What happens if you don't fill out your tax return?

Well, according to HMRC, you won't get "inner peace".

Where did the time go? 31st January is less than a week away.

With online submissions nowadays isn’t everything much smoother and quicker and all done well before time? If this is your first online return and you have sat on your paperwork so that you are only now getting around to it you will probably already be too late if you haven’t at least registered online. In this world of being online, I’m afraid HMRC still use the good old fashioned postal system to send you the activation code you will need to submit your online return. This can take up to seven days to reach you — perhaps even longer in the snow!

So I’m sorry to be the bearer of bad news, but if you are late for this very important date you will be hit with an automatic £100 fine, even if you have no tax to pay or are paying your tax on time. 

If you are more than three months late in filing your return, there will be a daily fine of £10 up until the 90-day period, amounting to £900. HMRC has also now imposed an additional £300 penalty or 5 per cent of the total tax payable (whichever is higher) for those self assessment returns that are six months late. The same applies again for being 12 months late. In serious cases, the penalty can be 100 per cent of the tax payable.

In order to avoid late filing penalties it is advisable to submit an estimated return (if you have your activation code that is). You will need to provide an explanation of why certain figures are estimates and you will, of course, need to remember to send in the actual figures as soon as you have received these.

HMRC’s 2013 advertising campaign encourages people to "do it today, pay what you owe and take a load off your mind", so they can experience "inner peace".
   
Remember, even if you have professionals dealing with your affairs, preparing and submitting your returns they are limited by the amount of information you have provided, within a timescale they no doubt advised you of last April. So if you are only now discharging your duty by emailing everything to your adviser remember you’ll still be personally held responsible if they don’t meet the deadline.

It’s not just filing your return that counts. Whatever you do, don’t forget that payment of tax is also due on 31 January. It is important to make payment, even if no payslip is received. If tax is not paid, interest will run immediately. If tax is still outstanding after 28 February you will be subject to a 5 per cent surcharge. And all this is on top of any late filing penalties.

Anybody with any difficulties paying their taxes must inform HMRC ahead of time to take advantage of the Business Payment Support Service, an initiative of HMRC to help business and individuals with their tax payments.

When it comes to tax payments and returns, punctuality definitely pays off.

Fiona Poole is a senior associate at private client law firm Maurice Turnor Gardner LLP

This article first appeared on Spear's.

31st January is less than a week away. Photograph: Getty Images

Fiona Poole is a senior associate at private client law firm Maurice Turnor Gardner LLP

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Why hasn’t British Asian entertainment built on the Goodness Gracious Me golden age?

It is 20 years since the original radio series of Goodness Gracious Me aired. Over two decades, the UK media portrayal of Asians hasn’t used its success to evolve.

Save for a handful of special one-off episodes, Goodness Gracious Me hasn’t occupied a primetime TV slot for nearly two decades. Yet still it remains the measuring stick for British Asian comedy.

The sketch show, which transitioned seamlessly from radio to screen (it started as a BBC Radio 4 series in 1996), has stood the test of time and is as much a staple of modern British Asian culture as Tupperware or turning up an hour late.

What Goodness Gracious Me did so expertly was to take a set of serious issues facing first, second and now, I suppose, third generation migrants, and turn them on their heads. 

In making light of the pressures of academic expectation or family drama, Goodness Gracious Me wasn’t playing down the poignancy of such concerns; it was raising awareness and combatting their uglier side with humour.

It offered resonance and reassurance in equal measure; it was ok to have an embarrassing uncle who insisted he could get you anything much cheaper, including a new kidney, because other people like you did too.

That Goodness Gracious Me was broadcast on a mainstream channel was also a victory for minorities; it made us feel integrated and, perhaps more importantly, accepted. Against the backdrop of Brexit, what wouldn’t we give for that treatment now?

Really, though, the jewel in Goodness Gracious Me’s crown was its willingness to recognise diversity within diversity. It is a relic of a departed era when discourse on TV around Asians was different, when the broad church of that term was truly represented, rather than reduced to one catchall perception of British Muslims.

Goodness Gracious Me offered insight into the experiences and idiosyncrasies – religious or otherwise – of Indians, Pakistanis, Bangladeshis, Sri Lankans and even English people. It’s what made it so accessible and, in answering why subsequent programmes have failed to reach similar heights, this is a good starting point.

Without the flexible sketch format, the modern Asian sitcom Citizen Khan has struggled to cover multiple topics, and, by being specifically about a Muslim family, it leaves many non-Muslim Asians wondering: where’s ours?

I hasten to add that I feel plenty of sympathy for the British Muslim community, hounded by tabloid headlines that attack their faith, but it would be disingenuous to suggest that non-Muslim Asians are sitting pretty in 2016 and don’t need a similar level of support in terms of positive public perception.

The current volume of British Asian media products is fairly good. The BBC has its dedicated network, The Good Immigrant essay collection was one of the outstanding reads of the year, and we still have champions of comedy in Romesh Ranganathan and Nish Kumar.

But I think ultimately it comes down to the broadness of appeal, rather than the quantity of products. Goodness Gracious Me was not only able to engage the full spectrum of British Asia; it transcended its target audience and was on terrestrial TV.

The British Asian media on offer now is up against it, released as the country’s attitude towards foreigners completes a full circle back to the same suspicion my grandfather encountered in the Sixties.

Fewer outlets are willing to explore the stretch of what it means to be Asian, either by denying it due consideration in mainstream shows or by peddling their own monolithic observations. The BBC Asian Network, for example, is laudable in its existence, but does little to engage the young Asians who aren’t into techno spliced with Bhangra.

The mainstream representations of Asians in Western film and television that are commissioned, meanwhile, are irritatingly limited and sometimes inaccurate. In an article for the Guardian last year, Sara Abassi lamented the disproportionate appetite for “gritty post-9/11 films about conservative Pakistani families”, and that the researchers of American series Homeland failed to realise that the national language of Pakistan isn’t Arabic.

When I interviewed the actor Himesh Patel for the No Country for Brown Men podcast, he suggested that the answer to re-establishing Asians in mainstream media, both here and in America, was three-fold. The first challenge to overcome was for outlets to acknowledge that not all Asians fit the same religious or cultural profile; the second was to be open to placing Asians in non-Asian specific products to better reflect their presence in society.

Patel, who is best known for his portrayal of Tamwar Masood in the soap opera EastEnders, made his third recommendation based on this role. He felt that characters should be written with only their personality in mind, making the ethnicity of the actor who plays them incidental. Tamwar’s awkwardness but underlying kindness, Patel said, was what defined him – not his skin colour.

Goodness Gracious Me, though a primarily Asian show and a comedy at that, actually taught some salient lessons about representation. It succeeded in providing a window into a multiplicity of cultures, but at the same time wasn’t a total slave to the politics of identity – several of the 100-plus characters needn’t have been Asian at all. It was reflexive to the times we lived in and a perfect advertisement for empathy. That is why we still talk about it today.

Rohan Banerjee is a Special Projects Writer at the New Statesman. He co-hosts the No Country For Brown Men podcast.