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To be honest, convener, my points have been raised.

I second that.

Not only do different local authorities have different resources available to them, but individual communities and islands within local authority areas have varying opportunities to make their voices heard. How do you manage to hear the diversity of voices from different islands within local authority areas?

You have alluded to some of the budgetary pressures that the Scottish Government is facing. We know about the impact of inflation on the budget in real terms—I understand that the reduction is 5.2 per cent. What rationale are you using in your own budget to cope with that situation and prioritise things?

I am interested to hear a bit more about your definition of Scotland-specific programming, given the statistics that you have produced on that. I should make it clear that I am not calling for some very purist definition; I am just a bit unclear about what it is. For instance, I did not know that “Click” was produced in Scotland. Is it all a matter of location, or do you take other factors into account? For instance, does Ken Bruce’s programme count as Scottish? I see you shaking your heads. I am just curious to know what is included and what is not.

Incidentally, I, too, enjoyed “Vigil”, once I had overcome my irritation at the fact that the programme’s writers seemed to believe that we have coroners in Scotland. Can you say a bit more about whether this is all a matter of location and where things are produced, or does it also have something to do with how Scotland is reflected?

Thank you.

You mentioned young audiences. I am interested in the issue of audio content. There is certainly no shortage of interest in audio content from younger people—podcasts and so on—but I listen to the radio, and I have to admit that, if I let slip to a younger member of my family, friends or work colleagues that I have heard something on the radio, they give me a very puzzled look. Where does audio content for young people lie? What does its future look like?

I will be brief. I am afraid that I am coming back to Alex Paterson again. I hear and I absolutely appreciate what you are saying about the inflationary and other pressures that are applying to you, the whole public sector and the Scottish Government itself. People can readily appreciate what you are saying about them.

I had vowed not to mention any building in my constituency but, as almost everyone else has, I will, I am afraid, again mention something that we have corresponded about, which is one of the most iconic buildings in Scotland, Kisimul castle, and the fact that it is not open to the public.

More generally, you said that 60 buildings had restrictions on opening at the moment. Given—or despite—the pressures, is your organisation in a position to lay out a plan or timescale as to when you would get as near to full opening as possible?

My other question is related to that. You mentioned, rightly, the importance of spending to save or to not allow problems to grow. Are there certain maintenance risks associated with buildings being closed?

That was very helpful.

A question that has previously been raised is about what you are doing to encourage and promote new writing in portraying Scotland—or, indeed, in portraying anything—to give backbone to the programmes that you are talking about. I am curious to know what is being done in that respect.

I certainly do not hold any of you responsible for the cost of living crisis or for the questions that now exist about the UK Government’s handling of that crisis. However, the crisis obviously has an impact on everything that your organisation does, as it has on the wider public sector.