisions”. Innovate UK will also increase the proportion of its investments which are joint with private sector.
The government will deliver a new TechFirst skills programme aimed at reaching up to one million young people and provide over 4,500 undergraduate bursaries, Masters’ placements and PhD opportunities for domestic students to support them into the tech workforce.
The sector plan said digital and technology businesses rely on specialist skills, but there are mismatches between demand and supply. In 2022, there were approximately 130,000 STEM and 13,500 digital vacancies due to skills shortages.
New technical excellence colleges will be set with the aim of increasing specialist and practical skills.
Skills England will publish analysis on sector skills needs and work with employers to co-design solutions to address skills needs.
The government will introduce short courses in England, funded through the Growth and Skills Levy, in areas such as digital, AI, and engineering.
The independent AI Opportunities Action Plan was published earlier this year, and the government has accepted all 50 recommendations. The Spending Review announced £2 billion to deliver the plan.
A new AI Adoption Fund and regional business support will provide businesses with advice on integrating AI into their operations.
There is a big debate around copyright and AI in the creative industries. The government published a consultation on how “the UK’s legal framework for AI and copyright supports the UK creative industries and AI sector together”. The sector plan says:
“Delivering an AI and copyright framework that supports AI development in the UK. The government wants to support rightsholders in licensing their work in the digital age while allowing AI developers to benefit from access to creative material in the United Kingdom. The right approach here will unlock new opportunities for innovation across the whole economy.
“The government is analysing responses to the consultation on delivering a copyright and AI framework, looking at all options. The government recognises the need for this to be done properly and carefully in a considered, measured and reasoned way, to develop any future proposals. The government will set out a detailed economic impact assessment on all options under consideration and a report on the use of copyright material for AI training, transparency and technical standards.
“This analysis will inform the government’s position, alongside a series of expert working groups to bring together people from both the AI and creative sectors on the issues of transparency, licensing and other technical standards to chart a way forward.”
The government has previously announced that £18m will be provided to the new TechLocal scheme which offer seed funding to help regional innovators and small businesses develop new tech products and adopt AI. A panel made up of local tech businesses will be established in each region to decide which applications have merit, with the necessary checks then done centrally by Innovate UK.
The government will provide support to start-ups through an initial £6 million for the Cyber Runway accelerator to support 60 start-ups annually with mentoring, skills development and access to networks.
Experts at University of Bristol will provide independent advice for the government’s Cyber Growth Action Plan to be published in summer 2025.
BRISTOL — Torchbox Public, the public sector division of digital agency Torchbox, has been awarded a contract to develop and implement a new intranet for Guy’s and St Thomas’ NHS Foundation Trust, one of the UK’s largest and busiest NHS trusts.
The project will transform internal communications across the Trust by providing one easy-to-use, fully accessible digital space for staff to connect and find essential information across all hospital locations and on any device. The new platform will serve over 23,600 staff across multiple sites, including five hospitals and 23 local community health centres.
Guy’s and St Thomas’ currently has two different intranet sites and wants to support all staff by creating one consistent experience. The new intranet will make it quicker to access the information they need, and reinforce that, despite the Trust’s size, staff are part of one organisation with shared values and a reputation for clinical excellence, high-quality teaching, and research.
“We’re a diverse and welcoming organisation, which is incredibly proud of our staff and the dedication they show to our patients and each other. We’re creating this new intranet to make it easier for everyone to connect and access the information they need to deliver the high-quality and compassionate care we are known for” said Lindsay Gormley, Head of digital and content at Guy’s and St Thomas’.
The new intranet will be built on Wagtail NHS Intranet, an open-source platform developed by Torchbox specifically for NHS organisations. This innovative solution was made possible through the initial support of Cambridge University Hospitals NHS Foundation Trust and continues to evolve through collaborations with other trusts, including Gloucestershire NHS.
The solution builds on successful implementations for multiple healthcare providers, where the intranet has improved staff communication, information access, and operational efficiency while eliminating ongoing license fees.
Key features of the new intranet will include:
“We’re honoured to partner with Guy’s and St Thomas’ on this transformative project,” said Ben Heasman, Client Partner, Torchbox. “Our experience creating digital platforms for NHS organisations has shown us how a well-designed intranet can break down barriers, improve efficiency, and ultimately contribute to better patient care. We look forward to delivering a solution that will serve the Trust’s diverse workforce and support its vital work.”
The project will take a phased approach, with initial discovery and design work already underway.
Guy’s and St Thomas’ provides 2.8 million patient contacts in acute and specialist hospital services and community services every year. The Trust includes Guy’s Hospital, St Thomas’ Hospital, Evelina London Children’s Hospital, Royal Brompton Hospital, Harefield Hospital, and adult and children’s community services in Lambeth and Southwark
As one of the biggest NHS trusts in the UK, with an annual turnover of £2.9 billion, Guy’s and St Thomas’ employ around 23,600 staff. www.guysandstthomas.nhs.uk
Guy’s and St Thomas’ is part of King’s Health Partners Academic Health Sciences Centre (AHSC), a collaboration between King’s College London, and Guy’s and St Thomas’, King’s College Hospital and South London and Maudsley NHS Foundation Trusts. www.kingshealthpartners.org
Torchbox Public is a specialised division of Torchbox that partners with public sector organisations to tackle complex challenges through progressive, collaborative approaches.
As a certified B Corporation and 100% employee-owned business, Torchbox brings together a diverse team of over 120 digital specialists committed to creating inclusive, accessible, and sustainable digital solutions. The company has delivered transformative digital projects for leading organisations across healthcare, charity, and cultural sectors, including Cambridge University Hospitals NHS Foundation Trust, Samaritans, Mind, Children’s Health Ireland, the Royal National Institute of Blind People (RNIB), and London Museum. Torchbox is a leader in open-source technology and distinguishes itself through its evidence-based approach, collaborative partnerships, and commitment to social and environmental responsibility.
ENDS
For more information, please contact:
Lisa Ballam
torchbox.com
Standard benefits packages won’t cut it for Gen Z. Here’s how they’re raising the bar and what you can do to meet it in 3 easy ways.
The generation that won’t settle for more of the same. Gen Z is here and they’re changing the game.
Born between 1997 and 2012, they’ve grown up digital, purpose-driven, and ready to challenge how work works. By the end of 2025, they’ll make up a quarter of the global workforce
And here’s the thing: standard benefits packages aren’t cutting it anymore.
If you want to attract, engage, and retain Gen Z talent, you’ll need a benefits experience that feels as personal, digital, and values led as they are. So being part of the Bristol Creative’s network let’s explore how this generation is raising the bar for benefits and what you can do to meet it.
Firstly, digital Natives Expect Digital-First Benefits! Gen Z grew up with smartphones, social feeds, and instant everything. So, when they join your workforce, they expect the same seamless experience from your benefits. A company’s tech influences whether they want to work there. They expect business tools to be as intuitive as TikTok and as mobile-friendly as their banking apps. If your benefits platform feels clunky or old-school? You’ll lose them before they’ve even logged in.
Secondly, they care deeply about purpose. For Gen Z, work isn’t just a job. It’s a platform for impact. Often, purpose at work matters more than a pay cheque. If your benefits don’t reflect your social and environmental commitments, you’re missing a massive engagement driver.
Then there’s the whole avenue called “flexibility”. Gen Z doesn’t measure success by hours logged. They care about outcomes and flexibility of schedules. In addition, there’s flexibility with regards to personalised benefits which I have mentioned numerous times. Forget biscuit-cutter packages. Gen Z expects choice: mental health support (which is non-negotiable being essential not optional), help their sustainability goals/carbon footprint, help with student loan repayments, help with community impact…all good examples.
Why? Well, it’s not rocket science – lower turnover, higher engagement and it makes you stand out in the crowd as an employer.
Gen Z is raising the bar for what great benefits look like. If you’re still offering one-size-fits-all packages, you’re missing a huge opportunity to engage the workforce of tomorrow.
If nothing else just look at
Because if your benefits aren’t easy to access, easy to understand, and easy to love, they aren’t working hard enough.
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