The UK has one of the world's strongest digital economies and the next generation is eager to be a part of it. There are many different career options out there for young people interested in tech - from app designers, to game and website developers, to information security analysts.
If your child loves playing games, why not encourage them to take the next step and design their own? With the Easter weekend fast approaching, many parents will be preparing themselves to wrestle their kids from the console.
What is a relatively new conversation publicly is far from that in the reality of our industry, but to be fair to BAFTA they have done a considerable amount to promote diversity behind the scenes including providing consistent support for the TriForce Short Film Festival, so fair play.
This year will see the first students who paid tuition fees of £9,000 a year graduate from their degree courses. The idea of spending thousands more on a postgraduate course specifically focussed on film, television or games could seem like one more hurdle too many for some people from lower socioeconomic backgrounds.
Teacher alert: If you are worried about racist language in your classroom, or any attitudes towards "people of colour", take your students to see Selma. If not, find a reason to go anyway.
It is often said that there's never a bad year for cinema and 2014 emphatically proved that. In a year when cinema admissions were down on the highs of the last few years and no single film crossed the £40m mark for the first time since 2003, it would be easy to be pessimistic about the current state of cinema.
Now in their fifth year, the International Screenwriters' Lectures, hosted jointly by BAFTA and the BFI, have cemented their worldwide reputation as the most prestigious forum for celebrating the peculiar genius of screenwriting.
This year's Advertising Week Europe (AWE) was a real whirlwind. For four days the European ad industry hurried enthusiastically between conference rooms at the iconic BAFTA building to beat the queues and grab front row seats to watch the likes of Sir Martin Sorrell, Idris Elba and Pete Cashmore.
Attending Cosmopolitan's 'Celebration of Female Talent' last week as part of Advertising Week Europe, I was struck by a pervading sense of 'growing up'.
The lion's share of the £60bn the UK events industry contributes each year involves the business industry - I can well believe it, having been invited to more than ever before this year, and I'm the first to admit my diary is packed with other competing appointments.
It brought home the reality that the BAFTA's were becoming more and more like the Academy Awards, where big bucks Hollywood hype over -rules artistic merit.
A concerned awareness of the proportional lack of ethnic minority representation in UK media is not something new, but the surprise is that in these supposedly meritocratic times, it seems to be getting worse and not better.
Annually the most hyped and talked about bit of fantasy on air is the Academy Awards AKA The Oscars. Yet, even with all the hype and glamour, the Oscars can't equal the Super Bowl for audience size.
I guess the answer is don't give up on the large television companies just yet. Yes, there will be huge pressure from the new guard of Netflix, Google, Vice and Amazon all wanting a slice of the content market. But right now the number one light entertainment shows on both sides of the continent are still Pop Idol and the X Factor
My eyebrows raised, internally I grit my teeth, and even more determined to subconsciously push the diversity agenda in the workplace whenever I could, but did I say anything to the boss? Hell no. I would be seen as the latest 'pro-black-chip-on -her -shoulder -ethnic' and being a female of colour in this business is tough enough! Call it double jeopardy.
When I came up with the idea for the BAFTA/BFI Screenwriters' Lecture Series, it was partly an attempt to explain the screenwriter's art and partly an attempt to explore the screenwriter's complex relationship to a completed movie. When their work is done, screenwriters tend to vanish, literally and figuratively.